Satish Shah, Memories

St. Xavier’s College, Mumbai, has a reputation for holding among the best annual cultural fests from the city’s 100+ colleges. It is called Mahar, so named because it takes place during the monsoon. Malhar started in 1979, and, to the best of my knowledge, continues. The college was also associated with a group simply called Theatre Group, founded in 1941, by Sultan ‘Bobby’ Padamsee and his brother, Alyque Padamsee. Personalities like Satyadev Dubey and Ameen Sayani honed their skills acting in plays performed by Theatre group, in the 1940s and 1950s. Bobby passed away early, but Alyque carried on doing theatre, in spite of being one of the topmost and busiest advertising executives in the country. Satyadev Dubey branched out to stage plays in Hindi, while Ameen Sayani became the crowned king of commercial broadcasting. During the 1960s and 1970s, Xavier’s had on its roll call names like Shabana Azmi, Farooq Shaikh, Pankaj Udhas, Sharda (later Kavitha) Krishnamurthy, Anuradha Paudwal, and, among others, Satish Shah.

As an alumnus of the college, Ameen Sayani, my Guru and Mentor, was often requested to compère cultural events of the college. I started compèring in 1969, at age 17, while still a student of National College, considered distinctly down-market. Xavier’s and National were words you would not normally use in the same sentence. When AmeenSaahab took me under his wings, he often took me along to co-compère several shows, the best hands-on experience one could hope to get to learn this fine art. One such show was at St. Xavier’s college, circa 1971. A student from National, compèring a show at Xavier’s? Most students would believe that this a big mistake.

We, AmeenSaahab and I, arrived early, as is the brief of any compère, to prepare for the assignment: making notes about the items to be performed, the students who would be performing, approximately how long would each performance last, who would give the introduction, who would deliver the vote of thanks, who would hand over prizes and certificates, would there be a break or not, if so, then for how long, where would the microphones be placed (pre cordless era), test those mikes, and much more. While doing all this, I met Satish Shah, who, if I recall correctly, was a core member of the organising committee.

He was rotund even then, though he put on more weight and gained more volume in the years to come. He was also jolly and ebullient. As I took notes from him, I remarked, “Satish, I can see an actor in you. A very good comedian. Do you intend pursuing an acting career after finishing your graduation?” He grinned, “Haven’t thought about it at all.” I probed, “From your surname, I presume you are a Gujarati.” “Yes. But I am a Kutchhi Gujarati, originally from Mandvi, but grew up in Indore, so I speak fluent Hindi as well.” My next question was, “Do you have any connection with films? Anybody in your family…”. “Well, not blood relations, but the late Yakub was married to my aunt.” Yakub was a character artiste and comedian par excellence, in the 40s and 50s. “I see. But take it from me, you will end up acting in films.” Satish laughed, in good humour.

Choosing the Film and Television and Institute of India as his route, Satish Shah returned to Mumbai in 1976, to try his luck in films. And started bagging roles almost immediately. His first few films were Arvind Desai Ki Ajeeb Dastaan, Gaman, Umrao Jaan, Albert Pinto Ko Gussa, Kyon Ata Hai      and Shakti. Then, in 1983, he played the Munici

Tu Meri Poori Kahani, Overview: Future to the Back

Presenter and co-writer Mahesh Bhatt, director Suhrita Das and music director Anu Malik make an attempt to espouse the cause of films of yore, that had songs, most of them playback in lip sync, and many of them owed their success to these songs. This pattern of film-making, in vogue from 1935, got phased out in the late 90s, with the death of gramophone records, cassette tapes and VHS videotapes, and the emergence of music videos, telecast from TV channels. It stuttered along, till the late 90s, thanks to the arrival of CDs. YouTube and pen-drives then sealed its fate. Music could not be sold physically any more, and ringtones, downloads, versions, royalty from performances, and other use of copyright catalogue material, became the only sources of revenue for music marketing companies. Music producing and marketing company Saregama’s Caarvan, a portable product, which looks like a radio or a two-in-one (radio-cum-cassette recorder), containing mainly songs that made it to the popularity charts, in Ameen Sayani’s Binaca/Cibaca Geetmala weekly radio programme, that lasted for about 42 years, is, perhaps, the only survivor of this changeover, in this century. The makers of Tu Meri Poori Kahani doff their hats to an era gone by, by making a film full of songs, many of them in lip sync, and hope that audiences will get all nostalgic and sentimental, like the makers and their product. It is a laudable ideal, but suffers from amateurish execution.

