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Salman Khan relays how his first romance was quelled after a year of correspondence

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Natasha Coutinho (MUMBAI MIRROR; June 30, 2018)

Salman Khan, who has been juggling the shoot of his reality game-show Dus Ka Dum with a dance tour and film commitments, has taken to sharing nuggets from his life within the Khan household and his growing up years.

While shooting for the latest episode of the game show, the 52-year-old actor reminisced about love in the pre social media age and revealed that quite unlike the current generation, that has moved on to instant messaging, he enjoys exchanging good old letters with his loved ones even now.

When the topic inevitably veered towards first love, Salman admitted that he’d found his childhood sweetheart while frantically looking for a washroom.

A source from the sets reveals, “During his school days in Gwalior, Salman and his friends had planned a trip to Dehradun. While roaming around and taking in the sights, the group drank multiple glasses of jaljeera paani, which was soon followed by a desperate hunt for a toilet.” And quite like a Bollywood meet-cute, Salman happened to stumble across one and met a local girl at its entrance. “He returned to Gwalior soon after that, but they kept in touch by writing letters to each other. The correspondence lasted for almost a year. Salman revealed that he put an end to it when he realised that she had brotherly feelings towards him,” the source added.

At another point, Sallu revealed that his father, veteran scriptwriter Salim Khan, calls his mother ‘Oye’ lovingly while she, Salma, addresses him as ‘Miyan’.

“He went on to clarify that he never lets anyone touch his feet because he believes that genuine respect is better than such gestures,” the source informed. Next up, as Dus ka Dum nears its finale, Salman is gearing up to start work on the new season of Bigg Boss.

I knew he was the love of my life-Sonam Kapoor on Anand Ahuja in their first ever interview

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Sonam K Ahuja Anand Ahuja Vogue India July 2018 Covers
A love story that began on Snapchat and a wedding that broke Instagram—Sonam K Ahuja and Anand S Ahuja have perfected intimacy in a very public age. But what’s the real story behind the It couple?
Shalini Shah (VOGUE; June 30, 2018)

Two years ago, after two months of conversations that began on Facebook and Snapchat, and progressed to late-night phone calls, Sonam Kapoor and Anand Ahuja decided it was time they met. The sole agenda was to see if the camaraderie and niggling romance developed over two continents could survive the daylight glare of an actual meeting. Sonam chose London, since Anand lived there and she had a fitting with designers Tamara Ralph and Michael Russo in the city prior to her Cannes appearance. The two were to meet in the afternoon, but excitement and apprehension meant patience was in short supply. So, they met immediately—he in his gym clothes, she in “gross” trackpants and tee. They spent the entire day walking around London, talking. And exactly two years from that day, they wed in Mumbai.

I meet her shortly after the wedding, and Sonam, her hands still bearing traces of the henna, is dressed in a yellow tee printed with the ideals of the French Revolution. She recalls her first date, “I was apparently wearing the worst sneakers he had ever seen. I keep telling him that he fell in love with me despite my bad sneaker game… That day, walking and talking in London, I knew he was the love of my life. He apparently knew the first time we spoke on the phone… It was just so easy.”

TWO WORLDS
She’s the National Award-winning actor known for her roles in films like Neerja (2016) and Aisha (2010), and the country’s best-known style ambassador. He is the founder of clothing label Bhane and sneaker store Veg Non Veg (and had no idea Sonam and Anil Kapoor were related). She likes fiction, film and dancing. He likes basketball, sneakers and philosophy. They’re both vegetarians, die-hard homebodies, outdoor-lovers and morning people. She’s now Sonam K Ahuja, he’s now Anand S Ahuja. “He makes clothes—and I wear them!“ she laughs with a rainbow-arch hand flourish of a magician doing a reveal. “He comes from a business background, so that’s alien to me. I’m the third generation in a film family. So there’s a lot to talk about, a lot to discover about each other, but we have a lot of similarities.”

When I speak to him later, Anand recaps the early days of their friendship: “The first time we met, we talked about our respective work. I was just struck by the fact that I could speak to her so openly about everything. We were chatting on Snapchat one night and she said, ‘Stop texting, just call me.’ And we spoke for two hours that night… Our friendship started over superficial things like vegan chocolates and sneakers but soon we were having deeper conversations.”

Theirs was a wedding that broke Instagram, a multi-event affair that both surprised and satisfied the curiosities of those witnessing it, on-ground and virtually. There were the guests, the flash mobs and dance-offs (all recorded by enthusiastic wedding-goers), and, since it’s Sonam, the trousseau.


In their wedding finery

RUNWAY BRIDE
After all, she’s India’s fashionista—her work wardrobe on any given day oscillates from Maticevski and Ashi Studio to Anamika Khanna and Abu Jani Sandeep Khosla, often combining avant-garde and high drama with classic. For her wedding lehenga, though, tradition trumped all; the red-gold creation in Maheshwari silk designed by Ahmedabad-based Anuradha Vakil was the stuff heirlooms are made of. “I’ve known Anuradha for many years. She’s a good friend of my mom. I fell in love with her clothes, so I’d asked her to design for Saawariya—probably the only film she’s ever done or will do. I don’t know anyone who understands Indian garments, textiles and embroidery as she does. I’d always tell her, ‘You are going to make my wedding lehenga. When—and if—I get married, you will.’ And I didn’t forget that,” adds Sonam.

Sonam told Vakil she loved lotuses, so the designer translated them into motifs embroidered in gold and silver thread. Since Anand, who plays basketball, can’t wear rings, New York-based tattoo artist Keith ‘Bang Bang’ McCurdy got him a version of the wedding ring—a tattoo on his ring finger.


Anand’s ring finger sports a lotus tattoo by Bang Bang

While sisters Rhea and Sonam have always collaborated in creating her statement-making looks, Sonam styled herself for the wedding. Anamika Khanna, Shehla Khan, Masaba, Abu Jani Sandeep Khosla… her style followers on Instagram weren’t surprised by the choice of labels she picked for all the functions. “While they’re all extremely talented people, I chose them because there was an emotional connection with each of them,” she adds.

Every detail of the wedding, she points out, was planned together by the couple. The Jo Malone-scented spaces, the jewellery (collected over the years, inherited, or designed by childhood friend Tarang Arora of Amrapali), the couple’s initials on her Jimmy Choo accessories, their sun signs on the mangalsutra, the foliage-print wallpaper that matched the wedding invite, her Gaia Repossi promise ring where no diamond resembles the other… She shows me up close her engagement ring that Tarang Arora designed—a mellow Golconda diamond in a gold setting, more liquid and citrine-esque than blinding. “I didn’t want a big fancy diamond. I wanted something that I wouldn’t feel embarrassed to wear all the time, I didn’t want something loud or showy. Anand sourced the stone—he loves saying it. He says it’s a meetha colour. It’s a little yellow, so it looks old and pretty.”

LOVE, ACTUALLY
It’s all quietened now, but there’s been no time to sit still and savour. Two days after the wedding, Sonam flew to Cannes, wowing us in voluminous Vera Wang and Ralph & Russo, while upon her return she’s been touring to promote Veere Di Wedding with her co-stars. Amidst this is a new pad in London’s Notting Hill that the couple is furnishing with Mumbai architect-designer Rooshad Shroff. “It’s nice making a home together. Anand is so encouraging when it comes to my work that he didn’t blink when I told him I was flying to Cannes two days after the wedding or that I was getting into promotions straightaway. There was no argument, just acceptance—you gotta do what you gotta do. But he posed one question to me: ‘If it was me who had to go to a work meeting right after the wedding, what would you do?’ I said I’ll kill you. So he’s like, ‘I think it’s double standards!’” she laughs.


