Stills from Phagun, Trishul

MUMBAI MIRROR (September 6, 2019)

For a recent guest turn on a TV show, Amitabh Bachchan came armed with lesser-known anecdotes from his early days in films. And most of them featured former co-star Waheeda Rehman. The Big B started off by revealing that the senior actress and Dilip Kumar are his two idols.

“The first time I got an opportunity to work with her (was) in Reshma Aur Shera. During the shoot, there was a sequence where Sunil Dutt and Waheeda ji had to sit bare-feet in the desert. I was worried about how she was managing to shoot in high temperature without footwear. So, as soon as the director announced a break, I took Waheeda ji’s juttis and ran towards her,” the 76-yearold actor reminisced, going on to add that she is still the most beautiful woman to him and is the perfect example of an Indian woman.

During the show, Bachchan also shared an interesting trivia about his family. “Waheeda ji has worked with three members of our family and has played the role of mother with all three of us. In Phagun (1973), she played a mother to my wife (Jaya Bachchan), she was Abhishek’s mother in Om Jai Jagadish (2002; right), and worked with me in Trishul (1978),” he said.

Waheeda Rehman, who was on the show through videoconferencing, laughed her heart out. “It feels happy and ajeeb (weird) at the same time. If it continues this way, perhaps I will play mother or grandmother to Abhishek’s kids someday!” she exclaimed.

BOMBAY TIMES (September 6, 2019)

It was sheer luck that saved Akshaye Khanna from a major accident during the shoot of his upcoming film, Section 375. The incident took place when a top-angle shot of the actor walking in an empty courtroom was being filmed. The camera was supposed to move with Akshaye and capture the sequence. The rehearsals went off fine, and finally, when the team started shooting the scene, something totally unexpected and shocking happened.

The camera, which was placed above and weighed around 85 kilos, fell on the floor. And, it would have fallen right on Akshaye, had the actor, for some inexplicable reason, not moved to the side. Now, that is what you call a stroke of luck!

Talking about the incident, director Ajay Bahl says, “I still shudder when I think about that day.” The courtroom drama, which aims to shed light on the rape laws in India and the Indian Penal Code, will see Akshaye and Richa Chadha play lawyers. It also stars Meera Chopra and Rahul Bhat in pivotal roles.

SCIPL presents Section 375, a Panorama Studios production. It is produced by Kumar Mangat Pathak, Abhishek Pathak and SCIPL, and co-produced by Sanjeev Joshi and Aditya Chowksey. An Anand Pandit Motion Pictures, PVR Pictures and Panorama Studios International release, the film will hit theatres on September 13.

MUMBAI MIRROR (September 6, 2019)

Mirror had earlier reported (July 17) that Rishi Kapoor, who has been in New York since last year for treatment, is gearing up to return to India and resume work soon. “The moment I get back, I will take 15 days off to connect with my roots, get over the jet lag and by the end of September, I will start shooting,” the actor, who had gone to New York for cancer treatment last year, had said.

Earlier this week, a picture of him with actress-wife Neetu at an airport triggered speculation that he is on his way back. While his elder brother Randhir denied the rumours, saying, “Rishi is still in New York. He’s coming next week.” According to an industry source, Rishi will touch down in Mumbai on September 10.

The actor had a couple of films lined up when he left for treatment on September 30 last year. While in recovery following the treatment, he dubbed for Jhootha Kahin Ka in New York and the comedy, also featuring Jimmy Sheirgill, Sunny Singh and Omkar Kapoor, released on July 19. The actor also intended to dub for another film, The Body, while in the Big Apple but the makers reportedly insisted that he do it after his return to Mumbai.

While the makers of the thriller were unavailable for comment, a well-placed industry source informed, “Right now, everyone is waiting for Rishi ji to return and get used to the time zone and his routine here. After that, whenever he decides to resume work, whether this month-end or early October, the makers will work out schedules accordingly.”

Mohar Basu (MID-DAY; September 6, 2019)

Joining the likes of Priyanka Chopra Jonas and Deepika Padukone to earn an invite from a luxury brand for the New York Fashion Week, Kriti Sanon is ready to rub shoulders with some of the most prominent names in the world of fashion and retail in America.

Sanon, who will attend the show for a luxury handbag brand, tells mid-day, “I am looking forward to meeting some of the biggest fashion icons in Hollywood. They have been inspirations for every fashion-forward individual, including me.”

Always willing to give a go at something new as far as her fashion sensibilities are concerned, Sanon says India’s evolving sartorial taste is placing it among the most elite across the globe. “The evolution of fashion has been rapid, with emerging as well existing designers acting as inspirations. I am well-informed about the latest runaway trends, and enjoy experimenting with my style.”

Dharmendra introduces grandson Karan Deol and his leading lady Sahher Bambba, as Sunny dashes to Gurdaspur
Akash Bhatnagar (MUMBAI MIRROR; September 6, 2019)

On Thursday, Dharmendra took centrestage to introduce the third generation of Deols with the trailer of his grandson Karan’s debut film, Pal Pal Dil Ke Paas. The event was postponed by a day due to heavy rains, which the veteran actor deemed “the shower of God’s blessings” on their film.

He was accompanied by Karan and his co-star, Sahher Bambba, while Sunny Deol, who has directed the film which is co-produced by Shariq Patel, had to give the event a miss to reach Gurdaspur, his constituency, following a blast in a firecracker factory. For Dharmendra, it was an emotional moment, as he went on to applaud the film’s team for shooting in harsh weather conditions in Himachal. “My son and my unit dared to go where even eagles can’t,” he said.

Proceedings took a nostalgic turn when the patriarch shared an incident from his grandson’s childhood, when little Karan accidentally shot at a ceiling while playing with a loaded gun. Dharmendra went on to say, “The one thing I don’t want Karan to inherit from me is my drinking habit.” And would he be up to do a love story himself? The 83-year-old actor quipped, “I can do anything. I am still full of love and action.”

Meanwhile, Karan kept it short while addressing the topic of nepotism. “I hope my work will speak for itself,” he said, before going on to add that his dad’s discipline on the set helped him grow, both as a person and an actor.

And what was it like tackling intimate scenes, considering his father was behind the camera? “Dad said it would be better if he just stayed behind the monitor instead of telling us what to do. All he instructed us to do was feel the character and go for it,” Karan said, to which Dharmendra remarked, “His grandfather’s soul came into him at the time.”

While the youngest Deol went on to reveal that he would also like to do animated voiceovers, comedy and even play a villain to step out of his comfort zone, fellow debutante Sahher said that she had always wanted to become an actress but never took any training. “I learned everything from Sunny sir,” she said, adding that the Deols are “like family and Karan is a friend for life”.

