Dilip Kumar, Bollywood’s Great ‘Tragedy King,’ Dies at 98

In this Sept. 2, 2008, file photo, veteran Bollywood actor Dilip Kumar, right, receives a Lifetime Achievement award at the 54th National Film Award ceremony in New Delhi, India. (AP)
In this Sept. 2, 2008, file photo, veteran Bollywood actor Dilip Kumar, right, receives a Lifetime Achievement award at the 54th National Film Award ceremony in New Delhi, India. (AP)
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Dilip Kumar, Bollywood’s Great ‘Tragedy King,’ Dies at 98

In this Sept. 2, 2008, file photo, veteran Bollywood actor Dilip Kumar, right, receives a Lifetime Achievement award at the 54th National Film Award ceremony in New Delhi, India. (AP)
In this Sept. 2, 2008, file photo, veteran Bollywood actor Dilip Kumar, right, receives a Lifetime Achievement award at the 54th National Film Award ceremony in New Delhi, India. (AP)

Bollywood icon Dilip Kumar, hailed as the “Tragedy King” and one of Hindi cinema’s greatest actors, died Wednesday in a Mumbai hospital after a prolonged illness. He was 98.

The “Tragedy King” title came from Kumar’s numerous serious roles. In several, his character died as a frustrated lover and a drunkard. He also was known as Bollywood’s only Method actor for his expressive performances identifying a character’s emotions.

Kumar was hospitalized twice last month after he complained of breathlessness, and his family tweeted “with a heavy heart and profound grief” the announcement of his passing.

“Dilip Kumar will be remembered as a cinematic legend. He was blessed with unparalleled brilliance, due to which audiences across generations were enthralled. His passing away is a loss to our cultural world,” Indian Prime Minister Narendra Modi said in a tweet.

“An institution has gone,” Bollywood superstar Amitabh Bachchan tweeted. “Whenever the history of Indian Cinema will be written, it shall always be ‘before Dilip Kumar, and after Dilip Kumar.’”

Kumar’s body, draped in the Indian flag, was accorded a state funeral led by a police band. He was buried in a Muslim graveyard in Mumbai city.

Major Bollywood stars, including Shah Rukh Khan, visited Kumar’s residence to pay their respects.

“It’s the end of an era,” filmmaker Madhur Bhandarkar said.

Kumar was born Muhammad Yusuf Khan, a Muslim, on Dec. 11, 1922. His Pathan family hailed from Peshawar, in what became Pakistan after the Partition, and he visited his ancestral home in the late 1980s.

Kumar was hugely popular among cinema lovers in Pakistan as well. In 1998, he was awarded the “Nishan-e-Imtiaz,” Pakistan’s highest civilian honor, becoming the only Indian citizen to receive it.

Pakistan Prime Minister Imran Khan said he was saddened to learn of Kumar’s death. “For my generation, Dilip Kumar was the greatest and most versatile actor,” he tweeted.

Khan also recalled Kumar’s generosity in helping to raise funds in Pakistan and London for a trust to set up cancer hospitals in his mother’s memory.

He changed his name as he debuted in Bollywood, the Hindi-language film industry centered in Mumbai, with “Jwar Bhata,” or “Sea Tides,” in 1944.

Kumar’s career spanned over six decades with over 60 films. His first major box-office hits were “Jugnu,” or “Firefly,” in 1947 in which he starred alongside Noor Jehan, and the 1948 film “Shaheed,” or “Martyr.”

He played a variety of characters — a romantic hero in “Andaz,” a swashbuckler in “Aan,” a dramatic drunkard in “Devdas,” a comic role in “Azaad.” But his portrayal of a Muslim prince in the historical epic “Mughal-e-Azam” cemented his popularity among the masses and catapulted Indian cinema to the world stage.

Mehboob Khan’s blockbuster “Aan” in 1952 was his first film in Technicolor and was among a string of light-hearted roles he took at the suggestion of his psychiatrist to shed his “Tragedy King” image.

He starred in many social drama films like “Footpath”, “Naya Daur” (“New Era”), “Musafir” (“Traveler”) and “Paigham” (“Message”) in 1950s.

His top female co-stars included Madhubala, Nargis, Nimmi, Meena Kumari, Kamini Kaushal and Vyjanthimala.

In 1966, Dilip Kumar married Saira Banu, who was 22 years younger than him, and the couple acted in “Gopi,” “Sagina Mahato” and “Bairaag.” They had no children.

In 1961, he produced and starred in “Ganga Jamuna” in which he and his brother Nasir Khan played the title roles. It was the only film he produced. Indian media reports say he declined the role of Sherif Ali in David Lean’s “Lawrence of Arabia” in 1962. The role went to Egyptian actor Omar Sharif.

