MUMBAI: Bollywood megastar Aamir Khan announced on Thursday that he is to star in an official Hindi-language remake of hit American movie “Forrest Gump.”
Khan will play the role of Laal Singh Chaddha, based on Tom Hanks’s character in the 1994 multiple-award-winning US classic.
“I have always loved ‘Forrest Gump’ as a script. It is a life-affirming story. It is a feel-good film. It is a film for the whole family,” Khan told reporters in Mumbai on his 54th birthday.
“Forrest Gump” won six Oscars, including best picture, best director and best actor for Hanks.
The film was directed by Robert Zemeckis and was based on Winston Groom’s 1986 novel of the same name.
It centers on the life of a dim-witted but kind man whose life mirrors key events in America in the 20th century.
Khan, who last appeared in box office flop “Thugs of Hindostan,” said he would lose 20 kilograms (45 pounds) for the role.
“I have to be lean and slim,” he explained, adding that shooting would start in October.
Hollywood blockbusters have long inspired the Mumbai-based Hindi film industry.
Action-thriller “Kaante” (2002) was influenced by Quentin Tarantino’s “Reservoir Dogs” while “Sarkar” (2005) was likened to “The Godfather” and “Chachi 420” was similar to “Mrs Doubtfire,” although they weren’t official remakes.
Khan’s adaptation of “Forrest Gump” is expected to hit screens next year. Khan said the rights to the movie were bought from Paramount.
An official remake of 2014 Hollywood film “The Fault in Our Stars” is also in the works.
Aamir Khan to star in Bollywood ‘Forrest Gump’ remake
Aamir Khan to star in Bollywood ‘Forrest Gump’ remake
- Aamir Khan will play the role of Laal Singh Chaddha, based on Tom Hanks’s character in the 1994 multiple-award-winning US classic
- Aamir Khan’s adaptation of ‘Forrest Gump’ is expected to hit screens next year
Saudi artist brings ‘special charm’ of Japanese art to life
- Maryam Al-Suwaidan paints Japanese-style whimsical characters that evoke feelings of nostalgia
- Love for Japanese art began in childhood when she copied drawings from the covers of videos and comic books
RIYADH: A Saudi artist whose fascination with Japanese animation began in childhood is breaking new ground in the Kingdom’s burgeoning art scene.
Maryam Al-Suwaidan paints Japanese-style whimsical characters that evoke feelings of nostalgia.
Her love for Japanese art began in childhood when she copied drawings from the covers of videos and comic books featuring her favorite characters.
“These works had a special charm for me and opened the doors of imagination, which motivated me to continue drawing,” she said.
Al-Suwaidan’s method is derived from chibi art, a style of Japanese cartoon and anime illustration characterized by small, cute and exaggerated characters with oversized heads.
In high school, as Al-Suwaidan’s fondness for the art form grew, she decided to learn Japanese.
“I didn’t realize that most of these works came from Japan until almost high school. This pushed me to watch more of their works, and the Japanese language was completely new to me but comfortable to listen to and easy to learn,” she said.
“By learning the language, I can now access books by artists that are not translated, and discover their new tools and how to execute artistic works more deeply.”
Al-Suwaidan said: “I started learning art at a chalk drawing workshop with the artist Shoa’a Al-Dosary. I focus on illustration — depicting objects and characters with detailed backgrounds, and sometimes adding a hint of surrealism. My inspiration comes from animated films and visual stories that stimulate my creativity.”
The biggest attraction of Japanese art for Al-Suwaidan is that despite the distance and language difference of the medium compared with local art, there are similarities in culture, values and ethics.
The Saudi artist is inspired by iconic anime films such as “Spirited Away” and “Howl’s Moving Castle” by Japanese director Miyazaki Hayao of Studio Ghibli, a Japanese production house known for its attention to detail and unique storytelling.
Japanese animations such as the works of Miyazaki Hayao, Nakura Yasuhiro and others have “brilliantly depicted” the worlds and noble ideas of their creators, Al-Suwaidan said.