Ayushmann Khurrana on dubbing for his female avatar in an upcoming comedy of errors and a week-long ‘detox break’ with wife Tahira Kashyap in Austria
Avinash Lohana (MUMBAI MIRROR; September 6, 2019)

Ayushmann Khurrana, who has just returned from a week-long vacation in Austria with wife Tahira Kashyap, is excitedly waiting to see the response to his next, the comedy of errors Dream Girl, which opens on September 13. Point out that many people are already smitten by his female alter ego Pooja and the actor admits that the film’s team had toyed with the idea of getting a woman to dub for him and while shooting, he was trying his best to sound like one. “Since I was 80 per cent there, I thought of giving it a try, then, if things didn’t work out, we could try getting an actress or a good voiceover artist on board too. I personally love Priyanka Chopra’s voice,” he informs.

Speaking in a female voice is not new territory for Ayush though. During his days as a radio jockey, he would make prank calls as a woman. When he tried dubbing in a studio for the film, it worked. “Of course, I had to give 30-40 takes, focussing on every single line. It was hard work, but we finally got it right,” he beams, revealing that when he was 15, he would call his first girlfriend’s home, and if one of her parents picked up the phone, he would pretend to be one of her female friends. “I think I’d been preparing for this film for years.”

He’d never cross-dressed for a show or film before but raves about how cute Aamir Khan looked dressed like a girl in the Baazi song “Dole Dole Dil Dole”. “Even Kamal Haasan sir in Chachi 420 looked and sounded like a lady with both Om Puri saab and Amrish Puri saab’s characters in love with his Lakhsmi Godbole. They both inspired me but Dream Girl revolves around the boy who works in a call centre, so I had to wear a saree or a lehenga in only around five scenes,” he points out.

Quiz him on his “detox break” with his better half which came after a long time, and Ayushmann informs that they visited the Austrian spa town of Altaussee. “It’s beautiful and quaint. We walked and hiked, chatted and played chess, and binged on good food. We were so completely chilled out that we didn’t want to come back,” he admits.

Prod him on the chess games and he says that after losing to Tahira thrice, he stopped playing. “Now, there is no other vacation happening soon as I will start shooting for Shubh Mangal Zyada Saavdhan from mid-September in Varanasi. It’s a start-to-finish schedule.”

MUMBAI MIRROR (September 6, 2019)

Kareena Kapoor, who is one of the judges on the dance-based reality show Dance India Dance, recently got a chance to revisit her iconic character Pooja aka ‘Poo’ from Karan Johar’s 2003 film, Kabhi Khushi Kabhie Gham. With guest judge, choreographer Geeta Kapur, with whom she has collaborated several times, Kareena also reminisced about the song “Bole Chudiyaan” from the film, as well as Asoka’s “Roshni Se”. As part of Geeta’s grand introduction on the episode, the actress and her co-judge, Bosco Martis, showered flowers and performed a traditional ‘aarti’.

“Geeta’s choreography is sensual, she makes her heroine look feminine. ‘Roshini Se Bhare Bhare’ is the most sensual song in my career. It’s just the way she moves, I think it’s inherent… I don’t think many choreographers tend to bring it out in us,” Kareena said.

Upala KBR (MID-DAY; September 6, 2019)

Days after the trailer of Ayushmann Khurrana-starrer Dream Girl released, the makers have been accused of plagiarism by Janak Toprani (right). Toprani argues that his 2017 release, Call For Fun, bears resemblance to Balaji Telefilms' production, which sees Khurrana slip into the appearance of a woman. He claims to have approached Balaji with his script on two occasions but was turned down. "After they let go of the project, I got a financier and [made] the movie last year," he says, quick to add that Ekta Kapoor was not part of the discussion he had with the production.

He took action after a friend intimated him about the resemblance between the films. "After the trailer released, we took a week to consult a few lawyers. Then, I tried to call Nachiket Pantvaidya [CEO, Balaji] but he did not answer my call," says the director, who has shared the subsequent e-mails he wrote to Balaji, with mid-day. "If Dream Girl is similar to my film, I will file a legal case. I want credit as the writer and royalty rights."

When contacted, Dream Girl director Raaj Shaandilyaa (left) took ownership of the film's concept. "The idea belongs to me and my co-writer since 2010. We have also registered it. If the concerned director's film was not commercially successful, why would anybody replicate his idea?"

Actor-model Kunal Thakur makes light of the frenzy as his wedding picture from an ad shoot with Alia Bhatt is morphed to feature Ranbir Kapoor, causing an Internet storm
Shaheen Parkar (MID-DAY; September 6, 2019)

"OMG! Ranbir Kapoor and Alia Bhatt are secretly married?" yelled a headline of a Bollywood portal as it shared the now-viral image of the duo in what looks like a wedding set-up. Even the most gullible refused to pay heed to the evidently photo-shopped image, which traces its origin to an ethnic wear ad shoot conducted with Bhatt and actor-model Kunal Thakur.

Cinephiles would remember Thakur as a friend of Shahid Kapoor's Kabir Singh in the recent release. Confirming that the morphed image of Ranbir is, in fact, his, Thakur tells mid-day, "I was surprised to see the picture from the ad being passed around as one from their wedding. It appears fans are desperate to see them married. They superimposed Ranbir's picture on my face and circulated the image. I learnt of it when I began to receive messages from those who knew about the ad, informing me of this image."

Shooting with Bhatt for the Abhishek Varman-directed ad was an "amazing experience" for Thakur. "She looked gorgeous. It was good to get the experience of a wedding before I get married," laughs the actor, who has two short films, Chakravyuh and Grim Reaper, in his kitty.

Actor has pushed the release of his upcoming comedy to facilitate a solo run for his pal Nikkhil Advani’s Sidharth Malhotra, Riteish Deshmukh-starrer which now opens on Nov 8
Roshmila Bhattacharya (MUMBAI MIRROR; September 6, 2019)

It is often said that there are no permanent friends and foes in B-town. Consequently, there are few real friendships that have survived a film and four seasons. Actor-producer John Abraham and director-producer Nikkhil Advani worked together for the first time 12 years ago, in Salaam-e-Ishq, which the latter directed, but it was only during the making of their vigilante thriller Satyameva Jayate (SMJ) last year, that the two grew closer.

“John was going through a terrible time with his film Parmanu which was in a legal tangle, and along with his close circle of friends, he needed someone with an outsider’s perspective to talk to, someone who could advise and support him,” points out Nikkhil who as one of the producers of the Milap Zaveri-directed SMJ was always on the set.

