Fawning admiration of Bollywood’s Sanjay Dutt the downfall of ‘Sanju’

Bollywood actor Ranbir Kapoor waves during the teaser launch of his Indian biographical drama Hindi film 'Sanju', based on the life of Bollywood actor Sanjay Dutt, in Mumbai on April 24, 2018. (AFP)
Updated 01 July 2018
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Fawning admiration of Bollywood’s Sanjay Dutt the downfall of ‘Sanju’

CHENNAI: It is never easy to create a biopic about a celebrity who is still alive, but that isn’t the only reason Rajkumar Hirani’s “Sanju” fails to hit the mark. Hirani — who is known for “Munna Bhai M.B.B.S.,” “Three Idiots” and “PK” — appears to be in awe of his subject, actor Sanjay Dutt, who was once labelled the “bad boy of Bollywood.” The son of illustrious parents, actors Sunil Dutt and Nargis, Sanjay (who was endearingly called Sanju at home) entangled himself in a web of drugs and women before he was convicted of possessing guns supplied by extremists who staged the 1993 bombings in Mumbai in 2006.

Hirani, who co-wrote the screenplay, however, refuses to blame his protagonist. As he tells us in his movie — and as Sanjay (played by Ranbir Kapoor) narrates to his wide-eyed, besotted biographer, Winnie Diaz (played by Anushka Sharma in a hideous wig) — Sanjay was supposedly a victim of circumstance. It is only his wife, Manyata Dutt (Dia Mirza), who injects a bit of balance into the story by saying that her husband had made “bad choices.”

The film leads viewers through a winding checklist of why the wayward actor cannot possibly take responsibility for his actions, including his mother Nargis’ (Manisha Koirala) cancer and his girlfriend Ruby’s (Sonam Kapoor) decision to walk away from the relationship. Drug peddlers and communal violence are blamed for the actor’s decline into increasingly questionable behavior, with little responsibility laid at his feet. It’s hard to swallow and bitter at best in a country where Bollywood actors are sometimes perceived to have been unfairly absolved of their crimes.

In the end, the press is blamed for Sanjay’s travails: It convicted him even before the judicial process could be completed. While he is now free, having spent 23 years in and out of jail, Hirani’s hagiographic admiration leaves the viewer with no real answer as to why the actor associated with unsavory characters in the first place.

With its largely disappointing cast — barring Ranbir, who melts seamlessly into character, and Vicky Kaushal as Sanju’s friend, Kamli, who brings radiant humor to the film — this puppy-eyed look at a Bollywood legend falls disappointingly short of the mark.


Sale of Saudi artist Safeya Binzagr’s work sets record at Sotheby’s auction in Riyadh

Updated 01 February 2026
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Sale of Saudi artist Safeya Binzagr’s work sets record at Sotheby’s auction in Riyadh

RIYADH: A painting by Saudi artist Safeya Binzagr sold for $2.1 million at Sotheby’s “Origins II” auction in Riyadh on Saturday, emerging as the top lot of the evening and setting a new auction record for a Saudi artist.

The work, “Coffee Shop in Madina Road” (1968), sold for $1.65 million before the buyer’s premium, the additional fee paid by the purchaser to the auction house on top of the hammer price.

The result nearly doubled the previous auction record for a Saudi artist and became the most valuable artwork ever sold at auction in the Kingdom. It also ranks as the third-highest price achieved for an Arab artist at auction.

It was presented as part of “Origins II,” Sotheby’s second auction staged in Saudi Arabia, comprising 62 modern and contemporary lots and bringing together Saudi artists alongside regional and international names.

Collectors from more than 40 countries participated in the auction, with around one-third of the lots sold to buyers within Saudi Arabia.

The sale totaled $19.6 million, exceeding its pre-sale estimate and bringing the combined value of works offered across “Origins” and “Origins II” to over $32 million.

Saudi artists were central to the evening’s results. All nine Saudi works offered found buyers, achieving a combined total of $4.3 million, well above pre‑sale expectations.

Ashkan Baghestani, Sotheby’s head of contemporary art for the Middle East, told Arab News at the auction that “Safeya made more than any other artist tonight, which is incredible.”

He said the results demonstrated Sotheby’s broader objective in the Kingdom.

“The results tonight show exactly what we’re trying to do here. Bring international collectors to Saudi Arabia and give them exposure to Saudi artists, especially the pioneers.”

All nine works by Saudi artists offered in the sale found buyers, generating a combined $4.3 million. Additional auction records were set for Egyptian artist Ahmed Morsi and Sudanese artist Abdel Badie Abdel Hay.

An untitled work from 1989 by Mohammed Al-Saleem sold for a triple estimate of $756,000, while a second work by the artist, “Flow” from 1987, achieved $630,000.

The sale opened with the auction debut of Mohamed Siam, whose “Untitled (Camel Race)” sold for $94,500. Also making his first auction appearance, Dia Aziz Dia’s prize-winning “La Palma (The Palma)” achieved $226,800.

The sale coincided with the opening week of the Contemporary Art Biennale in Riyadh, reinforcing the city’s growing role as a focal point for both cultural institutions and the art market.

Baghestani added that Saudi modern artists are now receiving long‑overdue recognition in the market.

“There’s so much interest and so much demand, and the price is where it should be,” he said.

International highlights included works by Pablo Picasso, Roy Lichtenstein, Andy Warhol and Anish Kapoor, underscoring Saudi Arabia’s growing role as a destination for major global art events and collectors.

Picasso’s “Paysage,” painted during the final decade of the artist’s life, sold for $1,600,000, becoming the second most valuable artwork sold at auction in Saudi Arabia.

Seven works by Lichtenstein from the personal collection of the artist and his wife, including collages, prints, works on paper and sculptures, all found buyers. Warhol was represented in the sale with two works: “Disquieting Muses (After de Chirico),” which sold for $1,033,200, and a complete set of four screenprints of “Muhammad Ali,” which achieved $352,000.

Baghestani said the strength of the results was closely tied to the material’s freshness. “These were not works from the trade. Some of them had not been seen since the 1970s,” he said.