“This motivated me to learn the Japanese language to read their books and become familiar with more of their works and techniques.”
Al-Suwaidan found inspiration from the works of Saudi and Japanese animators that she watched as a child.
“One of the works that is still etched in my memory is the film ‘Jazeerat Al Noor’ (Island of Light) by the Saudi director Osama Khalifa. It tells the story of ‘Hay Bin Yaqthan’ by Ibn Tufail and how he came to know the presence of the Creator through contemplation and reflection on nature around him. This feeling accompanies me every time I contemplate the world and creatures to draw,” she said.
Al-Suwaidan added: “I aim for my drawings to evoke emotions and resonate with viewers. I choose color palettes and designs based on the subject matter, focusing on highlighting the main element of the drawing.
“Saudi culture and traditions influence my work, particularly in how I portray nature and surroundings. Feedback on my art has been positive, reminding viewers of their childhood memories and dreams.”
Al-Suwaidan views art as an “integral part of society” that reflects identity and conveys messages: “Through art, an artist can express their lifestyle and perspectives, connecting with others in the community.”
Review: No luck of the Irish for Lindsay Lohan’s new movie on Netflix
LONDON: We were told that Lindsay Lohan was decidedly “back” when she starred in “Falling for Christmas” at the end of 2022. That film was a run-of-the-mill festive movie which saw Lohan shrugging off her bad girl image for something a little more wholesome. Though the film was categorically average, it did seem that the Dubai-based actress was, at least a little bit, “back” after years out of the spotlight.
It’s a trend Lohan is seeking to continue with “Irish Wish,” a fantasy rom-com on Netflix which sees her star as Maddie, a book editor for handsome Irish author Paul Kennedy – who is also the subject of her unrequited love. When Paul (Alexander Vlahos) invites her to Ireland to celebrate his wedding, a heartbroken Maddie stumbles upon a magical stone chair (yes, really) presided over by a whimsical, mischievous Irish woman (yes, really) with the power to grant your heart’s desires. Maddie wishes she was the one marrying Paul and, lo and behold, she wakes up the next morning transformed into his bride-to-be. Which would be great if she hadn’t already had a contrived and clumsy meet-cute with handsome photographer James (Ed Speleers, slumming it here in sharp contrast to some of his excellent recent work). Having set up the requisite rom-com ingredients, director Janeen Damian then lets her leading lady at it — cue a series of bumbling set pieces, longing glances and awkward conversations which lead to a climactic showdown when Maddie must decide whether to stick with her new life or try to get back the one she wished away.
To be fair, there are few actors better than Lohan at pulling off this kind of by-the-numbers romantic fluff. But this is far from her best work and far from her best film — even by rom-com standards, “Irish Wish” is pretty dire. Every set piece feels dated and derivative, every exchange between the stars lacks any sense of natural conversation or connection.
Rom-coms often get a bit of a pass because they give audiences exactly what they expect. Sadly, in this case, what viewers should expect is some awkward faux-romance and precious little comedy.
British luxury department store Harrods teams up with Qatari artist for Ramadan artworks
DUBAI: Luxury British department store Harrods has collaborated with Qatari artist Mbarak Al-Thani on two sets of imagery to mark Ramadan and Eid Al-Fitr.
The artwork will be displayed at Harrod’s Knightsbridge location in London, on digital greetings sent out by Harrods, for social content, and across digital screens in the store’s famous food hall.
Part of the façade of the world-famous department store features mashrabiya-style patterns incorporated in 1929 by architect Louis D. Blanc —these motifs play on architectural elements from the Arab world and artist Al-Thani drew inspiration from the design.
“I loved the idea of allowing myself to get inspired by bespoke patterns that inspired Harrods a century ago, reimagining these patterns in a contemporary feel and aesthetic was fun,” he told Arab News.