He took a break in the late ‘70s but returned with a character role in the successful “Kranti,” or “Revolution” in 1981. He continued playing key roles in films such as “Shakti,” “Karma” and “Saudagar.” His last film was “Qila” (“Fort”) in 1998.

In 1994, he was given the “Dadasaheb Phalke” award, the highest honor for contributions to Indian cinema. He also served in the upper house of Indian Parliament after being nominated for a six-year term.

Kumar is survived by his wife, actor Saira Banu.



Perry Bamonte, Keyboardist and Guitarist for The Cure, Dies at 65

Perry Bamonte of The Cure performs at North Island Credit Union Amphitheater on May 20, 2023 in Chula Vista, California. (Getty Images/AFP)
Perry Bamonte of The Cure performs at North Island Credit Union Amphitheater on May 20, 2023 in Chula Vista, California. (Getty Images/AFP)
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Perry Bamonte, Keyboardist and Guitarist for The Cure, Dies at 65

Perry Bamonte of The Cure performs at North Island Credit Union Amphitheater on May 20, 2023 in Chula Vista, California. (Getty Images/AFP)
Perry Bamonte of The Cure performs at North Island Credit Union Amphitheater on May 20, 2023 in Chula Vista, California. (Getty Images/AFP)

Perry Bamonte, keyboardist and guitarist in The Cure, has died at 65, the English indie rock band confirmed through their official website on Friday.

In a statement, the band wrote that Bamonte died "after a short illness at home" on Christmas Day.

"It is with enormous sadness that ‌we confirm ‌the death of our ‌great ⁠friend and ‌bandmate Perry Bamonte who passed away after a short illness at home over Christmas," the statement said, adding he was a "vital part of The Cure story."

The statement said Bamonte was ⁠a full-time member of The Cure since 1990, ‌playing guitar, six-string bass, ‍and keyboards, and ‍performed in more than 400 shows.

Bamonte, ‍born in London, England, in 1960, joined the band's road crew in 1984, working alongside his younger brother Daryl, who worked as tour manager for The Cure.

Bamonte first worked as ⁠an assistant to co-founder and lead vocalist, Robert Smith, before becoming a full member after keyboardist Roger O'Donnell left the band in 1990.

Bamonte's first album with The Cure was "Wish" in 1992. He continued to work with them on the next three albums.

He also had various acting ‌roles in movies: "Judge Dredd,About Time" and "The Crow."


First Bond Game in a Decade Hit by Two-month Delay

'007 First Light' depicts a younger Bond earning his license to kill. Ina FASSBENDER / AFP
'007 First Light' depicts a younger Bond earning his license to kill. Ina FASSBENDER / AFP
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First Bond Game in a Decade Hit by Two-month Delay

'007 First Light' depicts a younger Bond earning his license to kill. Ina FASSBENDER / AFP
'007 First Light' depicts a younger Bond earning his license to kill. Ina FASSBENDER / AFP

A Danish video game studio said it was delaying the release of the first James Bond video game in over a decade by two months to "refine the experience".

Fans will now have to wait until May 27 to play "007 First Light" featuring Ian Fleming's world-famous spy, after IO Interactive said on Tuesday it was postponing the launch to add some final touches.

"007 First Light is our most ambitious project to date, and the team has been fully focused on delivering an unforgettable James Bond experience," the Danish studio wrote on X.

Describing the game as "fully playable", IO Interactive said the two additional months would allow their team "to further polish and refine the experience", giving players "the strongest possible version at launch".

The game, which depicts a younger Bond earning his license to kill, is set to feature "globe-trotting, spycraft, gadgets, car chases, and more", IO Interactive added.

It has been more than a decade since a video game inspired by Bond was released. The initial release date was scheduled for March 27.


Movie Review: An Electric Timothee Chalamet Is the Consummate Striver in Propulsive ‘Marty Supreme’

 Timothee Chalamet attends the premiere of "Marty Supreme" at Regal Times Square on Tuesday, Dec. 16, 2025, in New York. (AP)
Timothee Chalamet attends the premiere of "Marty Supreme" at Regal Times Square on Tuesday, Dec. 16, 2025, in New York. (AP)
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Movie Review: An Electric Timothee Chalamet Is the Consummate Striver in Propulsive ‘Marty Supreme’

 Timothee Chalamet attends the premiere of "Marty Supreme" at Regal Times Square on Tuesday, Dec. 16, 2025, in New York. (AP)
Timothee Chalamet attends the premiere of "Marty Supreme" at Regal Times Square on Tuesday, Dec. 16, 2025, in New York. (AP)

“Everybody wants to rule the world,” goes the Tears for Fears song we hear at a key point in “Marty Supreme,” Josh Safdie’s nerve-busting adrenaline jolt of a movie starring a never-better Timothee Chalamet.

