Movies
PVR INOX reintroduces ‘The Nostalgic Show’ to celebrate iconic movies on the big screen
Mumbai: India’s largest multiplex chain, PVR INOX has announced the reintroduction of ‘The Nostalgic Show,’ an initiative to appreciate and celebrate the cinematic heritage and legacy of the past. This offering provides the perfect dose of classic entertainment, allowing viewers to relive the nostalgia of classic cinema and appreciate the artistry of older movies on a giant screen, that too, at an extremely attractive ticket price of Rs 150 only. This initiative is an opportunity to experience the magic of movies from the past in a cinematic environment in the company of like-minded cinephiles, with modern-day sound and visual technology, and is a great way to revisit or discover classic films that have stood the test of time.
PVR INOX will commence this celebration of classic movies by screening the cult movie, Amar Akbar Anthony across more than 100 PVR and INOX multiplexes in 50 cities, including Gurgaon, Amritsar, Chandigarh, Delhi, Mumbai, Lucknow, Kochi, Trivandrum, Bhubaneshwar, Kolkata, Goa, and Pune on 29 and 30 April.
Commenting on the re-launch of ‘The Nostalgic Show,’ PVR INOX Ltd c0-CEO Gautam Dutta said, “We believe that classic cinema possesses a timeless quality that transcends language and culture, and we take immense pride in sharing this cinematic treasure with movie-buffs. With the overwhelming response to our first installment, we are delighted to reintroduce ‘The Nostalgic Show.’ Our aim is to bring back the magic of classic movies that have played a crucial role in shaping Indian and global cinema. This initiative is also for those who missed the chance to watch these cinematic treasures on the big screen. We have always innovated with our content offerings, and the Nostalgic Show is a part of that endeavor. We are excited to welcome movie lovers to relive the classic cinema experience at our PVR and INOX multiplexes. We hope to see a role reversal this time, with parents bringing their kids to the movies and making them enjoy the cult content.”
For more information on ‘The Nostalgic Show,’ including show timings and ticket bookings, please visit PVR and INOX websites.
Hollywood
Did the ballet and opera controversy cost Timothée Chalamet his Oscar? Â
The actor’s ‘dying art forms’ comments may have danced away his Oscar chances.
LOS ANGELES: Last night, the 98th Academy Awards delivered a performance that wasn’t in the script, as Michael B. Jordan clinched the Best Actor statue, leaving Timothée Chalamet’s widely predicted win to pirouette away into the night. While Chalamet was long considered the frontrunner for his starring turn in Marty Supreme, many are whispering that a singular, ill-timed performance, not on screen but on the campaign trail, may have rewritten the finale.
For months, the narrative surrounding the race had a singular star, Chalamet, the critics’ darling and the bookies’ bet. However, the closing numbers saw a dramatic plot twist. Chalamet found himself upstaged not just by his fellow nominees but by the ghost of public opinion, following remarks he made during a Variety and CNN actor-on-actor conversation in February.
What started as a breezy discussion turned distinctly frosty when Chalamet, the conversation’s designated trendsetter, took aim at some classical institutions. “I don’t want to be working in ballet or opera, where no one is interested anymore,” he said, before branding them “dying art forms.”
The backlash was swift and, unfortunately for Chalamet’s campaign, star-studded. For the film industry, an establishment that often fancies itself as the glamorous custodian of the high arts, the actor’s comments didn’t just strike a bum note. They sounded like a discordant symphony. Academy heavyweights, including Jamie Lee Curtis, Whoopi Goldberg and Steven Spielberg, publicly voiced their disapproval. Spielberg himself countered that the “cinematic experience” and classical performance are bound by a similar dedication to audience engagement, effectively suggesting that Chalamet’s view was perhaps a bit too modern for its own good.
The conversation quickly became a media maelstrom. In a masterstroke of high-culture clapback, renowned ballerina Misty Copeland didn’t just issue a statement. The Academy even choreographed a surprise performance by her for the ceremony itself, a powerful, wordless rebuttal that many saw as a direct riposte to Chalamet’s dismissive claims. Even regional arts institutions joined the choreography. The Seattle Opera offered a cheeky “TIMOTHEE” discount, granting a 14 percent markdown to prove that people do, in fact, care.
Did this cultural counterpoint truly cost Chalamet his win? While some industry insiders argue that Michael B. Jordan’s complex dual performance in Sinners, a performance that also swept the SAG Awards, had simply built up too much momentum, the timing of Chalamet’s comments was undeniably poor. Coming as final Oscar voting began, they arguably soured his narrative and made a vote for him feel, to some, like a vote against artistic unity.
Even the ceremony itself wasn’t finished with the narrative. Host Conan O’Brien, whose sharp tongue is a celebrated feature of these galas, didn’t miss a beat. “Security is extremely tight tonight,” O’Brien jibed during his opening monologue, glancing toward the front row. “I’m told there are concerns about attacks from both the opera and ballet communities. They’re just mad you left out jazz!”
The laughter that followed was pointed, a final public curtain call for a controversy that Chalamet likely wished had closed weeks ago. Whether it was a case of genuine peer disapproval, a sudden surge in support for Jordan’s powerhouse performance, or simply a case of poor footwork on the campaign stage, the ballet and opera debacle has now cemented its place in Oscar history. Chalamet’s experience serves as a clear memo to future contenders. Even when you are the headline act, a solo performance can still fall flat if you forget to play to the entire house.