At the bidaai

BETTER TOGETHER

As two people who spend a lot of time together, have they rubbed off on each other in a way that couples do, widening the common ground in both interests and personalities? “He’s non-judgemental—with everybody. Very open-minded and progressive. I’m a little conservative and close-minded about a few things, and he’s taught me to see the other side, to look at things with a lot more compassion and care, to be a little more pragmatic and practical, as I can be very emotional and quick to judge sometimes, which is not nice,” Sonam ponders.

Anand, true to form, sees the other side in this, too. “She gives me a lot of confidence. Sonam’s very black and white. She knows what’s wrong and what’s right, and is not afraid to say it. I can see both sides of a story, but I often get stuck in the grey zone. I sometimes need to be able to say no, and Sonam gives me the confidence to do that, she supports me. She’s intuitive and patient, I second-guess.”

Once vaguely acquainted with Bollywood, he’s now seen all her films. And, while he acknowledges the brilliance of her performance in Neerja, he’s a little partial to Aisha and Khoobsurat. “Aisha, because that’s what people know her, as this amazing fashionista, and Khoobsurat because that’s her personality—that’s the Sonam I know.”

Read the complete interview in Vogue India’s June 2018 issue that hits stands on Julu 1, 2018

COVER LOOK 1
On Anand: Sherwani, jacket; both Raghavendra Rathore
Buttons, necklaces; all Sunita Kapoor
On Sonam: Blouse, dupatta, lehenga; all Anuradha Vakil
Jewellery: Sunita Kapoor and Amrapali
Shoes: Jimmy Choo. Kaliras, Mrinalini Chandra

COVER LOOK 2
On Sonam: Blouse, dupatta, lehenga; all Abu Jani Sandeep Khosla.
Maang tikka, earrings, necklace; all Sunita Kapoor

Photographed by Signe Vilstrup
Creative direction by Anaita Shroff Adajania
Additional photographs by Taras Taraporvala and Anand Rathi

Photographer’s agency: Tomorrow Management.
Anand Rathi’s agency: Reels & Frames.
Anand Ahuja’s stylist: Abhilasha Devnani.
Photographer’s assistant: Nitiraj Singh.
Fashion assistant: Priyanka Kapadia.
Wedding decor: Rani Pink.
Wedding event planner: Wednishka.
Photoshoot production: Divya Jagwani.
Backdrop and props: Bindiya Chhabria.
Special thanks: Neha G

Race 3 collects 164.72 cr in 2 weeks

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'If Race 3 Was Too Bad It Wouldn't Have Worked At The Box Office,' Bobby Deol Explains
Box Office India Trade Network

RACE 3 had a low second week of 24.75 crore nett and took its two week business to 164.75 crore nett which is a decent total but RACE 3 should have covered this in the first week. The drop in the second week is a huge 82% when it needed to be 70-75% on a worst case which would have taken it to the 200 crore nett mark or thereabouts

The second week collections are better than JAI HO which was another Salman Khan underperformer a few years back. They are also better than PREM RATAN DHAN PAYO which was a HIT film and RACE 3 has been rejected by the audience totally which was not the case with JAI HO or PREM RATAN DHAN PAYO.

The collections of RACE 3 till date are as follows.
Week One - 1,39,97,00,000
Week Two - 24,75,00,000 apprx
TOTAL - 1,64,72,00,000 apprx

The plus for the film is the business in UP and Bihar and without these markets the film could have capitulated in the second week which was a likely scenario considering the rejection.

The film has done almost 30% of its all India business in UP and Bihar in its second week when the norm is 15% in these two areas. The downer is Mysore and Tamil Nadu / Kerala but that is sort of expected when a Salman Khan film goes wrong. These two markets prefer Aamir Khan or Shah Rukh Khan or even Hrithik Roshan.

Sanju collects 34 cr on Day 1

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'Loved Sanju.' Aamir Khan Tweets With A Special Message For Ranbir Kapoor And Vicky Kaushal
Box Office India Trade Network

SANJU had a huge first day recording the sixth highest opening day of all time and the third highest non holiday of all time in terms of NETT collections. The film has collected a huge 34 crore nett apprx on day one and this is after an excellent start but not a bumper one. The morning looked a 29-30 crore start but it has pushed through the day and when doing that at these levels it means a huge box office run.

The film made ground through the day outside the metros to record very good collections at the end of the day and this is a huge plus for the weekend as the upward momentum could continue on Saturday and Sunday.

The multiplex collections are simply phenomenal and it looks the film has the highest ever collections on day one at all India multiplexes outside BAAHUBALI 2: THE CONCLUSION. Mumbai city, Delhi city and Bangalore are all first day records outside BAAHUBALI 2: THE CONCLUSION.

The collections are also the highest ever for the social drama easily beating DANGAL released a couple of years back. It is ahead in NETT and also GROSS collections which actually is the real test when it comes to beating records now. That film was also not a bumper opening but made ground on the day to record a big number and this is ditto but with higher collections.

In GROSS terms the first day will be a bit lower at number at 7th or 8th place due to the tax changes but that is still a huge achievement. The collections are now the highest ever for a non Khan film with only Salman Khan (PREM RATAN DHAN PAYO, SULTAN, TIGER ZINDA HAI is similar) and Shah Rukh Khan (HAPPY NEW YEAR) having higher collections and of course there is BAAHUBALI 2: THE CONCLUSION.

The film should have growth over the weekend although the main multiplexes will find it tough to get major growth as they have very high occupancy but other places which started lesser and made ground on Friday could give the film solid growth over the weekend and push it well over the 100 crore nett mark for the weekend. If the main multiplexes do get capacity problems then its safe to say the weekdays will go crazy.

If you haven’t eaten at Juhu beach, you’ve not lived in Mumbai-Freddy Daruwala

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Rachit Gupta (BOMBAY TIMES; July 1, 2018)

He may be as fit as a fiddle, but that doesn’t mean he doesn’t gorge on good food. Freddy Daruwala, who’s half Parsi and half Gujarati, lives in the suburbs, but doesn’t mind travelling the length and breadth of Mumbai to have his fill of his favourite dishes. He says, “Like all Parsi and Gujju people, I’m very fond of food. Over the years, I’ve hunted down a few places in the city that serve my kind of grub. The best part about Mumbai is that it offers a great variety of food and cuisines. You can go to all the fancy restaurants and delis, but you can also get great food on the streets, khau gallis and beaches.”

For his Parsi food cravings, Freddy frequents a restaurant in BEST Colony Road, Oshiwara. He adds, “They have the most authentic and awesome Parsi dishes like dhansak with brown onion pilaf and akuri with toast.” His choices in food aren’t just limited to the obvious. He really likes shawarmas. He explains, “I know it’s not a part of Indian cuisine, nor a speciality of Mumbai, but shawarma is one of the most popular offerings from Lebanese cuisine. I love mutton in my shawarma and there’s a quaint little place right opposite Versova Metro Station that serves it just right. I also don’t mind travelling all the way to Colaba to get my hands on a nice meaty shawarma.”

