Fenil's Bollywood Talk # 943
10:34 PM
DHAMAAL 4 IS A HUGE SUCCESS; DEFIES ALL PRE-RELEASE EXPECTATIONS
The box office is on a high right at present. After Welcome To The Jungle, Dhamaal 4 has now rocked the box office. In fact, it's doing way better than Welcome’s third part. The film was expected to open around Rs. 10-12 crores. But it managed an opening of Rs. 14 crores. However, it’s the Saturday jump which was the most impressive. The film accumulated a whopping Rs. 22.50 crores on day 2 and Rs. 28 crores on Day 3.
Usually, films drop by 50% on Monday compared to Friday. But Dhamaal 4’s drop was minimal on day 4, when it collected Rs. 8.25 crores. A mini-miracle happened on Tuesday when the film earned more – Rs. 9.50 crores. This is the norm now, but it occurs because Tuesday tickets are sold at a discount. In Dhamaal 4's case, the makers didn’t sell tickets at cheaper rates since the film was doing so well. Yet, it saw a rise in the collections.
Dhamaal 4 has collected Rs. 82.25 crores in 5 days and is expected to earn around Rs. 95 crores in Week 1. On its second Friday, the film will cross the Rs. 100 crore mark. It’ll now certainly go past the lifetime numbers of Welcome To The Jungle. The aim of Dhamaal 4 is to cross the lifetime earnings of Total Dhamaal – Rs. 150.07 crores. That shouldn’t be a problem, though the drop on the eighth day will give a fair idea about it.
The box office is on a high right at present. After Welcome To The Jungle, Dhamaal 4 has now rocked the box office. In fact, it's doing way better than Welcome’s third part. The film was expected to open around Rs. 10-12 crores. But it managed an opening of Rs. 14 crores. However, it’s the Saturday jump which was the most impressive. The film accumulated a whopping Rs. 22.50 crores on day 2 and Rs. 28 crores on Day 3.
Usually, films drop by 50% on Monday compared to Friday. But Dhamaal 4’s drop was minimal on day 4, when it collected Rs. 8.25 crores. A mini-miracle happened on Tuesday when the film earned more – Rs. 9.50 crores. This is the norm now, but it occurs because Tuesday tickets are sold at a discount. In Dhamaal 4's case, the makers didn’t sell tickets at cheaper rates since the film was doing so well. Yet, it saw a rise in the collections.
Dhamaal 4 has collected Rs. 82.25 crores in 5 days and is expected to earn around Rs. 95 crores in Week 1. On its second Friday, the film will cross the Rs. 100 crore mark. It’ll now certainly go past the lifetime numbers of Welcome To The Jungle. The aim of Dhamaal 4 is to cross the lifetime earnings of Total Dhamaal – Rs. 150.07 crores. That shouldn’t be a problem, though the drop on the eighth day will give a fair idea about it.
If Zindagi Na Milegi Dobara was made today, it would be about three girls going on a trip-Kalki Koechlin
3:55 PM
Neha Maheshwri (BOMBAY TIMES; July 16, 2026)
Travel cult classic Zindagi Na Milegi Dobara (2011) turned 15 yesterday, and Natasha Arora, the fiancée audiences loved to argue about, continues to spark conversations. Kalki Koechlin doesn’t defend the character’s flaws. Instead, she believes those very imperfections made Natasha memorable.
She shares, “I don’t think she is a perfect character. I do think she is a problematic character,” adding, “Natasha absolutely stands up for herself. If she’s not okay with something, she says so and decides not to be with her fiancé. So, absolutely, she takes control of her life. That’s what makes the character lovable. Even though she’s quite insane, you understand where she’s coming from.”
Beyond the character’s personality, Kalki admits Natasha also left an imprint on her personal style. She says, “What I took from Natasha is my sense of style. She was always outfitted so well. I felt good in those clothes. There’s a certain personality... your spine straightens up when you wear certain clothes.”
If Zindagi Na Milegi Dobara were made today...
On the topic of why Zindagi Na Milegi Dobara has endured, Kalki reaches for a broader thesis about friendship on screen. She says, “I think a lot of films about friendship really stand the test of time. There’s something about friendship that really sticks because it’s what carries us through all the ups and downs. You marry, divorce, have a child, lose a parent... and when all these things happen, only a few friends see you through all those stages. Your friends are almost like a mirror to the person you become.”