If you have seen A Star Is Born (1937) and its umpteen remakes, both in Hollywood and India, you have already seen Tu Meri Poori Kahani. If you have seen any rich girl meets poor boy, in a doomed love story, you have already seen Tu Meri Poori Kahani. If you have seen love partners, with creative talent, falling apart, due to one of them getting ambitious and hankering after success, you have already seen Tu Meri Poori Kahani. Of course, there are differences, in this 2025 outing, some subtle, some strong. But, in the end, it remains a dated, outdated, done to death, premise, that lends itself to repeated tear-jerking, sympathy-seeking situations. Hit lip-sync songs, did not emerge only from soggy handkerchief tropes, but from all genres, including gripping murder mysteries and hilarious comedy. Well, M/s Bhatt and Das had to choose some genre, to showcase their music, so why blame them for picking an evergreen love story, with a dozen highs and a dozen lows? Okay, I don’t blame them for this choice. Bhatt could argue that if he could make a successful Arth, in 1982, he could make a meaningful tribute to it as well, 43 years later.

Tu Meri Poori Kahani suffers from poor writing and stock characters. There is some novelty in the fact that the film depicts the relationship between a man and a woman pursuing careers different from each other. But, in order to create some common ground, the professions are complementary. He is a budding song-writer, composer and singer, while she is bent on making a career out of acting. Her father has fallen on bad times, while her mother could not rise above the level of a back-ground dancer. What is more, her father has not yet completed the formalities of a formal marriage. On the acting front, she faces rejections, many of them related to her parents’ backgrounds. So, she takes to alcohol, to drown her sorrows. His father is a musician, but suffers from dementia. While she is buying her poison, she sees him being roughed-up by another man. It turns out that the demented gent had stolen a flute from a musical instruments shop, and the man giving him a piece of his mind was the owner of the shop.

To help her achieve her ambition, sublime lover makes a music video, capturing her in the most strikingly be

 

 Director Gabriele Fabbro

Named by MovieMaker Magazine as one of the top 2022's screenwriters to watch, Gabriele Fabbro was born in 1996, in Milan, Italy. He's a film director with a BFA degree in Filmmaking from the New York Film Academy. Since 2011, he wrote, directed and produced over 30 productions including features, short films, music videos and commercials. Among his most recent works, he directed the music video "If You Run (2020)" for Josh Homme (Queens of the Stone Age). His latest short film "8 (2019)" screened at the 76 Venice Film Festival and his first feature film "The Grand Bolero (2021)", premiered at the 2021 Austin Film Festival, was one 2022's most awarded features from Italy and was in competition for the David di Donatello Awards, Italy's equivalent to the Oscars. Gabriele’s latest work, “Trifole” (2024) premiered at the Palm Springs International Film Festival and is currently touring festivals around the globe.

 

In an interview with Director Gabriele Fabbro about his recent film, here is what he had to say:

Can you speak about where you are from, your background and how you got into film?

FABBRO: I was born in Milan, Italy, and grew up in the countryside surrounding the city. I've been drawn to film since childhood. As a kid, I used to sketch my favorite scenes from Disney’s '90s classics. I started shooting and editing videos in middle school and began seriously studying filmmaking. After high school, I moved to Los Angeles to attend the New York Film Academy, where I had the opportunity to refine my craft and begin working for the film industry, first as an editor then more and more as a director.

 

How difficult is it to make an independent film in Italy?

FABBRO: Compared to the US, I'd say it's much easier in terms of production but far more difficult in terms of promotion. In Italy, making a film is still seen as a significant cultural and artistic event, so people are generally more enthusiastic about helping with production. The country offers incredible locations and skilled crew members. Aside from national film funds, almost every region has its own film commission with separate funding systems, meaning there are more opportunities to secure a larger budget if you choose to shoot in Italy. The country produces around 300 films per year, all with decent budgets.