He was a rock for John then and now, Mirror has learnt that the actor has reciprocated by moving the release date of his upcoming comedy, Pagalpanti, so Nikkhil’s next, Marjaavaan, which features Sidharth Malhotra and a three-foot antagonist in Riteish Deshmukh, can get a solo release. Another Milap directorial, the film is jointly produced by Nikkhil with Bhushan Kumar and Divya Khosla Kumar, along with his partners, Monisha Advani and Madhu Bhojwani. It was moved from its original date of October 2, despite having a strong track relating to Dussehra and the burning of Raavan’s effigy, to avoid a clash with Hrithik Roshan and Tiger Shroff’s action-thriller. But on November 22, there would have been a face-off with Ayushmann Khurrana’s next, Bala. Now, with Pagalpanti vacating its November 8 release date, Marjaavaan has a clear two-week window.

Milap informs that he had nervously screened the trailer of his next for John and was delighted with his response. “He found it powerful and commercial, and when I casually told him I wished my film could have a solo release, he conferred with his producers, Bhushan and Kumar Mangat, and they graciously shifted Pagalpanti,” he informs.

John reasons that his Anees Bazmee-directed star-studded comedy is a juggernaut which will steamroll its way through no matter when it arrives. “But Marjaavaan will benefit from a solo window and Bhushan agreed with me,” he points out. “Milap is a grounded boy and a wonderful writer while Nikkhil is a good, solid man for whom friendship is non-negotiable. I have worked with directors who have moved on, but Nikkhil understands loyalty and will work with you irrespective of how a film fares. It’s important for all of us that Marjaavaan works.”

Quiz him on how much Nikkhil has changed since Salaam-e-Ishq and John remembers a director who was always anxious then, but less so during Satyameva Jayate and was completely in control during Batla House. “I think, with time, he is realising that he has to keep his anxiety level in check to make a good film,” John laughs.

Batla House was the first of their six collaborations. The duo has discovered that they like and want to make films that are rooted in reality but within the mainstream and treated with a lot of heroism. “John often calls me asking if I can spare three hours to listen to a script he has liked,” says the filmmaker, adding that they are so much in-sync that sometimes they finish each other’s sentences.

Nikkhil goes on to recount how the “Saki Saki” song in Batla House had been shot with both the actor and Nora Fatehi but just before they launched the trailer, he felt that John didn’t fit into the song but didn’t know how to convey this. “Finally, when I was leaving for London and John for Ireland, I called him on the way to the airport and awkwardly told him I wanted to suggest something. Before I could say another word, he said, ‘I know what you are feeling, edit me out of the song,’” Nikkhil shares, adding that he was surprised when Bhushan who heads a music company and is known to be a commercial filmmaker, agreed with them on this, reiterating that John should not feature in the song. “Bhushan brings his experience, wisdom and expertise to the table and adds value to our team,” he smiles.

The trio will collaborate next on the Satyameva Jayate sequel which will feature Divya opposite John and will be directed by Milap. Nikkhil informs that the film will go on the floors in January and while the earlier film tackled corruption in the police force, in Part 2 the common man will take on the theme on a wider scale, touching on topical issues. “It will be bigger and better, massy and relevant, and since we are targeting an Independence Day release for SMJ2, it will be patriotic without being jingoistic. You can love your country and criticise its shortcomings at the same time, that’s patriotism,” John concludes.

Vicky Kaushal in conversation with Mayank Shekhar at the latest edition of Sit With Hitlist, at the mid-day office Pics/ Nimesh Dave

Vicky Kaushal reveals the story behind his evolution from indie cinema's poster boy to Bollywood's current heartthrob on a full-on dream run
Mayank Shekhar (MID-DAY; September 6, 2019)

Here's The One Question We Will Not Ask You: How's The Josh? How's The Josh… Aren't You Frickin' Tired Of Hearing It [My Ears Hurt]?
[Laughs] I don't think I'll ever be tired of this question. This line has given to me and my family something very special. Although, have to say, I had reached a point, where I could just get up in the middle of my sleep, hear it, and go, "High Sir!" [laughs]

In Box-Office Terms, Uri Really Made You A Superstar. And It Was Your First Action Film. This Is Not Ironic. Because Your Father, After All, Is An Action Director. And That Would've Shaped Your Relationship With Films Too, In The First Place; No?
To be honest, I was craving an action film. Which, as an audience, I really enjoy watching. And not in the sense over-the-top action. I wanted to do something realistic. For me, a good action film is what Aamir Khan did with Ghulam [1998]. Or, say, Black Friday [2007]. My favourite piece of my dad's work is his first film [as action director] Prahaar [1991]. That's my space, where action is a scene — part of the narrative.

How Did You Land Uri [Given The Unlikely CV]?
[Director] Aditya [Dhar] was going to make a film called Raat Baaki Hai, with [Pakistani star] Fawad [Khan], and Katrina [Kaif], where I had a character that I couldn't do, because of date-issues. That film itself got shelved 20 days before shoot, because of the [Pathankot] attacks. Now, I was shooting interior portions of Raazi in Mira Road. It was an emotional scene, when I learn of Alia's [Bhatt] truth. We canned good stuff, and it had been a hectic day.

Driving back, I got a call from Ronnie Screwvala's office that they had dropped off an action script [to be directed by Aditya, who I already knew]. I saw the title, Uri: The Surgical Strike. And now I wasn't the actor. I was actually curious to know what happened [in Uri]. It took me four-and-a-half hours to read the script, in one go, which is what I prefer — as if I'm watching a film. That's when I get a true sense of what I feel.

As An Audience?
Yes. So I started watching the film, and I just couldn't get it. There was just too much information, military-technical-logistical language. Also, I didn't feel anything. Because I hadn't taken four-and-a-half hours to read a script before. So I went off to shoot the next day. When I returned, my dad, who was equally curious about the Uri incident, and had read the script lying around, asked me what I thought of it. I said I'm not sure. He told me that if I miss this film, it'll be the biggest mistake of my life! He said that maybe I'm in a different space right now, in another kind of military film, and that's why unable to connect.

You Were Playing A Pak Military Officer, Shooting For Raazi. Of Course You're Not Going To Like Uri!
[Laughs] And then I don't know what happened. I got back to the script four days later, finished it in an hour-and-a-half, as if I was reading it for the first time. I called up Sonia [Screwvala's associate] at 3 am, and said, I will do the film.



You Essentially Have Your Dad To Thank For Uri. What I Find Most Fascinating Is Actually Your Dad [Sham Kaushal]! Tell Us His [Lesser Known] Story.
My dad and mom are from a small village in Punjab. He was good in studies, and started learning English in sixth grade. He went on to top BA, in English Literature; did his MA. And wanted to be an English professor in Punjab. But the family's financial situation was such that he could not pursue an M.Phil from Chandigarh.

At 23, he was frustrated, with no job, even after an MA degree. My dadaji [grandfather] had a very small kiraane ki dukaan [convenience store] in the village. My dad's friend Satpal was going to Bombay to become an actor. Since my dad was doing nothing at home, and frustrated, my grandfather asked him to tag along with the friend, for a few days, feel better, and come back.

