#pankajtripathi

[amar-hiyar-majhe]

So its practically been a month that Pritam and his team are one by one releasing the album of Metro...In Dino

Basically, I am doomed, flabbergasted, amazed, awed, fantastified, and the other synonyms of surprised. How can a person produce such great songs and such a great movie sequal?! Anurag Basu?? Pritam Chawdhury?! Arijit Singh?! Shashwat Singh?! Vishal Mishra?! How's that possible?!?

This movie and the album, specifically for the time being the album- THIS FEELS HEAVEN ON EARTH. And I hope you all have already realized that I have listened the whole album (I guess there are more songs upcoming)

1. Zamaana Lage (200/100)

2. Dil Ka Kiya (400/100 personal favorite)

3. Mann Ye Mera (10000/100 this has my heart)

4. Aur Mohobbat Kitni Karoon (900/100) {extended version of In Dino in my opinion}

5. Mausam {extended version of zamaana lage} (WHAT WAS THATTT?! PLAYING THIS ON MY FUNERAL)

Metro...In Dino, I have a lots of expectation and I know this movie is definitely going to fulfill them. I miss Irfaan Khan like, if he would have been alive today he would have got the role of Pankaj Tripathi. (Does that mean I am defaming pankaj sir, No.. HE IS A CLASSY ACTOR AND HE IS DEFINITELY GOING TO ROCK HIS CHARACTER) Pankaj Sir, i know, when I saw him in the casting with Konkona, I knew its not a simple movie and specifically when I saw Saswata Chattopadhay, that very moment I sad clear that this movie is not a simple movie, this is going to touch hearts world wide.

Aditya Roy Kapur? I am dead by your charms and your acting. Whatever movies and series you have done, might not be hit but they are classy for those who watch "movies". (He is a choosey actor, he selects the things which touch hearts not movie halls)

METRO.. IN DINO (IN DINO DIL MERA MUJHSE HAI KEHE RAHA.. TU.. JEELEY ZARA.. HAI TUJHE BHI IJAZZAT KARLE TU...BHI MOHOBAAT)

4th July, 2025 in cinema ☆～♡

[lahore2toronto]

Rediscovering Punjab: Beyond the Myths and Menus of the Western Lens

By Qaisar Iqbal Janjua

For much of the world, “Punjab” conjures up images of bright turbans, butter chicken, bhangra beats, and overflowing plates of “tandoori” dishes. This packaged version of Punjab is colorful—but ultimately one-dimensional, built largely on the migration stories of Indian Sikh communities who reached Western shores earlier and carved out visible diasporic identities.

What gets lost in this narrative is the real Punjab: a vast, complex, and rich civilization whose cultural heart today beats in Pakistan, not in Bollywood music videos or in the spice aisle of Western supermarkets.

The “Ghost Pepper” That Was Never a Ghost

Let’s start with the now-famous ghost pepper—a chili branded in Western culinary circles as one of the hottest in the world. Known in the global market as “Bhut Jolokia,” it was supposedly “discovered” in Assam, India. The name, often translated as “ghost chili,” evokes a sense of danger, mystery, and exoticism. But to most Punjabis, especially those in rural and southern Pakistan, this pepper isn’t exotic at all—it’s simply mirch.

In regions like Multan, Bahawalpur, Okara and Sialkot, ultra-hot chilies have been a staple for generations. They’re crushed, dried, fried in ghee, used in pickles and everyday curries—without anyone needing a warning label. The ghost pepper wasn’t a novelty; it was lunch. The labeling of such ingredients as rare or extreme reflects how Western narratives often exoticize what’s routine in the Global South, especially when that narrative is filtered through a narrow lens.

The “Tandoori” Misnomer

“Tandoori chicken.” “Tandoori naan.” “Tandoori flavor.” If you’re in the West, you’ve likely seen this word attached to countless menu items. But ask a Punjabi from Pakistan what a tandoor is, and they’ll tell you: it’s not a spice—it’s an oven.

In Pakistani Punjab, the tandoor is a humble, almost sacred part of domestic and street life. It’s where fresh rotis are baked, chargha is slow-roasted, and families gather with steel thalis and clay bowls. There’s no such thing as “tandoori spice”—that’s a Western culinary invention. For Punjabis, cooking in a tandoor is not a cuisine category; it’s survival and tradition in a brutally hot climate where open-stove cooking is unbearable.

What’s been marketed globally as “tandoori flavor” is often a mix of red food coloring, yogurt, and chili powder—bearing little resemblance to the flavorful smokiness and natural charring that comes from real tandoor cooking.