FABBRO CONT’D: However, the real challenge lies in promotion. The industry in Italy is quite insular, operating in a way that often feels like an exclusive club. Audiences, distributors, festivals, and critics tend to highlight filmmakers who are already famous or connected within the industry. The US, thankfully, is the opposite. I experienced this firsthand with my latest film, “Trifole” (2024). Despite having three of the most famous Italian actors in the cast, our production—being relatively new and not deeply established in the industry—was largely ignored by major festivals in Italy. Fortunately, we secured a nationwide theatrical distribution deal with Officine UBU, which properly promoted the film. However, it still feels as if Italy’s film industry prioritizes already-established names rather than discovering new talent.

FABBRO CONT’D: On the other hand, the U.S. remains a great place for promotion. While it has its own challenges, the industry actively finds space for emerging filmmakers and builds a star system around them. For example, in the US, where our ca

Trailblazing director, dancer, actor and producer Debbie Allen headed to Martha’s Vineyard for the first time in her life for the 23rd annual Martha’s Vineyard African American Film Festival (MVAAFF), where the “Fame” legend was feted for her visionary work during a special nostalgic tribute to “A Different World.” She also hosted World of Hyatt’s […]

by Quendrith Johnson, Los Angeles Correspondent

Remember when JAWS, which celebrates its 50th anniversary this summer, hit screens and changed the way everyone looked at the beach? A few years earlier in 1971, a film by Bruce "Endless Summer" Brown came out that changed the way everyone looked at the dirt. Starring motorcycle buff Steve McQueen, Brown’s On Any Sunday uncorked a two-wheeled frenzy that paved the way for ruts and tracks all over Southern California and beyond.

Now Paul Taublieb’s Pay Dirt: The Story of Supercross in collaboration with sponsor Monster Energy, hopes to make another dent in the pop culture psyche with No Country For Old Men’s Josh Brolin narrating all the action from those zany early days through the current sleek mash-up of Motocross and Supercross.

Pay Dirt opens with a very gritty prison phone call to a convicted double-murderer, also known as The Father of Supercross, Mike Goodwin. He lays down the deal on Motocross (outside riding) to the concept of trucking actual loose dirt indoors to make a new sport under the lights known as Supercross. Needless to say, Goodwin maintains his innocence in the hired-hitman killing of his then-business partner Mickey Thompson, plus his wife Trudy Thompson.

“We knew we had a monster” in making the new sport, Goodwin says. That’s just the revving engine start of Taublieb’s sprawling epic documentary that includes every touch point of the range-y outdoor origins of Motocross to the wild-indoor version of the sport. Pay Dirt, intoned by motorhead Josh Brolin, throws in everything from historic references to motorcycle mail carriers in an Ernest Hemingway novel, to all the dirt Superstars on two-wheels, past and present. There’s Bob “Hurricane” Hannah vs arch rival Jeff Emig, star-crossed Ricky Johnson, then-breakout youngster Marty Tripes, living miracle ex-rider Jimmy Button, to classic hero Jeremy McGrath. Button’s insane comeback helped launch the Road 2 Recovery Foundation (see link below).

You’ll find out who was crowned King of Supercross, why Ricky Carmichael was so damn good on bike, how 18 tractor trailers full of dirt fill a stadium and cover the precious grass below.

There’s the Loretta Lynn Ranch child-league riders, Privateers, and Factory Riders. There’s even Monster marketing genius Mark Hall, a lucky motorcycle crash survivor, along with his Monster boss, Chairman Rodney Sacks, second only to Elon Musk in famous exports from South Africa. Both Hall and Sacks have producer credits.

Five-hundred truckloads of history later, Brian Deegan’s genes will ride into the future where Monster Energy will team with a former Ringling Bros executive, now of Feld Motor Sports, to change the thrill-rider game under the bright lights once again. Enter the Monster Energy AMA Supercross Championships.

From Monkey Wrench Films, Pay Dirt: The Story of Supercross is a look-back through time nostalgic joyride. Catch it on worldwide TVOD/Digital release this week, when “Pay Dirt: The Story of Supercross” should be available on platforms everywhere July 18, 2025.