“I was mostly intrigued by the Agra Fort pattern and the Kashan pattern. Since these patterns were all Islamic and Eastern, they were a good fit to inspire a Ramadan design,” Al-Thani said, referring to a geometric zig-zag of semi-precious stones used in India’s 16 Century Mughal Agra Fort and the diamond-shaped medallion typically found in Persian Kashan rugs.
“I kept mashing these up until we reached a point of agreement with Harrods on the design that should go forward,” the artist said.
As an artist, Al-Thani feels like he has a duty to bridge gaps between cultures.
“What we create is a visual dialogue, aesthetics and design ultimately coming together to celebrate the beauty of culture,” he explained. “So what better venue to do that than Harrods? I have so many memories of Harrods throughout my life. From buying toys as a kid to dining as an adult. To work with such an institution is close to my heart.”
The artist also touched on the importance of an iconic British institution such as Harrods celebrating the Islamic month of Ramadan.
“Ramadan is one of the important events in the Islamic calendar,” Al-Thani added. “Harrods is also a place that brings people from all over the world together. Having a retail store like Harrods celebrate us, our culture and our holy month all while attending to all sorts of details from packaging, to interior displays, to social media is greatly appreciated,” he said.
The present Harrods building, constructed in 1905, stands on Brompton Road, south of Hyde Park, in the borough of Kensington and Chelsea. Henry Charles Harrod founded Harrods as a grocery store in 1849 but the concept expanded in the late 1800s to include a number of departments — today, it is known for its luxury fashion outlets as well as its lively food hall and cosmetics counters.
Artists explore ‘Saudi Futurism’ at Diriyah Contemporary Art Biennale in Riyadh
RIYADH: Visitors to the Diriyah Contemporary Art Biennale in Riyadh can ponder the concept of “Saudi Futurism” when walking through the new, semi-interactive, maze-like installation by physician-turned-artist Ahmed Mater in collaboration with Berlin-based photographer Armin Linke. The two men travelled across Saudi Arabia to document historical, industrial and scientific sites and presented their findings — mostly in photo form — to the audience in a visual statement on issues relating to infrastructure, agriculture, local resources, urbanism and landscape management.
“I was interested, some 12 years ago, to photograph the changes that were happening in Jeddah and around Makkah and understood that, for me, it would be too complicated, so I thought maybe it's much more interesting to turn it into a collaboration, as an artistic practice,” Linke told Arab News.
Mater, well-known in the Kingdom and abroad, has been documenting the ever-changing landscape of Saudi Arabia and its people for years. This was a chance for Mater to capture the morphing spaces in the rapidly evolving country with a fellow photographer who was just as passionate about the craft, through a new set of eyes. The dynamic duo approached the project with a fresh perspective, transfixed on the future while keeping in mind that the series would be displayed in historic Diriyah, the birthplace of modern Saudi Arabia.
“We decided to do the installation together and to visit specific places together. We did some pictures together; I went alone to some places, also Ahmed (Mater). Then we put the pictures together, like two jazz musicians, we improvised. And it comes to the point that sometimes we don't even know which is my picture or his picture. We were in sync,” Linke said with a laugh.
Like jazz musicians, they used each other’s energy to build upon the visual worlds they decided to capture. Also, like fans of the musical genre, they trusted their audience to engage.
Some of the images were partially screen-printed on what appears to be reflective sheets, to playfully allow the viewer to be part of the art.
“We liked to play with this idea that when you look at the future, you also look at yourself — using silkscreen technology,” Linke added.
The artists depicted areas such as Riyadh, NEOM, Dhahran and Thuwal, among other locations.
The Diriyah Contemporary Art Biennale is being held in the city’s JAX district and runs until May 24.
Saudi artist Obaid Alsafi discusses his Ithra Art Prize-winning work
- ‘The artist’s job is to elicit amazement,’ says Obaid Alsafi
DUBAI: Saudi conceptual artist Obaid Alsafi was born in 1991 in Wadi Ad-Dawasir, which he describes as an intersection of the vast desert and green farms.