Punjab: The Land of Civilizations, Not Just Stereotypes

Punjab, meaning “Land of Five Rivers,” has always been more than a food trend. It was once the cradle of the Indus Valley Civilization, home to ancient cities like Harappa. It gave birth to poets like Warith Shah, mystics like Bulleh Shah, and philosophers like Allama Iqbal. It is the soil of sufi shrines, green wheat fields, and salt mines older than Rome.

Yet this Punjab—the Pakistan Punjab—is almost entirely absent from the global stage.

Western media, influenced by the Indian diaspora, often conflates “Punjabi” culture with the cultural practices of a specific minority: Sikh Punjabis from India, who understandably preserved and promoted their identity in exile, often under duress. Their stories matter. But so do the stories of the 110 million Punjabis in Pakistan—Muslim, majority, secure in identity, and not seeking Western validation.

From the Soil to the Plate: Real Punjabi Cuisine

While restaurant menus abroad offer a predictable mix of “butter chicken” and “chana masala,” real Punjabi cuisine is deeply seasonal, agricultural, and regional.

In rural Punjab, people still eat:

   •   Saag with hand-churned butter

   •   Makki di roti fresh from the tandoor

   •   Kunna gosht slow-cooked in clay pots

   •   Achars made with raw mangoes and red-hot chilies

   •   Desi ghee parathas that feed farmers at dawn

There’s no “fusion” here—just food that evolved naturally from the land and the labor of those who till it.

Dresses, Not Costumes

Even in fashion, the westernization of Punjab has led to confusion. Shalwar kameez, a national dress worn in Pakistan, is now often seen in the West as an “ethnic costume” worn at weddings or festivals. In Pakistan, it’s just Tuesday. Whether you’re a lawyer in Lahore or a shopkeeper in Jhelum, it’s what you wear because it makes sense: breathable, modest, elegant.

Colorful turbans and embroidered kurtas—often highlighted in Western portrayals—represent ceremonial or northern styles, not daily wear. The real Punjab, especially outside cities, remains practical, grounded, and understated.

Why the World Knows One Punjab and Not the Other

The short answer: migration, trauma, and media access.

Indian Punjabis, particularly Sikhs, were often the first Punjabis to migrate to Canada, the UK, and the US in large numbers—partly due to partition displacement, and later, persecution post-1984. They built diasporic hubs, opened restaurants, and became highly visible.

Pakistani Punjabis, by contrast, didn’t migrate en masse with the same urgency. And those who did, blended more quietly into broader Muslim communities in Western countries, often choosing not to project a distinct “Punjabi” identity.

In a world that rewards branding, this meant the Punjabi Muslim story faded from view.

✨ But Here’s the Good News

The world is ready to listen again. In a time where authenticity matters more than hashtags, real stories from real places are finding their way into global conversations. And Pakistani Punjab has a story to tell:

   •   Of flavors that need no artificial coloring

   •   Of poetry that doesn’t need translation

   •   Of communities that don’t need rescuing, just recognition

A Call to Rediscover the Real Punjab

It’s time to move past the tourist-brochure version of Punjab. It’s time to recognize that the center of Punjabi culture today beats strongest in Pakistan, not just in Toronto strip malls or British curry houses.

Punjab is not a spice. It’s not a costume. It’s not a festival.

It’s a civilization. It’s a home. It’s a heritage.

And it’s alive—smoking chillies in a clay tandoor, echoing in Sufi qawwalis, soaking in the wheat fields of Gujranwala and the stories of grandmothers in Bahawalpur.

The world deserves to know that Punjab.

And Punjab deserves to be known—fully, fairly, and finally.

[banilikesfictionalpeople]

people are getting inspired by ‘animal’ to take care for their parents in that obsessive way and here i am, getting inspired by ‘kadak singh’

[trendinginyoutube]

Aaj Ki Raat - Madhubanti Bagchi, Divya Kumar, Sachin -Jigar

Check out the scintillating song featuring Tamannaah Bhatia in the upcoming movie Stree 2! Sung by Madhubanti Bagchi, Divya Kumar with lyrics penned by Amitabh Bhattacharya and composed by Sachin-Jigar, this song is set to sizzle your screens. Don't miss out on the electrifying dance moves and catchy beats!