In Bombay, my dad wanted to start a new life. He had a distant uncle in New Bombay, who got him a salesman's job in a plumbing-wall shop, behind RK Studios, in Chembur. He did that for Rs 350 a month, and really struggled. He's been on streets. Without letting anybody know, he used to live in the office, having done a 'setting' with the peon. He would sleep, leave early; and come back, when work started.

He Would Take A Shower In Office?
Yeah, everything. After a year, he knew he couldn't start a family with Rs 350 a month, even if he did the same thing for 15 to 30 years. So, without Plan B, he quits his job, and comes to a PG [paying-guest accommodation] in Santacruz. Here, he stays with 10 Punjabi guys, who're stuntmen. They leave for work in the morning, and come back with a tidy sum in the evening. That's when he discovers this [profession]. Purely for survival, he decides to become a stuntman, at 25. People start training at 13-15, when their body is flexible. He had never done any physical activity before. He used to sit in his father's shop, and do accounts.

So he is a stuntman for 10 years. He lands up his first film as action director with Mohanlal, because the Malayalam filmmakers were shooting in Bombay. They needed someone to handle the stunt sequences. They would've been okay with an experienced stuntman as well. So long as the person understood English, so they could communicate with him. My father was the only guy around who knew English. He got that job because of his degree in English Literature!

Amazing!
That was his lesson to me. That it doesn't matter what you're learning. I've done engineering. He said, "It doesn't matter if the circuits you're working on is going to help you in acting, or not. But your hard work, and giving your best to your 'now', will help you eventually!" But, yeah. It's been his, and my mom's journey.

You've Also Been Part Of The Journey. Did You Get To Observe Showbiz Closely As A Result?
No. Well, my brother Sunny and I knew that the good things we were getting in life was because of a lot of dad's hardships, and my mom's support to him. But it was never a house, where we wanted to meet our favourite stars, go on sets, parties, etc. We had friends line up outside our house, for an autograph of an actor who was visiting. For us, that actor was my dad's friend.

For example, Anurag [Kashyap] sir and I always have a laugh about this. He knows me since Black Friday [in which my dad was action director]. I was probably in my eighth grade. So when he used to come over for meetings, I used to call him uncle, serve him parathas, and go out to play cricket. So it was that.

But As An Aspiring Actor Later, Did You Observe Or Notice How Deeply Hierarchical Showbiz Is. It Is Perhaps The Most Capitalistic Of All Arts.
Well, it is changing now.



Of Course, But Did It Bother You, As In A System Where A Star Takes All, Or That You Would Have To Become One [In Order To Succeed]?
Not at all. To be honest, I don't know why, but I never had a sense [of entitlement] that I should be launched as a star. I knew I could make a mark by knowing my job — just going through the drill, and getting opportunities on the basis of what I know. Also, my father had made it clear that he would back my decision to be an actor, as a father alone. And not as an action director.

So I had that reality-check — that nobody is going to spend crores, because I'm Sham Kaushal's son. And he's not going to do it either. Besides, for whatever reasons, whether some sort of complex, or plain under-confidence, my dream wasn't so big — that I want to be a hero. I was just on auto-pilot — that I'll give auditions, learn the craft through theatre, be an AD [assistant director]...

You Did A Lot Of Theatre?
I did. But I started off as an intern to Anurag Kashyap on Gangs Of Wasseypur [Gangs]. I also started reading scripts that my dad would get, to match with the final film, and see changes that an actor brought in. I could visit sets with him. But realised I'd then just be a visitor. My knowledge of engineering is so bookish that I can't even repair a TV. I wanted to be an engineer, who has been at the garage for four years. So I decided to dive into acting, with on-field learning.

Was It Paid Internship?
No. Unpaid.

I Just Don't Understand Why Are So Many Movie Internships Unpaid?
[Laughs] But the payment I wanted, I got. It was not for the money, it was for the learning, and I really got paid well. Through actors on set, I got to know the importance of theatre. I'd been active on stage since school, but feared it professionally. I started doing theatre with Manav Kaul, Kumud Mishra, Naseer saab [Naseeruddin Shah], Thespo Festival, and Rage Productions — my first pay-cheque. I joined Kishore Namit Kapoor's acting academy. I also had to clean my slate, after being an assistant-director, because I wasn't looking at that profession. I completely cut off from Anurag sir.

But He Made You Act In Gangs, Though!
It's the scene where Nagma Khatoon [Richa Chadha] goes to a brothel. Last minute, everyone [junior artistes] that we'd rounded up in Benares refused to participate in that scene, once they realised it's a brothel. The entire direction team stood-in for them. I'm that silhouette you see behind the window-grille, overacting karte hue, when Naghma Khatoon is cursing Sardar Khan [Manoj Bajpayee]! That was the first time I faced a camera.



Oh, I'm Told Your First Time Before Camera Was For [Director] Michael Winterbottom?
Yes, that was the first time I faced the camera, and you could see my face! Michael Winterbottom was making a film called Trishna, with Freida Pinto. We'd just finished shooting Gangs in March, 2011, and I had these braces, and was an AD. I had gone to my native place in Punjab with family, when I got a call from Anurag Kashyap, and he said, "Item number karega (Will you do an item number)?" I was like, what? He said, it's a Michael Winterbottom film, and Huma [Qureshi] and I will dance, and that he's acting in it as well, it'll be fun.

So, Trishna, that's Freida's character in the film, comes to Bombay from Rajasthan, and a friend of hers takes her to a film-set. There's a song being shot with choreographer Ganesh Acharya, which is being picturised between and Huma and I [in the film, within the film]. That song was also supposed to be the promotional track for the film, like [Slumdog Millionaire's] Jai Ho! But the film never released [in India].

So It Was Supposed To Be Taken Seriously.
Yeah. It was a proper song. But in the film, it's a scene. I was wearing this shimmery black, typically item-number costume, which I was very conscious of. I had no idea how it feels to be before a camera, with 50 back-up dancers, and 200 people around. So, my body is dancing, but my face is like this [frozen]. Ganesh Acharya sir, who was very sweet, came up to me and said, "You're dancing well. Now just dance from your face!" Of course, with several retakes, we got it right.

This Is Before You Began Your Daily Grind Of Auditioning For Parts. Was There Any Role That You Made It To The Top Three Or Four Of, And That We May Remember From Screen?
Not lead parts. But my first audition, in fact, was for the friend's role in Bhaag Milkha Bhaag [2013], which got heavily edited out eventually. In that audition, I realised that I don't know anything about acting. Then there was a part in the film Ghanchakkar [2013]. Namit Das did that role, finally. I still remember, the character's name was Idris. That was a great role.