Pay Dirt will roll out in Theaters throughout the year, from a January early soft launch.

 

 

Check Read more

In the 1970s, the Cannes Film Festival was an intimate spectacle of elegance wrapped in a veil of French restraint. The atmosphere carried echoes of post-war glamour—stylized, but not yet commercialized. Red carpets stretched underfoot, hemmed in by polished brass stanchions and thick velvet ropes. Surrounding the venues, heavy brocade drapes, dimly lit sconces, and gold-accented crown moldings framed the space in a kind of nostalgic opulence.

Furniture choices reflected the cinematic elitism of the era. Inside private lounges, the aesthetic leaned heavily on classic French salon culture. Tufted velvet sofas in deep burgundy or navy anchored the rooms. Louis XV–style chairs with curved legs and floral upholstery formed small conversation clusters. Gilt-framed coffee tables held crystal ashtrays and champagne coupes. These weren’t spaces for quick interactions—they were designed for dramatic, theatrical lingering.

Furniture served as more than mere decoration. It sent signals. The seating had weight—both literally and metaphorically. These chairs weren’t made to be rearranged on a whim. They rooted people to a position of stillness and prestige. Designers and festival organizers were not concerned with mobility or practicality. What mattered was image.

Iconic photographs of the time show stars like Catherine Deneuve perched elegantly on ornate armchairs, surrounded by a décor that resembled the backdrop of a European palace more than a press area. These were moments carefully staged by their surroundings, with furniture playing a silent but vital role in the composition.

Cannes, during this decade, was still largely a French affair. International studios were present but hadn’t yet asserted control over the visual language of the festival. As a result, the aesthetic was less about global luxury and more about French cultural dominance. It was cinematic aristocracy in plush form.

Even in public-facing areas, the furniture maintained a formal tone. Outdoor seating, for example, consisted of wrought iron café sets with stiff cushions. They weren’t designed for comfort. They were props for an ongoing visual narrative of exclusivity. This was an era where a chair wasn't just a chair—it was a throne for temporary royalty.

Chrome Dreams – The 1980s Arrival of Flash and Excess 

By the 1980s, the Cannes Film Festival began to shimmer with the influence of global wealth and international branding. The arrival of American studios, corporate sponsors, and a growing obsession with celebrity changed the tone—and the furniture followed suit. Heavy baroque décor gave way to shinier, louder, and more photogenic materials.

Lucite chairs, chrome-framed lounge sets, and mirrored coffee tables became the norm in VIP areas. The once-muted palette of creams and reds exploded into high-contrast environments featuring metallic finishes, jet-black leather, and mirrored surfaces. The function of furniture started shifting toward spectacle.

Cocktail tables began carrying more than drinks. Many were branded—logo placements etched into glass or printed onto runners. Sponsored lounges introduced furniture designed to echo luxury but made for temporary installation. Faux-marble side tables, acrylic stools, and neon signage created a nightclub-like atmosphere within the Mediterranean sun.

Seating began to reflect hierarchy more visibly. VIP zones were not just roped off—they were furnished differently. Plush armchairs with angled backdrops created photo zones where celebrities would be encouraged (or required) to

Be ready! Mattel will blow your mind and your senses, again, with their new line of collectibles to be exclusively sold at Comic Con on July 24th (https://creations.mattel.com/pages/san-diego-comic-con-2025 ).

Make sure to visit Mattel’s booth #3029 for some guaranteed fun and a chance at buying super exclusive items. As always, Mattel positions itself as the leader of toys for both boys and girls…as well as for more “mature” customers like me who have the nostalgic feeling of a time when I was playing non-stop with my Mattel action figurines in France called:  the ‘Big Jim’ line of action men. I played for hours with my friends when I was 12 or 13, and now my kids are doing the same!