Freddy lives a stone’s throw away from Juhu beach and it’s one of his regular haunts in the city. He feels the ocean views and the gentle breeze at the beach make it a fantastic gastronomic experience. “I really enjoy the distinct flavour of this tourist hotspot. It gives Mumbai a unique characteristic and taste. Stuff that you eat at Juhu beach will not taste the same anywhere else in the world, not even at other places in Mumbai,” he gushes and adds, “Another reason that makes eating out here a great experience is the fact that you’re surrounded by tourists, Mumbaikars, and just about everyone, who’s there to have a good time. Juhu beach offers a nice break from the kind of food I get at five stars and restaurants. I come here to eat ice gola, sev puri and pani puri. The signature dish of the city, pav bhaji, tastes the best here. If you haven’t eaten at Juhu beach, you’ve not lived in Mumbai.”

Like all Parsis, he enjoys a hot cup of tea. “We don’t call it tea, we call it chai. I can have a cup or a cutting chai at any point in the day. A sight unique to Mumbai are the chaiwallas carrying a tumbler of tea on the streets. For a nominal price, you can get refreshing, hot cutting of chai that can drive away all the fatigue of the busy city life,” says Freddy.

He’s one of the fittest actors around, who swears by his quinoa salad, but he also believes that Mumbai’s street food has some healthy alternatives, too. He says, “The street side bhutta is so unique to this city. You get this version of corn everywhere in India, but to have the freshly roasted bhutta on coal is the perfect way to experience Mumbai’s monsoon. It’s also one of the healthiest things you can eat.”

Mumbai is a city of various cultures and those fusions have rubbed off most on the food that’s served here. Freddy says, “Mumbai may be a busy city with cutthroat competition, but there are certain aspects of the life here that are mesmerising. Iss sheher ke kucch aise rang hain, jo lag jayein toh kabhi mitaye nahi jaate. I love Mumbai and it is one of the most vivid and colourful cities in the world. And its food is a combination of many cultures and influences. It’s simply out of the world.”




It’s lovely that people find my swimsuit scene in Veere Di Wedding inspiring-Shikha Talsania

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Shikha Talsania (PIC: NILESH WAIRKAR)
Actor Shikha Talsania on inspiring people through her Veere Di Wedding character Meera, and exploring every opportunity to perform
Anuka Roy (MUMBAI MIRROR; July 1, 2018)

Not many people remember that actor Shikha Talsania made her debut in 2009 with Wake Up Sid, as Ranbir Kapoor’s chubby friend, Laxmi. It was her turn as Meera, in the recent grosser Veere Di Wedding (VDW), that made people finally take note of Talsania. “Even though my role (as Laxmi) was appreciated and I got a lot of offers, they were all one-dimensional ‘fat girl’ roles — the character was either hungry or horny. And that didn’t interest me at all,” says Talsania, 32. After Sid, Talsania acted in Madhur Bhandarkar’s Dil Toh Baccha Hai Ji and Deepa Mehta’s Midnight’s Children, but it was 2016 that proved to be a turning point in her career.

That was when she was offered VDW. “Rhea [Kapoor, one of the producers of VDW] and I have known each other since Wake Up Sid. She was an assistant director while Karan Boolani was Chief AD on that film,” says Talsania. “Boolani suggested my name for Veere Di and casting director Mukesh Chhabra called me in for a screen test. Then I read the script, fell in love with it and met Shashanka [Ghosh, the director] and Rhea. That’s how it all began.”

When her ‘bold’ Meera stepped out in a swimsuit in VDW it inspired many full-bodied women. But that wasn’t Talsania’s intention. “It’s lovely that people find it inspiring. However, for me, I was just playing my character and trying to stay true to it,” she says, matter-of-factly. “If I go to a beach, I would wear a swimming costume. But that’s my confidence and my acceptance of my body.” Talsania believes one needs to be fit to feel happy from within, and well-being is not necessarily related to losing weight. Talsania has embarked on a fitness journey herself after her first film, by eating right and exercising. But she did it for herself, and not as a result of any pressure.

Although Talsania has a strong film connect — her father is veteran actor Tiku Talsania, who is known for his comic timing and wide variety of roles — she has never used her father’s connections to land work. “I’m extremely proud of what my father has achieved, but that is his journey. I believe that my journey will always be my own,” she says. But she hopes to emulate the energy and excitement her father brings to each of his roles, during her journey. When Talsania expressed her desire to become an actor, however, her parents were concerned. As entertainment industry veterans themselves, they sat her down and talked about the ‘erratic’ nature of the profession and gently suggested she explore other things.

And she did give other careers a go. At different times, Talsania has worked as a line producer, celebrity manager and post-poduction for reality shows such as Jhalak Dikhhla Jaa and Indian Idol. But the acting bug had already bitten her.

Talsania’s tryst with acting began in college. “I was in Jai Hind. And, I was offered these two plays — The Graduate, directed by Divya Palat, and a Gujarati play — and it was a great experience,” says Shikha. Her first professional acting gig was Silly Point Production’s Four Square and, since then, she has worked with various theatre groups like Rage Productions and The Patchworks Ensemble. But the production company she has been associated with for the longest is Akvarious Productions. Talsania was a part of the company’s popular play, Internal Affairs. “They have played a huge part in my life. I was introduced to the world of theatre by them and got to meet and collaborate with so many fantastic people,” she says animatedly. This year, Talsania co-directed an Akvarious production called Dekh Behen, with an all-female cast and crew. Set against the backdrop of a big fat Delhi wedding — much like VDW — the play received rave reviews and has completed over 25 shows in less than five months. Asked to pick between films and theatre, Talsania says: “They are very different. For a performer, I don’t think it matters. Both platforms give you a different high. It’s like asking a mother to choose between two of her children.”

Now that she’s found her groove in entertainment, Talsania wants to try it all. “Actor for life. TV, theatre, web series, movies — bring it on. If tomorrow someone says put on prosthetics and play an old lady or become a man, I will happily do it,” she says. “That’s the fun of being an actor.”

If there’s one thing we are sure of, it’s each other-Shweta Tripathi

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Rachana Dubey (BOMBAY TIMES; July 1, 2018)

Masaan actress Shweta Tripathi is now Shweta Tripathi Sharma. She married rapper Chaitanya Sharma (Slow Cheetah) in a traditional Hindu ceremony at a beach resort in Goa on Friday evening. The couple’s family and friends reached the venue on Thursday noon. The pre-wedding celebrations, including the haldi ceremony, were held on Friday morning. While talking to BT soon after the wedding, Shweta said, “I was waiting for the feeling to sink in and then, as soon as I heard the dhol from the baraat, my heart started racing. I couldn’t be happier.” When asked how her other half is dealing with the change in their relationship status, Shweta chuckled, “We were waiting for this day. Our friends and families’ happiness knew no bound. If there’s one thing we are sure of, it’s each other.”

Shweta and Chaitanya tied the knot on June 29. A week later, the bride turns a year older on July 6. Will the first birthday after marriage be any different from the others so far? “Right now, we’re in such high spirits with the wedding madness that the birthday feels far away,” she said. The couple’s parents rocked the wedding party, dancing and singing the night away celebrating the big day in their lives.