Masaan Was Your First Release. But Zubaan, Which Picked Up Top Festival Awards, Was Actually Your First Film. Honestly, Couldn't Understand That Movie. Should One Go Back And Watch It Again?
I don't feel an audience should change the way they should watch a film. If you can't connect, you can't. It really resonated with me — a Punjabi from Gurdaspur, going to a big city, living that life, eventually realising it's not him; and now he has to connect back to his roots, and music becomes his medium. There was a lot for me to do as an actor — the journey, plus that stammering, plus music… If I feel connected to a material, for any reason, I just plunge into it. I don't think if it's going to do any good. I went through several rounds of auditions, from a short-list of around 200-300 actors, for that role.



Even Masaan, For That Matter, I'm Told, You'd Seen The Pilot Promo Of That Film With Other Actors Already. Who Were The Other People Doing That Film Then?
I remember [director] Neeraj [Ghaywan] and I, with the entire AD team of Gangs of Wasseypur, were going to Pune. Because a friend had lost someone in her family. We were in the same car, catching up after long. He was telling me about a film he was trying to make, with a very complex title, Raand Saandh Seedhi Sanyaasi.

Are You Serious?
Yeah, I had the same reaction. He showed me the pilot-promo. It looked very interesting, and he gave me the gist. The cast was Rajkummar Rao for the part I [eventually] played, when the film became Masaan. There was Manoj Bajpayee for the part played by Sanjay Mishra ji, and Richa [Chadha], and Shweta [Tripathi]. That was the promo.

The film had to be shot in October during Durga Puja [for the song Tu Kisi Rail Si]. If they missed the deadline, they'd have to shoot the following year, which they couldn't afford. Raj couldn't make it during the time, so that slot became open. They were looking for new actors. So they auditioned me, and I passed!

That Was A Breakout Role. You Owe Your Career To Rajkummar Rao!
[Laughs] Yes. In fact, my first few films, even Zubaan or Raman Raghav [2015], had gone to somebody else, and then they started auditioning again. And let's just look at the continuing dream-run since — Love Per Square Foot, Lust Stories, Raazi, Sanju, Uri… That's crazy! It is a very surreal kind of a run that I've had, especially over the past year-and-a-half... It really does feel special, that it happened. People recognise you. Doors started opening in the industry. And I can meet the directors I want to.

Speaking Of Directors, You've Worked With Anurag Kashyap As An Intern [Gangs], Then Actor [Raman Raghav, Manmarziyaan], He Also Produced Masaan. He's Notorious For Throwing Actors Into The Deep-End, No Script, Etc. How Did That Work For You, Starting Off?
He's a very impromptu kind of a creative force, relying on impulse. If you give him everything ready on paper, then he might not know what to do on a set. He does give you the lines. He just doesn't want actors to be rigid, when it comes to them. So he wants you to enter knowing what your character is. And then allow him, the geography, and the costumes to mould you.

Give An Example?
Sometimes, we may not have the lines beforehand. For example, my last scene in Manmarziyaan. It's the separation scene between Taapsee and I, in her room. We were ready in costume. He had told the DOP [cinematographer] to keep the tracking-shot ready. And he is with his pen and paper, writing the scene, while we're in costume. He gives us the lines, and we have five to ten minutes to prepare.
I had to hug Taapsee. It is an emotional moment. My character has accepted the fact that he's not the guy in her life. He hugs her. And once a scene is over, as per the script, for the next ten to fifteen seconds, Anurag sir has a tendency to not say cut.



He Will Just Keep The Camera Rolling?
Yeah, while the actors are thinking, what do I do next? I still remember, it was my OS [over-the-shoulder] shot. I have hugged Taapsee. The moment is done. And done. And done... But I still can't hear, cut! Then I see Anurag Kashyap sitting right next to that camera, looking at me, going, "Alag ho jaa, alag ho jaa [separate]." So in that emotional, teared-up state, I don't know what to do. She [Taapsee] doesn't know what to do either. And then, I just start beat boxing. That makes Taapsee smile. And that makes me smile. And then, he says cut. That is the moment, and the scene in the film. Not the one he had written.

Is Rajkumar Hirani The Methodically Prepared, Polar-Opposite?
He is as organic. The difference between them lies in the writing, and structuring of the film. And their ways of presenting a story. As directors, they are both fine editors. They can see the film while shooting it, and so they are super-fast — no safety-shots, no safety-cuts.

I've seen on Sanju, Raju sir has called for a steady-cam operator on set for a specific shot and moment. It's a full night's shoot anyway. While shooting the scene, he captured that moment on a static camera. He was so sure that he had got the shot, that he just told the steady-cam operator to pack-up.

And Sanju Was A Huge Film For You, Too. Incredible Love And Fame. What About The Flip Side Of It — Public Scrutiny? That You Could Be At A House-Party Chilling, And Some Politician In Punjab Could Say That You're Drugged Out, When You're Having Warm Water, Recovering From Dengue? How Do You Respond To That? I'm Talking About The Karan Johar House-Party Video, Of Course.
It was a very chilled-out party. That video is put out. And right after, I am in the hills in Arunachal Pradesh, with the Army, for three-four days, where there is no network. Obviously I don't know. And I have no clue that I've become the 'charsi of the country'! I come back to Bombay, and my mom and dad know everything. They have been watching the news. They didn't tell me before, because I would get affected, sitting there [in Arunachal]. So I head to my room. Before going off to sleep, I get on Twitter, and then I'm like, "Hain? FIR! Yeh kya hua?" I'm looking at those videos circling, white thing, and light falling on the floor...

They Assumed It Was Cocaine!
So I rushed out of my room to check if my mom and dad knew about this. And then they just gave a smile, and said, don't worry. I was, like, okay, as long as they know, I'm sorted. Then the next day it started affecting me again, with TV channels circling my face in red!

I thought I should come out and speak, but realised that would be an impulsive response. That is as impulsive as them factualising an assumption, which doesn't make sense. Also, what happens on a social-media trial is this: It starts from, 'They look drunk!' Then it becomes, 'Oh, they do look drunk.' And then it becomes, 'These are actors, they are drunk!' Then it's, 'How dare they?''Shame on them, they're drunk!' You don't know who to answer. But there are also 10 people asking others, "Kuch toh dimaag lagao, kya bole jaa rahe ho! [What're you saying?]" So I had a choice to listen. Or react to much bigger things happening in the country than this.

Let's Look At The Brighter Side Of Fame Though. You Went To An Engineering College, Where There Are Hardly Any Females, Let Alone Female-Attention. Do Your Classmates Hate Your Guts Now That You're The Heartthrob, As It Were?
In an engineering college, whatever number of girls that there are; by the fourth year, even they become like boys!