“There was a contradiction, and through that contradiction it was as if I was seeing day and night,” Alsafi, who is now based in Riyadh, tells Arab News. “I understand that this contradiction enriches a person: You can’t appreciate light without darkness, and vice versa.”
At the time Alsafi was growing up, Saudi universities did not offer art programs. So, he decided to study another field that he was interested in: Computer science. And that specialty also feeds into his practice today.
“I think artificial intelligence and technology are an extension of human beings,” says Alsafi. “It’s a natural thing. It shouldn’t incite fear or astonishment. What makes the difference is whether a person interacts with technology positively or negatively. I’m open to these ideas, and I don’t have any fear entering this world.”
Artists often have their parents to thank for nurturing their creative inclinations. But for Alsafi, even though his father was an art teacher, his artistic journey actually began with his grandmother. Alsafi calls her Al-Hanna (which, roughly translated, means ‘the affectionate one’). She came from “a bedouin environment, where there wasn’t great appreciation for art and beauty,” he says. She could not read or write but used images to express herself, and her unique character has left a mark on him.
“My grandfather was away on business in Kuwait a lot, so didn’t often come to the valley,” he says. “When he did come, she would paint their bedroom walls to celebrate his return; she expressed her happiness and love through painting.” Through his anecdotes, it is clear that Alsafi has a deep respect for his elders, tradition, and heritage — especially the palm tree.
“Imagine speaking with your grandfather and he tells you, ‘The palm tree is really precious.’ He nurtures it, from morning until night, taking care of it and eating its dates,” Alsafi says. “The palm tree is the origin of our wealth.”
The palm tree remains a vital part of Saudi culture. And it is the main inspiration behind Alsafi’s latest installation “Palms in Eternal Embrace,” which was unveiled during the recent AlUla Arts Festival. The proposal for this large-scale work won Alsafi the sixth edition of the $100,000 Ithra Art Prize.
According to the artist, the installation resembles a boat. It is made up of a complex network of 33 old palm tree trunks that are bound together using colorful ropes. The idea came to him during his residency in South Korea, where he isolated himself in a large studio, overlooking a park, for three months.
“I didn’t speak to anyone,” he recalls. “My only routine was contemplating and reading. The view from the studio reminded me of the Wadi and our farms. In this isolation, I even heard the sound of trees.” The view got him thinking: What if all of this greenery disappeared one day?
Alsafi believes that palm trees are under threat due to rising temperatures and other environmental concerns. His installation is an ode to the palm tree, punctuated with an element of urgency.
“Its hidden message is that I don’t want it to turn into a boat, with the trees moving away to another land because of climate change,” says Alsafi. “I want us to preserve our palm trees. . . As a symbol, the palm tree is important. We grew up with it. For me, the idea of the palm tree becoming extinct is a scary thought. I can’t stand it, because it gave us so much. It was the beginning for us.”
The installation began with a simple sketch, which was meant to resemble a neural network diagram. As the project got bigger, he assembled a team of 63 individuals to help him with documenting, 3D drawing, transporting and installing. Some of the used palm trees from his grandfather’s farm had blackened and were more than 100 years old. They were later medically treated.
“The idea was that, instead of throwing them out, I returned them to their natural location, to their safe place — a farm,” he says of setting up the installation in AlUla, known for its abundance of palm trees. “From the first day I saw AlUla, with its palm trees and oases, I felt like I was in a dream. I’m still amazed and I want that dream to repeat itself every day.”
The trunks’ interiors were carved out to make handling easier. “I used 33 palm trees and I know each and every one of their stories,” Alsafi says.
When the piece — which will be moved to the Ithra Museum in Dhahran — was officially unveiled to the public, several people decided to climb it. But Alsafi’s favorite reactions came from children during the instalment process. The kids were eager to learn more about his work.
“They asked me many questions, which really affected me. And they had nothing to do with art, but they were amazed by it,” says Alsafi.
“The artist’s job is to elicit amazement,” he continues. “It’s also our duty to raise people’s awareness about the importance of the environment and preserving it.”