Lyrics: Thodi fursat bhi meri jaan kabhi Baahon ko deejiye Thodi fursat bhi meri jaan kabhi Baahon ko deejiye

Aaj ki raat maza husn ka Aankhon se leejiye Aaj ki raat maza husn ka Aankhon se leejiye

Waqt barbaad na bin baat ki Baaton mein keejiye Waqt barbaad na bin baat ki Baaton mein keejiye

Aaj ki raat maza husn ka Aankhon se leejiye Aaj ki raat maza husn ka Aankhon se leejiye

Jaan ki qurbaani Le le dilbar jaani Tabaahi pakki hai Aag tu main paani

Jaan ki qurbaani Le le dilbar jaani Tabaahi pakki hai Aag tu main paani

Mere mehboob samajhiye zara Mauqe ki nazaakat Mere mehboob samajhiye zara Mauqe ki nazaakat

Ke khareedi nahin jaa sakti Haseenon ki ijaazat Ke khareedi nahin jaa sakti Haseenon ki ijaazat

Naaz itna .. meri jaan Naaz itna bhi nahin Khokhle vaadon pe keejiye

Aaj ki raat maza husn ka Aankhon se leejiye Aaj ki raat maza husn ka Aankhon se leejiye

Jaan ki qurbaani Le le dilbar jaani Tabaahi pakki hai Aag tu main paani

Jaan ki qurbaani Le le dilbar jaani Tabaahi pakki hai Aag tu main paani

[thetechknowledge1]

Pankaj Tripathi on Social media 💯

[mayapurimagazine]

OMG2 Movie Screening Review :-

[sharvanyadav023]

Pani Barsa Cham Cham Rhyme | Nursery Rhyme | पानी बरसा छम छम | Kids Chan...

[indiannews247]

Pankaj Tripathi: The Authentic Voice from Bihar to Bollywood

Born in Belsand, Bihar, to a farmer-priest family, Pankaj Tripathi’s journey from rural theatre to national acclaim embodies perseverance and authenticity. Inspired to act during a week in jail in Patna, he pursued theatre before earning admission to the National School of Drama in 2001 after two attempts.

After moving to Mumbai in 2004, Tripathi played minor roles in films and ads—until Anurag Kashyap’s Gangs of Wasseypur (2012) made him a household name. Subsequent standout performances in Newton, Mirzapur, Criminal Justice, Stree, and Kaagaz fetched him National Awards and widespread acclaim.

His deep-rooted experiences in Bihar continue to inform his craft: “We are puppets of our experience,” he says, crediting his upbringing for the emotional realism in his acting. Notably, he’s shooting his first film in Bihar—a socially relevant drama directed by Amit Rai—bringing his career full circle.

On the personal front, Tripathi’s love story adds a warm human touch. While in Patna, he and now-wife Mridula dated long-distance—waiting for an 8 pm call on a hostel landline—before marrying in 2004.

Tripathi’s rise—from village nukkad nataks to Mumbai sets—is a testament to grit, relatable talent, and staying true to one’s roots.

[allfuntimems]

Varun Sharma comedy edit shorts Fukrey #pankajtripathi #varunsharma

[moviespopcorn]

Mimi:The Film Review

Nothing like what you're expecting!