Think You're Now Going To Be Trolled By Engineering Students.
I'm sure engineering students listening to us would completely agree with me [laughs]. But, yeah, the heartthrob element also takes me by surprise a bit. I think it is a very pleasant feeling. It's got a lot to do with the characters I've played, and that they've resonated.

It's not like I'm the handsomest man ever. There are much sexier men, with better physique and charisma. The difference is that my work has resonated with the audience, so there's relatability with this guy, on screen — that's the edge. Tomorrow there'll be another one, whose works will resonate, and he'll become the heartthrob. I'm not the first or last such. It is part and parcel.



And Of Course, Then The Question [The 'Resonated Female Audience'] Wants To Ask Then Is: Are You Single?
I am.

(Audience) Can You Tell Us About The Craziest Fan-Experience You've Had So Far?
[Long pause] Someone just landed up in my house, straight up to my apartment. There were mom and dad at home; I wasn't. The girl just rang the bell. There is building-intercom, and watchman. But my mom somehow thought, maybe some friend of mine was expected, and I may have forgotten to tell her about it. So the girl comes in. She is like, "Vicky had called me to his house. We chatted on Facebook."

Now, at least, my mom and dad know that I don't use Facebook. They figured there's something fishy. What had happened was that there was a fake-profile of mine on Facebook, with whom the girl had been chatting. And that's a bit scary. So I had to really look into my social media accounts, pull down all [fake] pages, and do one verified account. She found it very difficult to believe that it wasn't me that she had been talking to, all along. Apart from that incident, the experiences have all been sweet.

SAAHO (Hindi) had another drop on Wednesday but the collections are still good and better than all the Hindi releases this year except KABIR SINGH and URI for the first Wednesday. The film collected 6.75 crore nett on Wednesday for a six day total of 108.50 crore nett. There was heavy rain which hit collections in Mumbai city but that difference would only have been 20 odd lakh but its enough to malke Delhi/UP the highest collecting circuit for the film thanks to the excellent business in UP.

The film crossed the 100 crore nett mark yesterday which is actually not a big deal but even still this mark is celebrated in the big way by the trade and media though its irrelevant in the case with most major Hindi films as 100 crore nett for them hardly means anything. But for this film it was an achievement to get 100 crore nett as it was not from the Hindi film industry and from outside and most films of outside hardly go anywhere but there was pretty much silence. In history only the eight films have hit 100 crore nett from outside, the others being BAAHUBALI: THE BEGINNING, THE JUNGLE BOOK, BAAHUBALI 2: THE CONCLUSION, AVENGERS: INFINTY WAR, 2.0, AVENGERS: ENDGAME and THE LION KING. The film is up there in strong company and all these film along with SAAHO have a 100 crore nett from main Hindi circuits without counting the South circuits.

The film is heading to be a HIT unless the second Friday goes down to very low levels.

The collections of SAAHO (Hindi) over the first six days are as follows.
Friday - 25,25,00,000 apprx
Saturday - 24,50,00,000 apprx
Sunday - 29,25,00,000 apprx
Monday - 13,75,00,000 apprx
Tuesday - 9,00,00,000 apprx
Wednesday - 6,75,00,000 apprx
TOTAL - 1,08,50,00,000 apprx
-------------------------
The Hindi version of SAAHO may have scored but its a sorry scenario in the South as the collections are falling very fast. The domestic market is hardy collecting for the film now as figures in Nizam/Andhra were down to 2.50 crore nett on Thursday. The way its going it will be not be long before the collections in Delhi/UP will be more than Nizam/Andhra on a daily basis which is crazy.

The film collected 10.50 crore nett apprx across India on Thursday and the total is 247.50 crore nett and we can take at least 30 crore nett from here on a worst case scenario for the Hindi version but the question will be that will South be able to cover the rest for the film to cross the 300 crore nett or is it a must for the Hindi version to cover 40 crore nett from here for a 300 crore nett plus final total.

The all India collections of SAAHO till date are as follows.
Friday - 88,00,00,000 apprx
Saturday - 51,00,00,000 apprx
Sunday - 51,00,00,000 apprx
Monday - 31,00,00,000 aprrx
Tuesday - 16,00,00,000 apprx
Wednesday - 10,50,00,000 apprx
TOTAL - 2,47,50,00,000 apprx

It Chapter Two is a worthy remake and keeps you engaged from start to finish. This is quite praiseworthy considering that the film is 169 minutes long. Yet, it doesn’t seem dragging or needlessly long. There’s a lot happening in the movie and hence, the interest levels are maintained. Although you are zapped into the narrative, you still feel if the horror quotient was a bit more novel and not clichéd. Sure, a few scenes are quite hatke and take the film to dizzying heights (the restaurant scene especially). But this aspect is not consistent and hence, the impact is hampered to a small extent. The climax seems a bit simplistic but nevertheless, it gives one the scares. The casting is spot-on and they look so similar to their younger versions. Also, the character sketch and how their childhood experiences influenced their adult decision are well done. James McAvoy delivers a difficult performance with ease. Jessica Chastain gets a great role to essay and she does full justice. Isaiah Mustafa comes next - subtle, serious but effective performance. Jay Ryan looks dashing but plays the part of a person who once struggled with weight issues very nicely. Bill Hader adds to the humour. James Ransone is appropriate. And of course, Bill Skarsgård is the best part of the film. He does better than part one here and for me and for many others surely, he ranks as one of the greatest villains of all time! All in all, It Chapter Two works and fans of the franchise and Stephen King shouldn’t miss this horror flick!

My rating - *** ½ out of 5!

Roshmila Bhattacharya (MUMBAI MIRROR; September 7, 2019)

Since the last few days, it’s been pelting down in Mumbai which is perhaps why the song from Woh Kaun Thi?, “Naina Barse Rimjhim Rimjhim” is stuck in my mind or maybe because September 2 was its leading lady Sadhana’s 78th birth anniversary. Even after 55 years, Madan Mohan’s haunting melody, along with the vision of the mysterious lady in white, resonates in our collective memory. Its ‘hero’ Manoj Kumar recalls filming the song in Kufri with Sadhana ji lip-synching to the composer’s voice because Lata Mangeshkar had fallen ill and was unable to record it before the schedule. To ensure that the schedule was not cancelled, Madan Mohan ji recorded the song himself, telling director Raj Khosla that Lata ji could dub it on their return. “A crowd of star-gazers were watching us shoot, and after a while they wondered aloud why Sadhana was singing in a man’s voice,” he guffaws.

Manoj Kumar saab (right) himself had recommended Sadhana ji’s name, but while she was keen to partner with him in the chiller thriller, she pointed out that since neither of their films had done well commercially, it might not be a viable jodi. To this he quipped, “Two minus will make a plus.” However, the actor admits, that having taken off to Delhi earlier, he was on tenterhooks, wondering which actress was coming, till he saw Sadhana ji and heaved a sigh of relief.