But here’s the thing: everybody may want to rule the world, but not everybody truly believes they CAN. This, one could argue, is what separates the true strivers from the rest of us.

And Marty — played by Chalamet in a delicious synergy of actor, role and whatever fairy dust makes a performance feel both preordained and magically fresh — is a striver. With every fiber of his restless, wiry body. They should add him to the dictionary definition.

Needless to say, Marty is a New Yorker.

Also needless to say, Chalamet is a New Yorker.

And so is Safdie, a writer-director Chalamet has called “the street poet of New York.” So, where else could this story be set?

It’s 1952, on Manhattan’s Lower East Side. Marty Mauser is a salesman in his uncle’s shoe store, escaping to the storeroom for a hot tryst with his (married) girlfriend. This witty opening sequence won’t be the only thing recalling “Uncut Gems,” co-directed by Safdie with his brother Benny before the two split for solo projects. That film, which feels much like the precursor to “Marty Supreme,” began as a trip through the shiny innards of a rare opal, only to wind up inside Adam Sandler’s colon, mid-colonoscopy.

Sandler’s Howard Ratner was a New York striver, too, but sadder, and more troubled. Marty is young, determined, brash — with an eye always to the future. He’s a great salesman: “I could sell shoes to an amputee,” he boasts, crassly. But what he’s plotting to unveil to the world has nothing to do with shoes. It’s about table tennis.

How likely is it that this Jewish kid from the Lower East Side can become the very face of a sport in America, soon to be “staring at you from the cover of a Wheaties box?”

To Marty, perfectly likely. Still, he knows nobody in the US cares about table tennis. He’s so determined to prove everyone wrong, starting at the British Open in London, that when there’s a snag obtaining cash for his trip, he brandishes a gun at a colleague to get it.

Shaking off that sorta-armed robbery thing, Marty arrives in London, where he fast-talks his way into a suite at the Ritz. Here, he spies fellow guest Kay Stone (Gwyneth Paltrow, in a wise, stylish return to the screen), a former movie star married to an insufferable tycoon (“Shark Tank” personality Kevin O’Leary, one of many nonactors here.)

Kay’s skeptical, but Marty finds a way to woo her. Really, all he has to say is: “Come watch me.” Once she sees him play, she’s sneaking into his room in a lace corselet.

This would be a good time to stop and consider Chalamet’s subtly transformed appearance. He is stick-thin — duh, he never stops moving. His mustache is skimpy. His skin is acne-scarred — just enough to erase any movie-star sheen. Most strikingly, his eyes, behind the round spectacles, are beady — and smaller. Definitely not those movie-star eyes.

But then, nearly all the faces in “Marty Supreme” are extraordinary. In a movie with more than 100 characters, we have known actors (Fran Drescher, Abel Ferrara); nonacting personalities (O’Leary, and an excellent Tyler Okonma (Tyler, The Creator) as Marty’s friend Wally); and exciting newcomers like Odessa A’Zion as Marty’s feisty girlfriend Rachel.

There are also a slew of nonactors in small parts, plus cameos from the likes of David Mamet and even high wire artist Philippe Petit. The dizzying array makes one curious how it all came together — is casting director Jennifer Venditti taking interns? Production notes tell us that for one hustling scene at a bowling alley, young men were recruited from a sports trading-card convention.

Elsewhere on the creative team, composer Daniel Lopatin succeeds in channeling both Marty’s beating heart and the ricochet of pingpong balls in his propulsive score. The script by Safdie and cowriter Ronald Bronstein, loosely based on real-life table tennis hustler Marty Reisman, beats with its own, never-stopping pulse. The same breakneck aesthetic applies to camera work by Darius Khondji.

Back now to London, where Marty makes the finals against Japanese player Koto Endo (Koto Kawaguchi, like his character a deaf table tennis champion). “I’ll be dropping a third atom bomb on them,” he brags — not his only questionable World War II quip. But Endo, with his unorthodox paddle and grip, prevails.

After a stint as a side act with the Harlem Globetrotters, including pingpong games with a seal — you’ll have to take our word for this, folks, we’re running low on space — Marty returns home, determined to make the imminent world championships in Tokyo.

But he's in trouble — remember he took cash at gunpoint? Worse, he has no money.

So Marty’s on the run. And he’ll do anything, however messy or dangerous, to get to Japan. Even if he has to totally debase himself (mark our words), or endanger friends — or abandon loyal and brave Rachel.

Is there something else for Marty, besides his obsessive goal? If so, he doesn’t know it yet. But the lyrics of another song used in the film are instructive here: “Everybody’s got to learn sometime.”

So can a single-minded striver ultimately learn something new about his own life?

We'll have to see. As Marty might say: “Come watch me.”