No wedding is complete without gifts for the bridal couple. The best one for this jodi came from the team that designed their wedding creatives — they gifted them a 3D version of their wedding invitation which the couple holds close to its heart. While the celebrations and revelry are still on, Shweta and Chaitanya’s honeymoon will have to wait.

“A week later, I will have to report on set for a shoot. The Trip (a British TV series) enters its second season and I have committed time to it. As soon as that’s done, Chaitanya and I will leave for our European honeymoon; my best friend has planned the entire itinerary,” said Shweta, who will move in with her husband into their Juhu home next week.



The role of art is to build bridges and not walls-Nandita Das

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Nandita Das on her upcoming biopic on controversial Urdu writer Saadat Hasan Manto and why it should be viewed as a celebration of fearless writing
Mohar Basu (MID-DAY; July 1, 2018)

What about Saadat Hasan Manto intrigued you to make a biopic?
It was his free spirit and his courage to stand up against orthodoxy. I was struck by his simple, yet profound narratives and the way he captured the people, politics and times he lived in. He wrote as he saw and as he felt, without dilution, and with empathy for his characters. He was irreverent and had an irrepressible desire to poke a finger in the eye of the establishment, often with sharp humour. For years, I had thought of making a film on Manto’s short stories, even before my directorial debut, Firaaq [2008]. In 2012, when I delved deeper into his essays, they helped the idea expand beyond his stories. It took me five years to feel equipped, both emotionally and creatively, to tell his story.

There is a strong controversial vein in his writings. Did you feel the pressure to play it safe?
I have always felt connected to Manto’s fearlessness and concern for the human condition. No part of human existence remained untouched or taboo for him no matter how controversial. So, there was no question of playing safe. Almost 71 years later, we should be able to celebrate him. Art can have a profound impact and create social change. Manto’s writings provoke, stir and unsettle audiences. Hopefully, the film, too, will do that. But this can happen in a subtle manner. It doesn’t have to be overt for it to be a compelling story.

Nawazuddin Siddiqui recently told us that Manto is more relevant today than ever before.
I am convinced about the continuing relevance of Manto. Making the film was not just about telling people about him but to invoke the Mantoiyat, the desire to be outspoken that I believe all of us have, whether dormant or awakened. It will make them uncomfortable in a way that they would want to do something about.

How did you blend the narrative and the stories?
The film showcases Manto’s journey while also providing a glimpse into some of his writings. The line between his fact and fiction blurred; and so, in the film too, his narrative is interspersed with stories that he wrote, almost seamlessly. It will allow the audience to enter his state of mind, both as a person and a writer. We will get to see him through his work, what makes him so truthful. This was not easy to do as selecting five stories from 300, was a mammoth task. It took four years of research and people’s inputs to tell his story. The spirit of Manto is the spirit of the film.

Manto was compelled to leave the country post Partition. Given the current scenario with the neighbouring country, were there any fears in your mind?
Partition remains an important part of the subcontinent’s narrative. It has been invoked for political agendas and to understand the pain and trauma that some still feel today. But the role of art is to build bridges and not walls. When there is political tension, culture can become the means to bring people closer, lessen prejudice and trigger conversations. Whenever I have been to Pakistan, I find people in admiration of our democracy, diversity, art, culture and in particular, cinema. Art transcends boundaries. It is a pity that we in South Asia cannot travel and collaborate freely. I hope the film will become a bridge at a time when political forces are creating walls. So there is no question of having fears while making the film.

What kind of help did you receive from Manto’s daughters?
I feel fortunate that I have had the opportunity to speak at length with his daughters and his grand-niece, the eminent historian Ayesha Jalal. Ayesha’s book, Pity of Partition — Manto’s Life, Times, and Work across the India- Pakistan Divide, and the one she wrote on Manto’s centenary along with Manto’s youngest daughter, Nusrat Jalal, were some of the first gifts I got from the family.

What kind of preparation went into the film?
We shot for a little more than 40 days. However, shooting is a fraction of the process. It has taken more than four years of research and writing, and two years of preparation and making of the film. Since 2012 till May this year when the film premiered in Cannes. Manto was prolific and has also been extensively written about. Thus, while I have read a lot by and about him, it could not be fully exhaustive. I had many plans before starting the shoot to watch films that would inspire me, especially biopics and period dramas. But putting the funding together, finding locations, a large cast and crew — all of that took so much time and energy that I went into the shoot armed with my instincts.

Post the screening at Cannes, are there any crucial inputs that you’ll incorporate before its commercial release?
We got an overwhelming response at Cannes from the audience and critics. I am tempted to bring back a scene. Other than that I don’t think there will be any change.

How do you think the Censor Board will respond to the film?
We have made an honest film. I am quite optimistic. More so as Prasoon Joshi, himself a writer and an admirer of Manto, is at the helm of it.

What made you believe that Nawaz could bring Manto to life?
I always had him in mind while writing Manto. Firaaq, my directorial debut was Nawaz’s first significant role in a feature film. They say if you get the casting right, 70 per cent of your job is done, and with Nawazuddin that’s exactly what happened. He looks and feels the part. He has an incredible range as an actor, but intrinsically Manto lies somewhere in his eyes — it was an obvious choice for me. I brought in my research and script and Nawaz brought with him his life experiences and his talent. Together, we managed to bring out subtleties and nuances to the character of Manto.

Lust is not taught to us, we don’t know how to feel it-Karan Johar

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Now 46, filmmaker Karan Johar on his journey from ‘ loving your parents’ to orgasming in front of them
Gitanjali Chandrasekharan (MID-DAY; July 1, 2018)

There's a scene in the 2001 French comedy Amélie when the movie’s protagonist asks herself, “How many couples are having an orgasm right now?” The answer she arrives at seems to be 15. Looking out of a Mumbai apartment, shuttered in by its grills with the rains beating down and competing in volume against the traffic, if one asks oneself this question, what answer will one get?

With an estimated population of 22.5 million in Mumbai, and using the generic adult percentage of India (55) , and other surveys of “have you ever orgasmed” — various surveys through India say 70 per cent of women respondents had never orgasmed and in another report 55 per cent of male respondents admitted to faking an orgasm — the real statistic evades us.

But, there’s at least one orgasm that we all know has been had. And we’ve all witnessed it at various times as we logged on to Netflix and reached the climax (well, nearly) scene of Karan Johar’s segment of Lust Stories, the second edition of the anthology by the makers of Bombay Talkies, which released last month.

The scene has Megha (Kiara Advani), a sexually dissatisfied young wife — if you can’t even count to 11 does it count at all? — using a stolen dildo and getting caught out in front of her husband’s family.

Speaking over the phone — we are told this is the only time he will be able to spare, as he gets on with his day’s commute — Johar says, “I was, in fact, the last to shoot among the four of us. I hadn’t found an idea that excited me enough. My segment of Bombay Talkies was a heavy topic, I wanted to take a similar path but say it with humour.” Men, his female friends when confiding in him have told him, are clueless in bed, much as Vicky Kaushal’s character in the film. And pleasure is deeply entrenched in patriarchy. “I wanted to portray that pleasure is a two-way street and women have the right to it, too. I wanted to root this story in a traditional, middle-class home,” he says.