“Woh Kaun Thi? also made me a full-fledged writer,” reveals Manoj Kumar saab who having ghost-written in his struggling days, was going through the script while his director shot with Parveen Choudhary who played Dr Lata. On Khosla saab’s return, he told him that he wanted to discuss some scenes and was invited to his hotel room. When Manoj Kumar saab confessed to having rewritten six-seven scenes, Khosla saab silently read them, then, without saying a word, strode to the actor’s room where his wife Shashi was sitting with producer N N Sippy, Sadhana and her parents. “Even as we watched wide-eyed, he chucked the file he was holding in one hand into the burning fireplace, saying, ‘There goes the original script, we don’t need it anymore’, then, waving the sheaf of papers in his other hand, added, ‘Pandit ji will write a new one for us,’” recounts the actor who from that day was frantically writing between shots. “Raj Khosla would stroll across to enquire how far I had progressed, and when told I’d finished half a scene, would insist we shoot that much, before I returned to complete it. I not only wrote the script and acted in the film, I even gave it its intriguing title and designed an eye-catching poster which had me with my back to the camera and Sadhana facing it,” informs Manoj Kumar saab.

Another star of the ‘60s, Biswajit (left) also shares anecdotes from his triangular love story with Sadhana and Dharmendra, Ishq Par Zor Nahin, which released six years later in 1970. He played Amar, the only son of a millionaire shipping magnate while Dharam ji was his impoverished friend, Ram, whom he gets a job in his father’s company. He then uses his friend’s talent as a shayar to woo Sadhana ji’s Sushma, only for her to decide that she will marry Ram when she discovers that he’s the real poet. This plot was tweaked for Lawrence D’Souza’s Salman Khan, Sanjay Dutt and Maduri Dixit’s musical romance Saajan .

The original love story ended in flames, literally. In the climax, shot aboard a ship, Biswajit da’s father (Abhi Bhattacharya) shoots at the fuel tank, and within minutes, there’s fire around the ship as the spilled petrol burns. Playing the sacrificial hero, Amar jumps into the sea, grabs a lifeboat and sends Ram and Sushma to safety, but loses his own life.

“To everyone’s horror, despite all the precautions we had taken, the blaze suddenly went out of control. There were no fire brigades around to douse the leaping flames that encircled me, and like everyone else present, I too believed that the reel life tragedy would happen for real when the film’s action director threw a chain into the water, and instructed me to grab it, saying I should swim underwater. Being a strong swimmer, I dived below the surface and found my way out of the fiery ring, living to tell you the story,” he signs off with a relieved laugh.

Having stepped out of his comfort zone in recent outings, Sanjay Dutt explains why he has returned to his favourite genre with Prasthanam
Sonil Dedhia (MID-DAY; September 7, 2019)

Counted among the original macho men of Bollywood, Sanjay Dutt tried to steer away from the action hero image in his last few outings. If Kalank saw him try his hand at an emotional drama, the thriller, Saheb Biwi Aur Gangster 3 (2018), was far removed from the star's brand of cinema. However, his attempt to step out of his comfort zone was met with little success. With his home production Prassthanam, Dutt tells mid-day that he wants to regain his credibility as an action star.

"I played a father in Bhoomi [2017]. In the climax courtroom sequence, the audience expected me to bash up the villains [and were disappointed when it didn't happen]. In Saheb Biwi Aur Gangster 3, my fans complained that the gangster element was missing from my role. There is a certain image that I have of an action star; it's difficult to break it and do something else. It's difficult to reinvent. If people love me for my macho roles, it is my responsibility to give them that. Prassthanam has everything that the audience expects me to do," he explains.

In his second innings in Bollywood, Dutt is keen to go beyond his role as an actor. His desire to back meaningful cinema has led to the creation of his studio, Sanjay S Dutt Productions. "We decided to back Prassthanam because it's a great film that provides entertainment. We chose politics as the backdrop as we wanted to target the heartland of the country," says the actor-producer, who forayed into production with an unlikely choice — the Marathi film, Baba. "It will be screened for the jury of the Golden Globes on September 14. We hope they nominate it [for the awards]. We are making a small Punjabi film, and a few Hindi films are in the pipeline. The aim is to make content-driven cinema without losing out on entertainment."

After romancing hottie Fawad Khan in Khoobsurat, Sonam Kapoor on working with South sensation Salmaan in The Zoya Factor
Shaheen Parkar (MID-DAY; September 7, 2019)

The jury is still out on whether Zoya Solanki — her character in The Zoya Factor — is a good luck charm for Team India, but Sonam Kapoor aka Sonam K Ahuja appears to be lucky as far as co-stars are concerned. Only five years after she had girls going green with envy as she romanced Fawad Khan on screen in Khoobsurat (2014), Kapoor will now be seen wooing South star Dulquer Salmaan in the screen adaptation of Anuja Chauhan’s book by the same name.

The Malayalam actor, who forayed into Bollywood with Karwaan (2018), enjoys a huge female fan following. Talking about her first collaboration with Salmaan, Kapoor says, "Dulquer is so good-looking and a thorough gentleman. Working with him was a delight, especially romancing him while shooting the track, Kaash. We have different vibes as individuals, but together we had a great time on the set as many comedy of errors kept happening throughout the shoot."

Shikha Talsania joins cast of David Dhawan’s Coolie No 1 remake, 25 years after father Tiku starred in the original
Mohar Basu (MID-DAY; September 7, 2019)

“I did a lot of research for the role and followed it up with few workshops,” says Shikha Talsania — the latest to join the cast of Coolie No 1 — with a poker face. Before we can do a double-take, she bursts out laughing, “I’m kidding! The only training I did was flex my comedy muscles. Being on set of this film is an extended workshop of how to have fun with what you have and the only research I did was willingly watch all the David Dhawan entertainers again.”

Shikha’s father and one of Bollywood’s favourite comedians, Tiku Talsania has been a constant fixture in David Dhawan’s films. She is glad to take the association forward by joining Varun Dhawan in the remake of the 1995 hit. “As an actor who devours comedy, being in a David Dhawan film was on my bucket list. With Coolie No 1, I am glad to tick that off. Dad was thrilled that I was going to be part of a film that he starred in, originally, and that I was going to be directed by his friend and long-time collaborator.”

While Shikha — last seen in Veere Di Wedding (2018) — clams up when prodded about her role, she is happy to rattle off how she had a “blast” during the film’s first schedule in Bangkok. “It’s been a month since we started shooting but feels like it was yesterday.”

Ask her if her father shared precious words of wisdom before she reported to Dhawan’s set, and she says, “The only advice my father gave me was — go, have fun!”