First, let’s mention that Mattel is launching an all-female lineup for the first time at San Diego Comic-Con 2025. “This lineup of collectibles salutes the fearless, fashion-forward and cherished female characters that continue to break boundaries,” said Nick Karamanos, senior vice president, Mattel Creations & Entertainment Partnerships at Mattel. Two Monster High dolls have been selected: the iconic Elvira. Everyone my age knows The Mistress of the Dark so well. And a new generation of kids will discover her with this impressive, spooky, goth creation. Note that Elvira will be exclusively sold at Comic Con, worth the line! And, for sure, this doll will inspire many girls for their next Halloween costume. Another classic doll to get Comic Con will be the “eerie-sistible” Twyla doll. She comes with “killer” high heels and with ‘Dustin’, her loyal bunny, and a limited-edition comic book. Finally, fasten your seatbelt, as the mayor of New Donk City, ‘Pauline’, is “turbo-ing” her exclusive debut for Comic Con as the new, must-buy, Hot Wheels Mario Kart toys. This is also a perfect collectible for boys who want to complete their collection of previous rare acquisitions from past San Diego Comic Conventions, such as Princess Peach, which my sons lined up for last year. Talking of my sons, like the proud dad I am, they are going to go nuts for the macho WWE Ultimate Edition John Cena figure.  This is a multi-articulated figure celebrating the record-setting 17 World Heavyweight Championship reigns of Mr. Cena. It is certain that “The Champ is here!”. As a follow-up to this rumbling figure, you will also have to line up and get the very exclusives: ‘Little People collector Deadpool” and ‘Masters of the Universe turtles of Grayskull Skele-shredder’. Both sets will blow your mind with so many action-packed surprises and punchy approaches. I loved the country theme of the Deadpool set with its taco-fueled farm universe. And what is not to adore with the Skele-Shredder figure coming with interchangeable heads and bad ass weapons. Are you ready for the fun toy fight, or what? Nick Karamanos, SVP of Mattel Creations & Entertainment Partnerships puts it with the right words: “From the chaos of Deadpool to the epic crossover of Skele-Shredder to the infamous Jurassic World T. rex and the undeniable legacy of John Cena, each collectible is designed to deliver that main character moment — and bring a little extra thrill to fans’ shelves.”

Last but not least: a Celebration of classic Hollywood movies. Every year, Mattel honors films that have become part of our eternal landfill culture. It was not a surprise that they put together a ‘Jurassic World T-Rex convention crasher’ set. To celebrate this year’s San Diego Comic-Con, Mattel imagined turning the Buck T. rex loose on the convention center where the annual event is held. This set is packed in a dior

Be ready! Mattel will blow your mind and your senses, again, with their new line of collectibles to be exclusively sold at Comic Con on July 24th (https://creations.mattel.com/pages/san-diego-comic-con-2025 ).

Make sure to visit Mattel’s booth #3029 for some guaranteed fun and a chance at buying super exclusive items. As always, Mattel positions itself as the leader of toys for both boys and girls…as well as for more “mature” customers like me who have the nostalgic feeling of a time when I was playing non-stop with my Mattel action figurines in France called:  the ‘Big Jim’ line of action men. I played for hours with my friends when I was 12 or 13, and now my kids are doing the same!

First, let’s mention that Mattel is launching an all-female lineup for the first time at San Diego Comic-Con 2025. “This lineup of collectibles salutes the fearless, fashion-forward and cherished female characters that continue to break boundaries,” said Nick Karamanos, senior vice president, Mattel Creations & Entertainment Partnerships at Mattel. Two Monster High dolls have been selected: the iconic Elvira. Everyone my age knows The Mistress of the Dark so well. And a new generation of kids will discover her with this impressive, spooky, goth creation. Note that Elvira will be exclusively sold at Comic Con, worth the line! And, for sure, this doll will inspire many girls for their next Halloween costume. Another classic doll to get Comic Con will be the “eerie-sistible” Twyla doll. She comes with “killer” high heels and with ‘Dustin’, her loyal bunny, and a limited-edition comic book. Finally, fasten your seatbelt, as the mayor of New Donk City, ‘Pauline’, is “turbo-ing” her exclusive debut for Comic Con as the new, must-buy, Hot Wheels Mario Kart toys. This is also a perfect collectible for boys who want to complete their collection of previous rare acquisitions from past San Diego Comic Conventions, such as Princess Peach, which my sons lined up for last year. Talking of my sons, like the proud dad I am, they are going to go nuts for the macho WWE Ultimate Edition John Cena figure.  This is a multi-articulated figure celebrating the record-setting 17 World Heavyweight Championship reigns of Mr. Cena. It is certain that “The Champ is here!”. As a follow-up to this rumbling figure, you will also have to line up and get the very exclusives: ‘Little People collector Deadpool” and ‘Masters of the Universe turtles of Grayskull Skele-shredder’. Both sets will blow your mind with so many action-packed surprises and punchy approaches. I loved the country theme of the Deadpool set with its taco-fueled farm universe. And what is not to adore with the Skele-Shredder figure coming with interchangeable heads and bad ass weapons. Are you ready for the fun toy fight, or what? Nick Karamanos, SVP of Mattel Creations & Entertainment Partnerships puts it with the right words: “From the chaos of Deadpool to the epic crossover of Skele-Shredder to the infamous Jurassic World T. rex and the undeniable legacy of John Cena, each collectible is designed to deliver that main character moment — and bring a little extra thrill to fans’ shelves.”