The story, he says, was then drafted by Sumit Saxena, who was co-screenplay writer on Pyaar Ka Punchnama. The ideation on the anthology, says Johar, began over the portrayal of lust and love, ending however at the former. But, lust itself is a tough topic to portray in Indian cinema. “Lust remains a negative emotion, we are not allowed to feed it,” he says. Love is still needed to legitimise carnal desires and that often messes up a sexual dynamic. “Of course, when love and lust collide, that’s a bonafide relationship.”

Sexual desire on Indian celluloid, he agrees, remains skewed towards the freakish. He points to the lip-biting sequences of the 1980s and hip- thrusts of the 90s. “It’s not been portrayed as a normal phenomenon when you stare at a person in the office or someone you see at the coffee shop and look away, the subtlety and nuance isn’t there.” The closest that he has seen lust being portrayed as it should be has been in erotic films or in the 1990 Spanish film, Tie Me Up, Tie Me Down by Pedro Almodóvar. “The way the man looks at the woman in that film, there’s something very sexy about it. Not too many can achieve that.” That movie is about a man who has been released from a mental asylum and then, in a bid to make his fantasy come true, kidnaps a porn star he is in love with and envisions as his wife and mother of his children.

For those who see it, it’s a been a long journey for Johar from Kuch Kuch Hota Hai and Kabhi Khushi Kabhie Gham to Ae Dil Hai Mushkil. “I was 24 when I made Kuch Kuch Hota Hai. What did I know about love then?” says the now 46-year-old parent-of-two. In his later films, he has moved from talking about parental love, to one-sided love to infidelity, then unrequited love and then cynicism. It seems to mirror his own journey and emotions. “Today, there are no Laila-Majnus. There are practical questions I will ask [to a lover]. ‘Where do you live?’, ‘what do you do?’ In young love, people are ready to die for each other and fight society, but I don’t want to die for you.”

But, his next film, Dhadak, a remake of Marathi blockbuster Sairat, is just that, we point out. He laughs, “Well, they are young. If we meet the same couple 20 years later, I am not sure if they’d be ready for the same. I am 46. I am far too cynical, far too practical.”

We come back to lust. When did that journey begin? At the age of 12, he says. We wonder if he was aware of himself that early, or were we too late. The processing of what that emotion was, he says, came later. “There was no emotional connect with that person, there was only a carnal desire and I realised, oh my god, this is was lust is. But, lust is not taught to us, we don’t know how to feel it. We can feel love, the idea of getting married and having children. But, where is [the reference point to] lust? It’s part of something we need.”

Johar became father to a pair of twins last year in March. A single father, to Yash and Roohi, does he miss having a partner? No. “There’s no place for anyone else.” His family unit where he raises his kids with his mother Hiroo Johar is quite tight and settled. “My third baby is my production house and I have a fourth one at home, my mom, who is over 75. I am quite satiated with life. This works for me.”

Happy to be a single parent, he says his life has always been unconventional in either the personal or the professional. “I have never fallen for the trap of log kya kahenge, whether it is when taking on the role of a talk show host, wearing a flamboyant jacket or judging dance reality shows.”

His choices. Yes, we come back to that. The choice of filming the orgasm as his most iconic “loving your parents” song — the K3G soundtrack sung by Lata Mangeshkar — plays in the background was a master move. It reeked of Johar laughing at himself. “We thought it was an intellectual juxtaposition of what was happening in one part of the house to the other part of the house. Kabhi Khushi Kabhie Gham was the perfect family film. And Advani’s character was having an orgasm in front of the family. When this idea came [to use the song as a background], I laughed out loud. We knew it would create a storm in the coffee cup,” he says. Nope, even in idioms, Johar would rather have coffee.

The whacky moment is said to have brought discomfort to the Mangeshkar family [Lata Mangeshkar sang the iconic number], but Johar says, “They have not said it directly to me. There’s no byline to that article, there’s not a single confirmed quote on who from the Mangeshkar family is saying this. I have a feeling I know who has written it. It’s obviously a creative mind. But, it’s only helped Netflix, so great.”

Ranveer Singh-Deepika Padukone to have an Italian wedding between November 12 to 16?

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Ranveer Singh and Deepika Padukone
DNA (July 1, 2018)

The excitement around Ranveer Singh and Deepika Padukone’s impending nuptials has been increasing with every passing day. We hear, the couple has sent out messages asking near and dear ones to save the date. Those close to the lovebirds say that the wedding is likely to take place between November 12 to 16.

Friends and family members, however, may need to keep aside more than just one day, as it will be a destination wedding. The Padukones and Bhavnanis (Ranveer’s family) will head to Italy for the big occasion.

WORKING IT OUT
Ranveer and Deepika have asked their respective teams to make sure that their date diary is clear during that time. A source says, “Ranveer’s Simmba will be wrapped up by then. He might just have some patchwork left to do. Deepika, meanwhile, is in talks for various movies, but is yet to begin any project. Their brand endorsement duties will also be adjusted.”

AN INTIMATE AFFAIR
Our source says, “Both, Ranveer and Deepika, were keen to have a small ceremony. The wedding at a foreign destination will give them the privacy they desire. They will probably have a reception in Mumbai for their friends and colleagues. A few people from Bollywood like Arjun Kapoor, who is one of Ranveer’s closest B-Town buddies, and Shah Rukh Khan, who is fond of Deepika, may join the celebrations in Italy. The rest of the wedding party will comprise the couple’s family members and pals.”

Deepika Padukone in Masaan director Neeraj Ghaywan’s next?

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Deepika Padukone and Neeraj Ghaywan
Nayandeep Rakshit (DNA; July 1, 2018)

Over the last few years, Deepika Padukone has been extremely picky about her movies. Now, after Padmaavat’s success, she is treading with even more caution. After Hrs has learnt that among the several movies that have been offered to her recently, Neeraj Ghaywan’s next has caught her attention. Reveals a source, “Neeraj and Deepika had been in talks for quite some time. The Masaan director was busy finishing the script’s first draft. Once he got it in place, he approached Dippy again, who liked the story.” However, she is yet to sign on the dotted line. Our source adds, “Discussions are still in the initial stage. DP will play the protagonist in the woman-centric drama.” We texted and called Neeraj, but he didn’t respond till the time of going to press.

BALANCING IT OUT
Deepika has struck a balance between her commercial outings and out-of-the-box choices. She did a Happy New Year as well as a Finding Fanny. Piku was followed by a magnum opus like Bajirao Mastani. “Even now after Padmaavat, which broke records earlier this year, she signed Vishal Bhardwaj’s gangster flick. There’s buzz that she will be a part of India’s first mega-budget superheroine flick, too.”

NO ANNOUNCEMENTS YET
Though Deepika has decided on her next string of releases, there has been no announcement. “That move is deliberate. She is gearing up for her wedding. The films she signs now will roll only after her marriage. If Deepika gives her final nod to Neeraj’s movie, it will go on floors mid-next year, after Vishal’s project.”

Sooraj Pancholi and Isabelle Kaif learn 14 dance styles for Time To Dance

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Sooraj Pancholi and Isabelle Kaif
Nayandeep Rakshit (DNA; July 2, 2018)

Sooraj Pancholi and Isabelle Kaif have kickstarted their schedule for Time To Dance in London. We hear that the leads have been trained in as many as 14 dance styles as part of their prep for the film. Says a source, “It’s a typical boy-meets-girl love story that has dance as its backdrop. The film will be made like a musical with several songs and Sooraj and Isabelle will be seen dancing in several styles like Bachata, contemporary, Latin as well as House, which is an evolved form of hip-hop.