Asked what a present-day version of Zindagi Na Milegi Dobara might explore, she says, “Maybe if it were made today, it would be about three girlfriends going on a trip, and the boys are having trouble with control.”
‘In Spain, we could just be ourselves’
Apart from Natasha, what has stayed with Kalki are memories of shooting in Spain and the anonymity it offered even actors of the scale of Hrithik Roshan and Katrina Kaif.
She recalls, “We had these huge film stars like Hrithik and Katrina in a completely foreign country. When we do promotions here, or when we shoot or go for a screening, there is security, crowds shouting their names and people asking for selfies. But in Spain, it was different. We walked on the cobbled streets and nobody bothered us. Everybody sat around the water fountain in the middle of the city. It was wonderful that we could simply be ourselves and not worry about the personas around us.”
Describing Spain as a leveller for the entire team, she adds, “It made everybody more accessible to each other. We weren’t hiding in our vanity vans, which tends to be the case when we’re shooting in Mumbai or elsewhere in India.”
‘There is a comfort in having women around when doing an intimate scene’
One of the things Kalki admires most about Zoya Akhtar’s filmmaking is her ability to find humour in life’s awkward moments, even amid emotional turmoil.
She says, “Zoya is particularly good at comic timing and at writing it into the script itself. She has a knack for finding those awkward moments and building them into the story. So, even in a serious scene, there’s always a touch of awkward comedy, and I really love that. The characters may be dealing with serious problems, but sometimes humour wins. Life is also like that. It’s never just one emotion. You’re not only sad; you’re also happy, angry and frustrated.”
Few films create a world as immersive as Tumbbad-Alia Bhatt
3:53 PM
Renuka Vyavahare (BOMBAY TIMES; July 14, 2026)
After much speculation, Bombay Times can now confirm that Alia Bhatt has officially joined the critically acclaimed Tumbbad franchise. The actress will appear in a pivotal role alongside Sohum Shah and Nawazuddin Siddiqui in Tumbbad 2, an anticipated sequel, marking one of the most significant collaborations in Indian cinema.
Known for her remarkable range and fearless choice of roles, Alia’s arrival marks a defining moment for the film. Her ability to seamlessly move between intimate character-driven performances has consistently made her one of the most compelling actors of her generation.
Alia told Bombay Times, “Tumbbad has stayed with me ever since I first watched it. Very few films create a world that feels this original and immersive, and even fewer continue to grow in people’s imagination years after they’ve released. That’s what makes this opportunity so exciting. To now become a part of that world is incredibly special. I’m looking forward to working with Sohum and Nawaz, two artists I’ve admired for a long time, and to exploring a character that belongs to a story as rich, mysterious and unforgettable as Tumbbad. I can’t wait for audiences to experience what we’re creating together.”
Celebrated for its rich world-building, atmospheric storytelling and visual ambition, Tumbbad redefined the folklore fantasy genre in India and has earned a cult following over the years. Its re-release went on to become the highest-grossing re-releases in Indian cinema. With Alia joining the cast featuring Sohum Shah and Nawazuddin Siddiqui, Tumbbad 2 is set to expand its canvas.
'Having Alia Bhatt come on board for Tumbbad 2 is truly delightful': Sohum Shah
Sohum Shah shared, “Having Alia Bhatt come on board for Tumbbad 2 is truly delightful for all of us. She is undoubtedly one of the most talented actresses of this generation, and I am sure the audience will get to witness something unique with her in the film. We have all witnessed her incredible performances on screen right from her debut. This is my first collaboration with her, and I am genuinely looking forward to working together.”
Tumbbad 2 is directed by Adesh Prasad and spearheaded by actor-producer Sohum Shah under his banner Sohum Shah Films, in collaboration with Pen Studios. The film is slated to release in cinemas on 3rd December 2027.
Producer Dr. Jayantilal Gada said, "Alia Bhatt is undoubtedly one of the finest actresses in our industry, and her joining Tumbbad 2 is truly incredible. This also marks our third collaboration with Alia after the phenomenal success of Gangubai Kathiawadi and RRR, making it even more special for us. She is the perfect choice for this film, and the audience will see her in a way like never before."