Image of Kriti Senon in the film's Poster Plot: This film is about a dancer who becomes a mother without marrying. What could be the reason she became a mother? Her dream was to become a heroine. What happened in her life that caused her to abandon her dream of becoming a heroine? Would her parents accept her child and society accept an unmarried mother? Would her child learn the name of the father? Watch the movie to know all the answers. Tone and Theme: This film has a comedy drama tone. Its theme is about emotions and caring. The goal of making this film was to entertain, but emotions have also been added in abundance. Acting and Characters: What a immense, high powered, and astounding acting Kriti Sanon has done in the role of Mimi; this role is the most challenging and well built of her film career so far; it is unbelievable that this is Kriti Sanon, who is completely lost in her role and has put her whole heart into it, whether it is her humor, facial expressions, dialogue delivery, and Rajasthani language accent, Rajasthani dresses, emotional scenes, what an acting she has done with such a Pankaj Tripathi's acting in the character of Pandey is also great; he is a specialist in playing comedic roles.His acting is also excellent; there are no flaws in his performance; he has given this role his all. Sai Tamhankar's acting in the role of Shama is also very good; her and Mini's chemistry is amazing, and she left no stone unturned in whatever role she was given. Supriya Pathak, Manoj Pahwa, Evelyn Edwards, and Aidan Whytock's acting in supporting roles is also good; the acting of all of these people contributes to the story's strength. Direction: It is directed by Laxman Utekar, who is also a successful cinematographer; previously, he directed Tapaal (2014), Lalbaugchi Rani (2016) in Marathi, and Luka Chuppi (2019), Zara Hatke Zara Bachke (2023) in Hindi and has done cinematography for Teri Baton Mein Aisa Ulja Jiya (2024); if you look at his record, he appears to be the most successful in both departments; such people are rare in the film industry; all of the films he has made are better than the others; this also falls into the same category; he has a grip on the entire film, from beginning to end; also not allowed the film to deviate from its course; he has paid full attention to even the smallest details. Story and Screenplay: Laxman Utekar and Rohan Shankar wrote the story together.The story is based on the Marathi film Mala aai Vhhaychy, but the screenplay is excellent, with no flaws. Dialogues of Rohan Shankar are extremely funny and hilarious, with a Rajasthani accent. Cinematography: Akash Agarwal's is excellent. The city is shown well from aerial views. The camera rotates 360 degrees, and the city streets are clearly visible. Manish Pradhan's editing is excellent, with a strong grip from start to finish and a fast pace. The film never bores the audience; they are constantly curious about what will happen next and glued to their seats throughout. Choreography: Ganesh Acharya is excellent in Param Sundari Song, and Vijay Ganguly is excellent in Rihaee de Song. Costume Design: Sheetal Sharma has designed the backdrop and costumes very well according to Rajasthani culture. Production Design: Subrata Chakraborty and Amit Ray did very well, and the sets of old houses are good. Baylon Fonseca's sound design is excellent, and the synchronization is flawless. A.R Rahman's music and background score require no introduction. He did an excellent job capturing the film's mood. Amitabh Bhattacharya, the lyricist, has written good songs for both Param Sundari and Rihaee De. Climax: It was very well made. Opinion: Jitni baar dekho, utni baar kam hain. It's very good; you'll want to watch it again and again. Message: Surrogacy is being promoted, which is incorrect. You can ignore the story because it is fictitious. Do not follow this in real life; a disclaimer included at the beginning. 67th Filmfare Award: This film received six nominations, including a National Award and a Filmfare Award. The film won two and three awards, respectively, for Best Actress, Best Supporting Actor, Best Supporting Actress, Best Editing, Best Music, Best Choreography (Param Sundari), and Best Female Playback Singer Shreya Ghoshal (Param Sundari), with Best Actress Kriti Sanon, Best Supporting Actor Pankaj Tripathi, and Best Supporting Actress Sai Tamhankar winning. Kriti Sanon (Alia Bhatt, Gangubhai Kathiawad) won Best Actress at the 69th National Award, Pankaj Tripathi won the Best Supporting Actor award. The cast includes Kriti Sanon, Pankaj Tripathi, Sai Tamhankar, Supriya Pathak, Manoj Pahwa, Evelyn Edwards, and Aidan Whytock. CBFC-U/A Movietime-2h.13m Genre-Comedy Drama Backdrop-Rajasthan Release-2021 Producers: Dinesh Vijan, Jio Studios and Kriti Sanon, Director: Laxman Utekar, Sound Design: Baylon Fonseca, Costume Design: Sheetal Sharma, Music and Background Score: A.R. Rahman, Production Design: Subrata Chakraborty and Amit Ray, Editor: Manish Pradhan, Cinematography: Akash Agrawal, Choreography: Ganesh Acharya, Vijay Ganguly, Lyrics: Amitabh Bhattacharya, Dialogues: Rohan Shankar, Story and Screenplay: Laxman Utekar, Rohan Shankar, Director: Laxman Utekar Based on original story by Samruddhi Porey Read the full article

[joelekm]

India Day Parade | Sonakshi Sinha, Pankaj Tripathi & Manoj Tiwari Unite | NYC DESI एनवाईसी देसी

Discover the exciting event that brought together three of Bollywood's biggest names: Sonakshi Sinha, Pankaj Tripathi, and Manoj Tiwari! In this video, we explore the significance of their gathering, delve into their professional achievements, and highlight their impact on Indian cinema. From exclusive interviews to behind-the-scenes moments, get an insider look at what makes these stars shine. Don't forget to like, share, and subscribe for more updates on Bollywood's finest!

[deshi-geek]

Netflix Murder Mubarak 2024 A Hit Or Flop?

While it features a talented cast including Pankaj Tripathi, Dimple Kapadia, Karishma Kapoor, and others, some viewers found the mystery aspect lacking and the investigation not engaging enough. This Bollywood flick is a far cry from the recent Hindi films that hit Netflix streaming recently – Jawan, Dunki, and 12th Fail are the ones as Deshi Geek covered them already.

[bbn24tv]

Pankaj Tripathi is unable to control himself in shock over his brother-in-law's death

[businessesconsultant]

Pankaj Tripathi's Inspiring Stories by Dr Vivek Bindra..