Sooraj tells us, “We have trained under Remo (D’Souza) sir’s team every day for around 12 hours. I hope everyone likes it. This dance film is quite different from the ones seen so far in the genre. Here, we will be showing a lot of new dance forms, too. There are many difficult lifts as well.”

Isabelle adds, “In the film, we both come from two opposite schools of dance. When we meet, our worlds collide. Usually, people need eight-nine years to master these styles, but we had to learn them within months. Both, Sooraj and I, have put in a lot of hard work.”

Some dance forms proved to be easier than other, admits Isabelle. “Hip hop and Bollywood dance are simpler because you can rehearse for just five days and get the moves. But the others can be tough as every dance form is different, technically. There are so many difficult steps, cool drops and spins. I hope Sooraj doesn’t drop me,” she laughs.

Mumbai has the best qualities of all the cities in India-Varun Sharma

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Neha Maheshwri (BOMBAY TIMES; July 2, 2018)

Years ago, Varun Sharma had come to Mumbai to fulfil his dream of becoming an actor. It was a huge step for the Jalandhar boy, to leave his family and friends back home in Chandigarh, and pursue a career in Bollywood.

Today, Varun has scripted his success story on the big screen, and he says that he loves every bit of this city — which he refers to as his home and karmbhoomi. He says, “People make a city, it’s not the other way round. It is the vibe of a city that makes it unique. Mumbai and its people are full of warmth and love — it has the best qualities of all the cities in India. People from across the country come here to fulfil their dreams. Look at the film industry — it has talents from different parts of the country, speaking different languages and belonging to different cultures, collaborating to entertain the whole of India.”

Ask him how he flirts with the city, and Varun says that he loves exploring the by-lanes of Mumbai in his car. He says, “Driving in the city rejuvenates me.” The actor loves Mumbai’s monsoon as well — especially going out for a stroll in the rains and munching on bhutta. He tells us, “If North Indians rave about their winters, we have our monsoon. When I am not shooting, I sit in my balcony with a cuppa and some pakodas. What better way to enjoy rains than lazing around in your house and admiring nature.”

Talking about his early days in the city, Varun recalls his special association with Carter Road. He had landed in Mumbai a few days ahead of India’s historic cricket World Cup win in 2011. After the match, he stepped out with his sister on Carter Road, as the celebrations shifted from people’s living rooms to the streets of Mumbai.

Little did he know then that this stroll would get him to meet Shah Rukh Khan in person! Varun recollects, “We were celebrating our win with ice cream. Suddenly, a car pulled over and the next thing I see is Shah Rukh Khan emerging out of the sun roof and waving at the crowd. He has always been my inspiration and he was the reason I had come to Mumbai. At that point, I didn’t know that I would be working with him in Dilwale.”

Bungalows of famous stars are definitely an attraction for aspiring actors and during his initial days here, Varun would often stand outside his favourite actors’ bungalows. The other popular landmarks he feels a strong connect with are Mehboob Studio and Aaram Nagar. He explains, “As a child, whenever I heard news about the film industry, I would particularly be fascinated by the word Mehboob Studio. So, I made it a point to see it after I landed here. Araam Nagar is special for obvious reasons, as every aspiring actor goes through rounds of auditions there.”

The actor says that he loves being a part of the madness, warmth and chaos of Mumbai. “Outsiders feel that one can easily get lost in Mumbai. But when you join the madness, you realise the immense love and great opportunities it offers. This city will never let you sleep on an empty stomach if you are willing to work hard. My family was a bundle of nerves when I was coming here, but the journey has been fruitful and beautiful,” says the actor, adding, “Nothing beats the street food in Mumbai. My favourite haunts are Amar Juice centre for the late-night pav bhaji and dosa. I also frequent South Mumbai for its amazing food joints.”

Anita Raj returns to the marquee after six years for biopic on Deendayal Upadhyay

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Avinash Lohana (MUMBAI MIRROR; July 2, 2018)

Anita Raj, who was last seen on the big screen in Samir Karnik’s 2012 romcom Chaar Din Ki Chandni, is set for a comeback. The actress will be seen in the biopic of Deendayal Upadhyay, an RSS thinker and co-founder of the political party Bharatiya Jana Sangh, the precursor to Bharatiya Janata Party, as his sworn sister Lata Khanna.

“I was really impressed with the story and immediately agreed to be a part of the film. It’s a profound role as during Deendayal ji’s last days, his sister Lata played an important role. I don’t know much about her and will start my research soon with the guidance of our writer Dhiraj Mishra,” Anita tells Mirror.

The actress had featured in Ramesh Bedi’s 1996 film Gehra Raaz, which was followed by Aanand L Rai’s Thodi Life Thoda Magic in 2008. Ask her about the long absence from the big screen and she says, “It was intentional as nothing interesting was coming my way. Also, I was concentrating on my family and workouts as I am a heath freak. But times have changed, and better roles are now being written for actresses. I took up TV shows, 24 and Ek Tha Raja Ek Thi Rani and thoroughly enjoyed doing them. As an actor I don’t see any difference between films and TV.”

Reiterating that she would never regret the sabbaticals, Anita says that she has fond memories of her early days in the industry. “I have worked extensively with Sanju (Sanjay Dutt), Dharam ji (Dharmendra), Raj ji (Babbar), Shatru ji (Shatrughan Sinha), and Mithun (Mithun Chakraborty). All of them were really kind to me. I learnt a lot while working with them. From the time I entered the industry with Prem Geet, I was always treated well as everyone respected my father (actor Jagdish Raj). It was because of him that I came into the industry,” she signs off.

Mrunal Thakur to play a classical dancer in Hrithik Roshan's Super 30

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Mrunal Thakur
Nayandeep Rakshit (DNA; July 2, 2018)

TV actress Mrunal Thakur will soon make her Hindi film debut with Super 30. The Hrithik Roshan-starrer, which releases early next year, is based on the life of mathematician Anand Kumar. While the first look of both the actors has already made its way to the internet, little is known about Mrunal’s character in the film.

She plays Hrithik’s love interest, but that’s not all. Mrunal reveals, “I play a classical dancer. I’ve been learning Kathak from Birju Maharaj’s disciple, Renu Sharma, and have been practising it for the last couple of months.”

We hear that the young actress will also shoot a special song, which requires her to showcase her perfect moves. Confirming the same, Mrunal says, “The movie is around 70 per cent complete. I have a few more days of shoot left. Only some scenes and the song are left to be shot. We are filming the track around July-end or early August. I have a portion in it where I will be doing Kathak.”

Some actors keep playing hero till they are 60. I don’t want that-Nawazuddin Siddiqui

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Nawazuddin Siddiqui
Deepali Singh (DNA; July 2, 2018)

Nawazuddin Siddiqui plays ruthless characters on screen with so much conviction that one might think that’s how he is in real life as well. But when he greets us with a polite ‘Kaisi hain aap?’ and a gentle handshake as we meet him at a suburban hotel for a chat, we see him in a new light.

The award-winning actor will be seen as the antagonist in Sacred Games, which is based on Vikram Chandra’s epic novel by the same name. The first Indian Original series that will be streamed on Netflix this week also stars Saif Ali Khan and Radhika Apte. While the powerhouse performer had not read the book earlier, he made it a point to familiarise himself with it during the two-and-a-half-month shoot.