Vikrant Massey along with Yami Gautam gear to kick-start his romcom on September 16
Himesh Mankad (MUMBAI MIRROR; September 7, 2019)

After wrapping up Deepika Padukone’s maiden home production, the Meghna Gulzar-directed Chhapaak, in May this year, Vikrant Massey is all set to roll with his next. The romcom is titled Ginny Weds Sunny, and the actor plays Sunny to Yami Gautam’s free-spirited Ginny. “As the title suggests, it’s essentially a marriage drama with the boy falling in love with the girl, who is not ready to tie the knot because she has certain aspirations. Things take a turn when Sunny tries to win Ginny with her mother’s support,” reveals Vikrant, promising a lighthearted treatment to this familiar story. “I really enjoyed the script written by Navjot Gulati and Sumit Aroraa, the writer of Stree. I hope people appreciate our film as well,” he says.

The film will go on the floors on September 16 in Delhi. “Unfortunately, Yami wasn’t well, so the shoot got pushed by a couple of weeks. We will begin a start-to-finish two-month schedule now. We will be shooting in Ghaziabad, Greater Noida and some parts of Manali,” informs Vikrant who is looking forward to collaborating with Yami. “We have met for readings and rehearsals, and as we shoot day in and day out, the dynamics will only get better. Yami is a fantastic artiste and has had a great year with Uri.”

Vikrant is also excited to shoot a typical Bollywood dance number for the first time in his career. “I can dance a bit as I used to work with Shiamak Davar in the past. And since we belong to the land of song and dance, it is a part of our culture. So yes, I can definitely dance to save my life,” he says.

His character in the film is of an amateur chef, however the actor affirms that he didn’t need to prep much. “You will see me in aprons and kitchen wear. I have always been pretty casual about my wardrobe and look, for the first time, I will be paying attention to my hair and make-up. I also have a typical Delhi accent in the film,” he avers, pointing out that the audience enjoys a lighthearted film which for a while helps them forget harsh realities making the genre popular.

Dhaval Roy (DNA; September 7, 2019)

At the moment, Raaj Shaandilyaa is living the dream. The screenplay and dialogue writer’s maiden directorial venture, Dream Girl, is up for release. It stars the current hot property Ayushmann Khurrana and its trailer has won big-time praises. “I’ve written a few films for other directors and now I’m on the other side, so, I’m excited,” says Raaj, whose repertoire includes writing scripts for Comedy Circus and The Kapil Sharma Show on the tube, dialogue of Welcome Back (2015) and Jabariya Jodi this year among others. For the nouveau director, Ayushmann was the only choice for the role. “Had he turned down the offer, I’d have cast a new guy in the role. But when I gave him the narration, he said yes immediately,” says Raaj. Over to him for more…

How long have you toyed with the idea of Dream Girl?
I was writing the dialogue of Welcome Back when my co-writer Nirmaan D Singh and I came up with the concept. When I used to browse Facebook, I got to know about Angel Priya — guys who create fake IDs and flirt with other men. We discussed the concept, but I didn’t get the time to work on it. Finally, when I was freer in 2017, we started writing it.

Have you ever chatted with Angel Priya?
(Laughs) Yes, I have, once. I’ve always been interested in talking to people, knowing and making observations about them for character sketches. So, we chatted for about 25 minutes. Then he told me, ‘main toh sirf timepass kar raha tha. Lekin aap itni achhi baatein sikhaa rahe hain mujhe.’ Also, I have friends who become Angel Priya just to have fun.

Why were you so resolute about casting Ayushmann?
I wanted a guy who could pull off a woman’s body language and would sound convincing with a girl’s voice. When I watched Vicky Donor (2012) and Shubh Mangal Saavdhan (2017), I realised Ayushmann’s body language is better than most actors’ today. His understanding of comedy is also impeccable.

He’s also one of the most sought after actors today. That should benefit your debut…
Success for me would be if people like the film. There are many projects that are not commercially successful but are made well. I think this is a completely different character for Ayushmann and people are going to love it. It’s a simple film and it will do good business.

Ayushmann is also teaming up with Annu Kapoor after Vicky Donor… 
Annu ji is such a great actor and it was amazing to see them working together again. I wanted someone who would understand and master the dialect of Mathura and I could only see Annu ji doing this role. When I narrated the script to him, he agreed to do it because it’s a different and good role. Then when he got to know that it’s with Ayushmann, he got more excited.

You have established yourself as a comic screenplay and dialogue writer. What took direction so long?
In fact, I have turned director sooner than I intended. I was planning to debut only in 2020. I’ve wanted to direct for a while and it just happened that while writing the script, my co-writers suggested I helm it. Everything happens when it has to — there is no such thing as too early or too late. This just worked out on its own.

Do you plan to stick to comedies on the big screen?
No, my next few projects are romantic, drama and even thriller. My upcoming film won’t be a hardcore comedy. I want to do something unique but not completely unusual.

Who are the other Bollywood actors you’d like to cast?
I wrote Dream Girl with Ayushmann in mind but my future scripts are such that I will cast whoever suits the character. It has nothing to do with a star or a newcomer.

Abraham’s comedy, produced by Bhushan Kumar, has been deferred by two weeks after vacating Nov 8 slot for Nikkhil Advani’s next
Hiren Kotwani (MUMBAI MIRROR; September 7, 2019)

On Friday (September 6), Mirror had reported that John Abraham had vacated November 8, the release date of his upcoming comedy, Pagalpanti, to give filmmaker-friend Nikkhil Advani’s Marjaavaan an open weekend and a clear two-week window. Previously, the Milap Zaveri-directorial featuring Sidharth Malhotra taking on a three-foot antagonist in Riteish Deshmukh was slated to open on November 22, the same day as Ayushmann Khurrana’s Bala.

Now, Pagalpanti, will begin playing in theatres on this date. Bhushan Kumar, who is producing the Anees Bazmeee-directorial featuring John, Anil Kapoor, Ileana D’Cruz, Kriti Kharbanda and Artshad Warsi laugh riot, along with Kumar Mangat, confirmed the news, saying, “Yes, Pagalpanti will now release on November 22.”

Incidentally, Bhushan is also the producer of Marjaavaan, along with his wife Divya Khosla Kumar, Nikkhil, Monisha Advani and Madhu Bhojwani. Their last collaboration, this year’s Independence Day release, Batla House, had toplined John. This new development will now see John clash with Ayushmann at the ticket windows. Interestingly, the former was one of the producers of the latter’s Bollywood debut, Vicky Donor. After the movie’s runaway success, the two were to collaborate again, but the project didn’t materialise. Prior to the release of the Shoojit Sircar directorial, Ayushmann had been quoted as saying, “John is my god-brother in Bollywood.”

Considering that two of Bhushan’s productions have exchanged release dates, and Bala is arriving simultaneously, we asked the producer if there will be any more change of dates. He maintained that there will be no more alterations in the release schedules.