More than anything else, Pathaan is a silent and subtle statement of Shah Rukh Khan about his place, his commitment to cinema and, if one can say, his politics, observes Mohammad Asim Siddiqui.

Dilip Kumar remained in demand all through his career because he kept reinventing himself in keeping with the changing times in Indian cinema, argues Mohammad Asim Siddiqui.

What has not changed in a decade is the character of Rizwan Khan. He is complex, multi-dimensional and lovable. In fact, his character continues to grow on you, notes Mohammad Asim Siddiqui.

'While there cannot be any doubt that the national anthem should be shown utmost respect, cinema halls are not the most appropriate places to play the national anthem.'

Majaz, based on the life of Asraul Haq Majaz, the John Keats of Urdu poetry, marks Talat Aziz's debut as a composer in Hindi cinema. The film could have been an excellent biopic had it stuck to the poet's poetic self rather than his unfulfilled love, says Mohammad Asim Siddiqui.

Bajirao Mastani has the potential to do for Maratha 'history' what Mughal-e-Azam did for Mughal 'history', says Mohammad Asim Siddiqui.

'The writers fear that the fringe is threatening to become the mainstream and the liberal space -- a must for any creative expression -- is fast shrinking,' says Mohammad Asim Siddiqui.

'The most important aspect of Bajrangi Bhaijaan is the use of humour to touch some sensitive and potentially explosive political-religious and cultural subjects.'

Dil Dhadakne Do joins the debate over the role of women in India.

Any subject is good enough for producing good art. Piku, and its obsession with 'emotion resulting from motion' is a perfect example, says Mohammad Asim Siddiqui.

The ordinary life lived in Pakistan is rarely a part of Indian imagination. This is this gap that Pakistani television serials have succeeded in bridging, says Mohammad Asim Siddiqui.

'It is beyond him to understand how human beings can say the same thing to mean so many different things.'

It is ironic that Raja Mahendra Pratap's Jat connection is being used for vote bank politics. He could not have cared less for his caste.' 'He was aware of the hold caste had on people's lives, and always rose above this kind of narrow thinking.' 'He mentions that once when he landed at Dwarka the priests asked him about his caste. He replied that he was a sweeper. The priests denied him entry. "I did not care to visit it," he writes, "when it was surrounded by people who had no regard for humanity".'