“Vikramaditya Motwane and Anurag Kashyap, who are the directors, had narrated the script to me earlier. They had told me how they wanted to create the character and take it ahead. During the shoot, I used to make someone sit and read out the novel to me,” he says. In a tête-à-tête with After Hrs, Nawaz reveals how he approached this unconventional character and why grey roles appeal to him. Excerpts…

You’ve played the role of a gangster in quite a few films. How did you ensure that you portray Ganesh Gaitonde differently?
See, if you want to categorise him, then he’s a gangster. But I don’t think of such tags. He comes to Mumbai from a small village in Konkan with big dreams. Maybe his path is not right because his surroundings have been like that. He manages to escape unhurt from a lot of things, so he starts believing that he’s invincible. That’s how I have approached the role. I didn’t play him with a certain attitude just because he’s a gangster. That’s how I approach every character.

Do you find the digital space exciting? Would you be willing to experiment more on this platform?
I’m quite excited about it. It’s a dream for any actor to showcase his work and sensibilities to a wider audience. It’s through the digital platform that we can show the entire world ki hum bhi hain. We have shot and treated the series with the same discipline and hard work as we would for a film.

You recently appeared in the BBC crime drama McMafia, helmed by James Watkins. How was that experience?
James had seen my work in Miss Lovely (2012) and The Lunchbox (2013). The show was shot mainly in Croatia. The experience was good. James has also directed a couple of episodes of Black Mirror. He is a fabulous director who manages to convey subtle nuances.

On one hand, you play fictional characters like Ganesh Gaitonde; while on the other, you’re doing biopics on real people like Saadat Hasan Manto and Bal Thackeray. What is more challenging for you?
I don’t have such fixed notions. I feel that as an actor, I should expand my horizons as much as possible. If I don’t, I will get limited, just the way heroes become. They keep playing hero till they are 60. I don’t want that. There is just one life to live. Jitna kar sakte ho, utna karo.

Manto and Thackeray were people with different ideologies. How do you play such characters?
That’s the fun of it, to play such different people. The amount of trust and hard work I have put in Manto, I have put in for Thackeray as well.

You have played a handful of positive roles in your career. What is the appeal that dark/grey characters have for you?
Black or white characters have no shades. It’s the grey characters who are colourful. White characters — the heroes — have nothing to do. They just keep standing like sticks, while the others around them adorn the film. There is no mazaa in that. Hollywood actors Robert De Niro and Al Pacino have mainly played characters with grey shades. That’s where you get to see what the actor is all about. Even I am selfish. I prefer grey characters because there is more scope in them.

Had I been an inch shorter, I might never have made it as an international model-John Abraham

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As told to Roshmila Bhattacharya (MUMBAI MIRROR; July 2, 2018)

I grew up in the City of Dreams, schooled at Bombay Scottish and after graduating in Economics from Jai Hind College, did my masters in management studies from the Mumbai Education Trust (MET). I then got started with the four Ps. For those who are wondering about the Ps, let me explain... To understand what a product or service can offer the consumer and plan for a successful product offering, we have what is known in marketing terms as the four Ps — Price, Product, Promotion, Place.

I wanted to be a strategic planner and an implementation buyer so I interned with an ad agency, Euro RSCG, working under V Ramani. After that, I joined Enterprise Nexus Communications Pvt Ltd as a media planner. My boss Hiren Pandit gave me the opportunity to become what I am today.

Media planners analyse data and thinking creatively come up with innovative strategies to help the client reach specific markets and target audience. Depending on the package, the idea is to come up with the most effective media plan. This can take a couple of months and involves hours of backbreaking research, sometimes ending in heartbreaks. If one number changes, you have to go back to the table.

My first account was The Times Of India group. It was exhausting but at the same time exciting to work with one of India’s biggest publishing houses with credentials to match. Meanwhile, when a model didn’t show up for a shoot, I was pushed into taking his place. I ended up showcasing a pair of jeans and became a part-time model.

In 1999, I took part in Maureen Wadia’s Gladrags Manhunt Contest while planning a move to a bigger agency. To my surprise, I was shortlisted for the international Manhunt contest in Manila, Phillipines. I was the first runner-up and magically, the world opened up for me. But when I look back, I realise that had I been an inch shorter, I might never have made it as an international model. At 6 feet 1 inch, I just made the grade and was signed by Carrie Models. I worked in Singapore, Hong Kong, London and New York. Then, I returned home, continuing to make merry.

My first ad campaign was for a soap brand. I was the Cinthol Man. Sabal Shekawat gave me my first break and I recall running through the jungles of Mauritius, 20 top models, including Madhu Sapre and Diandra Soares, chasing after me. It was a memorable shoot!

Along with modelling assignments, I also started featuring in music videos, going on to collaborate with popular singers like Hans Raj Hans and Pankaj Udhas. I’ve never forgotten Pankaj’s “Chupke Chupke” whose music video Anubhav Sinha had directed. It was a sweet, innocent song which went on to become all the rage then and is still remembered today. Then, Bollywood beckoned...

I got two film offers from two Bhatts. Vikram Bhatt offered me the role of a baddie in Aetbaar while Mahesh Bhatt approached me to play the antagonist in Jism, an erotic-thriller his daughter Pooja was producing for which he wanted a new face and not a star. The agency didn’t want to lose me but my closest friends insisted I give films a go. My family has always supported me in everything I’ve done and encouraged by their confidence I took the plunge into showbiz.

It was a challenge because as a model you are just a face and a body, endorsing a brand, but as an actor you play a character who can be your polar opposite. It needs a mind and takes you places.

In 2003, I appeared on screen in my first feature film, Jism, as an alcoholic lawyer who gets caught up in an extramarital affair which destroys him. Fifteen years later, I am not just acting in but also making my own movies, from Vicky Donor and Madras Cafe to Rocky Handsome, Force 2 and the recently released Parmanu. The era of the supermodel which had yielded the likes of Milind Soman, Arjun Rampal and Dino Morea ended with me. And I ended up in the movies but the media planner in me still touches different aspects of my life. I plan my life and investments and position my films in a way that they reach the audience in the best possible way, calling into play all that I have learnt about GRPs, TRPs and OTS. I even strategise on my football team’s (he has 90 per cent stakes in NorthEast United Football Club which plays in Indian Football League) jersey, brand positioning and ticket sales. Once you enter the market, you are there to stay. But that’s not enough for me, I want to ensure I am always at the top of my game.


A still from Pankaj Udhas’s ‘Chupke Chupke’; John in his early days (top)

Check out Akshay Kumar, Mouni Roy go retro in the Gold song 'Mono Beena'

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Natasha Coutinho (MUMBAI MIRROR; July 2, 2018)

Akshay Kumar, who plays coach Tapan Das in Reema Kagti’s sports-drama Gold, recently shot for a fun party song alongside debutante Mouni Roy who plays his wife.

Titled “Mono Beena,” the song has them in traditional Bengali avatars. Tanishk Bagchi, who has composed the song, reveals that Akshay has also contributed to the lyrics. “I discussed it with (producers) Farhan Akhtar and Ritesh Sidhwani and they were very open to experiment with a different kind of song. The idea to change the lyrics from 'Mona Lisa' to 'Mono Beena' came from Akshay sir. He reasoned that it would sound better with a Bengali girl’s name. Reema was also very supportive and told me to immediately lock the idea. We are introducing new singer Yasir. Monali Thakur and Shashaa Tirupati have sung the female vocals,” the composer tells Mirror.