Last but not least: a Celebration of classic Hollywood movies. Every year, Mattel honors films that have become part of our eternal landfill culture. It was not a surprise that they put together a ‘Jurassic World T-Rex convention crasher’ set. To celebrate this year’s San Diego Comic-Con, Mattel imagined turning the Buck T. rex loose on the convention center where the annual event is held. This set is packed in a dior

 

 
The Waco Independent Film Festival will take place In-Theater - July 17-20/Online Encore July 20-26

 
Julia Barnett’s family favorite A Christmas in New Hope
is the Opening Night U.S. Premiere presentation 
and Chris Beier’s award-winning drama
The Ego Death of Queen Cecilia is set for the Closing Night

 

  
A Christmas in New Hope, The Ego Death of Queen Cecilia

 
Waco, TX (June 14, 2025) – The Waco Independent Film Festival announced the film lineup and events schedule for next month’s edition of the popular film festival, which recently was named as one of MovieMaker Magazine’s “50 Film Festivals Worth the Entry Fee”. WIFF’s in-theater screenings will take place July 17-20, followed by an online encore July 20-26. The mark-your-calendar film event will lead off with an Opening Night presentation of Julia Barnett’s A Christmas in New Hope. Chris Beier’s The Ego Death of Queen Cecilia will be the Closing Night selection.
 
Waco Independent Film Festival’s footprint has expanded yet again, with screenings and events taking place at the historic Hippodrome, Texas Music Café, Falcon & Owl, Start Up Waco, and the Performing Arts Community Center. 
 
Waco Independent FF co-founders and directors Samuel Thomas and Louis Hunter, said, “While Waco Indie just got another stamp of approval from MovieMaker Magazine, the film festival has been building that reputation as a must-experience stop on the tour for indie filmmakers, and a popular ‘save the date’ destination for film fans for close to a decade now. But this year, as with every year, it all comes back to three key words: Waco, Independent, and Film. We may add locations, we may add more films, and events – and we always will because we keep seeing new ways to innovate, streamline, and assist our filmmakers with their development as artists. Ultimately though, and this year’s lineup demonstrates that: we never stop building and encouraging the Waco Indie family.”
 
Waco Indie’s Red Carpet entrances and Opening Night party, which has grown into one of Waco’s major social events, will take place at the Palladium (729 Austin Avenue), putting the film fans in the celebratory mood to literally enjoy Christmas in July with a special Opening Night presentation of Julia Barnett’s A Christmas in New Hope. The film stars Katrina Bowden as an influencer and mother of a child living with Down syndrome, who tries to save her bungalow from foreclosure before Christmas by entering a home-improvement competition in New Hope, Texas.Naturally, complications arise when her ex returns home after touring Europe with his new album. Meanwhile, she has fallen in love with her next-door neighbor, a Texas musician who has bonded with her daughter Charlie.
 
The official Closing Night selection will take place on Friday at the Texas Music Café featuring Chris Beier’s tense drama, The Ego Death of Queen Cecilia. Filmed in Austin, and an award-winner at Dances With Films: NY, the film focuses on a desperate on-the-edge former YouTube star who attempts to blackmail an old high school acquaintance in an attempt to make enough money to get her back on top again in the fame game. But she soon finds that she is in way over her head, at the mercy