Tanishk goes on to add that he flew to Chennai and put together a band especially for the song. “It is very jazz-oriented, so I assembled a band that comprised musicians from different acts because we required the live orchestra feel,” he informs.

The composer hopes that the number, which isn’t as “in-your-face” as an item song, will be well-received. “The brief was for a retro but classy number, not an item song. Since the characters are Bengali I thought of bringing in the blues and jazz and we are optimistic the audience will love it,” Tanishk signs off.

Ajay Devgn manages our children quite beautifully-Kajol

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Kajol
Rinky Kumar (DNA; July 2, 2018)

Ever since she made her debut at the age of 17 in Bekhudi (1992), Kajol has essayed diverse characters with aplomb. Whether it was a simple NRI girl in Dilwale Dulhania Le Jayenge (1995), an obsessive  lover in Gupt (1997), a tomboy-turned-feminine beauty in Kuch Kuch Hota Hai (1998), a loud-mouthed Punjabi in Kabhi Khushi Kabhie Gham... (2001) or a manipulative entrepreneur in last year’s VIP 2 Lalkar, she has always taken up new challenges and impressed everyone with her performances.

Recently, the award-winning actress lent her voice to Elastigirl for the Hindi version of Incredibles 2. The English flick has become the highest grosser in the animation genre in India, while its  Hindi version has also contributed a huge chunk to the BO collections. Clearly, the risk has paid off for the effervescent star. She tells us why women have superpowers not just in reel but in real life, too, and how her husband, Ajay Devgn, is more adept at handling their kids — Nysa and Yug. Excerpts…

What was your reaction when you were asked to dub for Elastigirl?
My first reaction was ‘Yay, I’m going to play a superwoman with superpowers’, even though I’m not acting it out. I get all the goodies without doing much, which is a win-win situation for me. I love animation films.

You have played strong female characters in films. Was that one of the reasons you took up this offer?
Yes, of course, I wouldn’t do it if that wasn’t the case. I don’t think they (the makers) would have approached me if it wasn’t such a strong character.

How challenging was it to dub for an animated character?
Dubbing is always a painful experience even when you are doing it for a role that you have played. In this case, it was more difficult because I was doing it for another character. There are details like speech patterns and other aspects that one needs to keep in mind. This was a more technical act than sheer performance.

The movie has been praised as it emphasises on women empowerment and gender equality. Do you think it couldn’t have come at a more appropriate time given the whole ‘Me Too’ movement in Hollywood and the kind of women-centric movies being made in India?
More than women’s empowerment, this movie talks about how all of us (men and women) must share responsibilities. Like Mr Incredible tells his wife in the film, ‘Just do it, so that I can do it better.’ That line made me laugh because it says a lot about sharing responsibility. He always knew that taking care of kids is a tough task, but he didn’t know how tough it was till he had to do it himself. That’s when he realises that it’s not a breeze, it’s not as easy as snapping your fingers. That’s what equality is about. Empowerment is about finding your place in the world and men and women striking a balance when it comes to shouldering their responsibilities.

Did you draw parallels to your own life when you are out for shoots and your husband takes care of the kids?
(Laughs) My husband actually is more efficient than me because my kids too have shown certain superpowers at home that make me wonder how the hell did that happen. He manages them quite beautifully. He’s more adept at handling them.

Incredibles 2 has become the highest-grossing animation film in India.
(Intervenes) And I’m taking credit for it.

The Hindi dubbed version has contributed a huge chunk to the collections. Did you expect it to do so well?
I definitely expected it to do well. I’m so glad that everyone around the country has come around to accepting the fact that animated films are not made for a finite age group but cater to all kinds of people. Everybody can sit down, watch it and have a good laugh. That’s what is so cool about animated films.

Would you dub for a Hollywood film again?
This has been a great experience. I would like to dub again. If it’s about playing a woman again with superpowers, then I would definitely give it a thought (smiles).

You will be seen next in Eela in which you play an aspiring singer. This is the first time you are playing such a character.
I’m hugely excited about it. It releases on September 14. Yes, I play an aspiring singer in it. Women have a superpower, we can micro-manage. We can do things with just one head and a pair of hands that men think they need eight heads and hands to do. Eela celebrates this and is quite awesome.

Last year, you were seen in VIP 2. Do you have any plans to act in a regional cinema again?
I have no barriers in my head when it comes to any kind of film or any language. Having said that, I do feel most comfortable in Hindi.

Your Madame Tussauds wax statue was unveiled recently. You’ve lent your voice for an animation flick for the first time. Are these exciting times for you as an artiste?
Yes, I think I have had exciting times all my life. I’m a pretty happy person. I have a little more to do on certain days but, I like my life the way it is and I love myself every day (smiles).

Kriti Sanon, Kartik Aaryan in a romcom based in Mathura, titled Luka Chuppi

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Actor plays a TV reporter in Mathura whom every girl wants to take home to mamma in Dinesh Vijan’s upcoming romcom
Roshmila Bhattacharya (MUMBAI MIRROR; July 2, 2018)

This February, Luv Ranjan’s romcom, Sonu Ke Titu Ki Sweety, was the perfect Valentine gift for lovers. A year later, in February-March 2019, ‘Sonu’ Kartik Aaryan is hoping to bring the crowds back to the theatres with another love story, with a generous dose of small town humour. Produced by Dinesh Vijan, Luka Chuppi features Kartik and Kriti Sanon and will roll in August this year.

“Kartik plays the star reporter of a local TV channel in Mathura. We had toyed with the title Mathura Live before settling for a game of hide-and-seek,” shares Dinesh, adding that the story travels from Mathura to Gwalior and Agra.

Kriti plays a Mathura girl who had gone to Delhi to study and now is back in her hometown. “While Kartik is the quintessential good boy every girl wants to take home to mamma, Kriti represents today’s youth who advocate gender equality and have their own ideology,” informs the filmmaker who recently wrapped up another romcom with the actress, Arjun Patiala, also featuring Diljit Dosanjh and Varun Sharma.

Dinesh’s choice of actors was prompted by the fact that while Kriti is originally from Delhi, Kartik is a Gwalior boy. “The dialogues have a touch of the local dialect and being from the region, both are familiar with the setting and the lingo. They also have a crackling chemistry,” he beams.

Dinesh had started his filmmaking journey with the Saif Ali Khan-Deepika Padukone-Diana Penty-starrer Cocktail which was set in the UK but since then has been making films rooted in India, from Irrfan Khan’s Delhi-based social-drama Hindi Medium to the horror-comedy Stree which was filmed in Chanderi. “My films have always been content-centric and real India is in these small towns. That’s where the stories are. And well-told desi stories have a terrific connect with every kind of audience, going by the super success of Hindi Medium not just back home but also in a country like China where Hindi is not even their medium of communication,” he reasons.

Interestingly, the director of Luka Chuppi, Laxman Utekar, was the DoP of Hindi Medium among other films. He has also directed two Marathi films, Tapaal and Lalbaugcha Raja. This will be his Bollywood debut.
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