The Odyssey team stayed for 7 or 8 minutes; as they left, Tom Holland gave me a thumbs up, says Olympia owner
3:50 PM
Before they walked down the red carpet, Christopher Nolan, Matt Damon and Tom Holland found their way to a 108-year-old Irani café that still serves taxi drivers and Oscar winners the same cup. Here’s what else they got up to
Nisrin Saria (MUMBAI MIRROR; July 14, 2026)
There are two Mumbais every visiting celebrity encounters. One is all premieres, luxury hotels and flashing cameras. The other is discovered through recommendations. Over the past days, The Odyssey director Christopher Nolan and actors Matt Damon and Tom Holland found themselves on the latter trail.
At the Film Heritage Foundation in Ballard Estate on Friday, founder Shivendra Singh Dungarpur took Nolan through the Foundation’s restoration facilities, where the director watched technicians at work on a 70mm print. For a filmmaker who has spent years championing celluloid, it was a rare opportunity to see India’s preservation efforts up close. Nolan, fans would know, has also served on Martin Scorsese’s Film Foundation for over a decade. That Dungarpur’s Foundation has grown into one of the world’s leading centres for restoring and preserving films probably made it a fitting stop before The Odyssey reached Mumbai.
Photographer and filmmaker Sunhil Sippy, rarely someone to be overawed by famous names, found himself unexpectedly tongue-tied. He presented Nolan with a signed copy of Opium of Time, his 2021 coffee-table book of monochrome photographs of Mumbai. “I was nervous when he asked me to sign it,” Sippy says. “I simply wrote, ‘What an honour.’”
That evening, Dungarpur took Nolan and actor Matt Damon to Trishna in Kala Ghoda, that has fed Bombay’s old guard for decades. Nolan was, reportedly, already familiar with that menu, having eaten there with his family on an earlier trip.
A taste of Mumbai
If Friday belonged to cinema, Saturday belonged to Mumbai. Hours before the premiere, Nolan, Damon and Holland walked into Olympia Coffee House in Colaba. Founded in 1918, the Irani café has changed little over the decades. Its marble tables have welcomed everyone from taxi drivers and office-goers to politicians and film stars, while regulars still arrive early for bun maska, chai and its famously limited roast mutton. When Mirror met owner Mufti Ilyas Abul Rahim Saji, 56, last evening, he laughed at how ordinary the afternoon had seemed.
“Around 2.30 pm, members of their team started coming in,” he says. “We thought they were regular customers. They had tea and snacks, left, then returned again.”
Only around 6 pm did anything seem unusual – because security personnel gathered outside before a van pulled up. “We didn’t recognize them,” Saji says with characteristic matter-of-factness. “They came in, sat down, had tea and spoke among themselves. Then it was time for my prayers, so I left.”
The advance team had told Olympia only that a few VIP guests would be dropping in and requested chai and bun maska. True to the café’s old-school hospitality, Saji decided that wasn’t quite enough. He asked the kitchen to send out saffron phirni and custard as well.
The Saji family bought a 50% stake in Olympia from its Iranian owner, Mohammad Mirab, in 1954, when Mirab and his cousins were returning to Iran. Three generations later, copper vessels are still used here, because, Saji insists, “the taste changes if the pot changes.”
What has never changed, he says, is the place’s philosophy. “Our customers range from taxi drivers to celebrities, but everyone is our customer and we treat them alike. Everyone gets the same service,” says Saji, explaining that they go by the principle of equality taught in Islam.
Manager Inayat Maridiya, 40, knew only that “VIP guests” were arriving. “They stayed for seven or eight minutes,” he says. “As they left, Tom Holland gave me a thumbs up. Only later did someone tell me he was Spider-Man.”
Saji laughs. “I’ve never watched the Spider-Man films.”
When word spread
By the next morning, celebrity had worked its familiar magic. Customers arrived asking for the table where Nolan, Damon and Holland had sat, and even the cups they had used. They were out of luck. “They’d already gone back into the kitchen and were mixed with the rest of the dishes, obviously,” says 30-year-old waiter Shahbuddin Khan. There were even those who hugged Shahbuddin, as though a little of Hollywood glamour might have rubbed off on him.
In less than 48 hours, three of Hollywood’s biggest names had visited three very different Mumbai institutions: one preserving the history of cinema, the other preserving the city’s everyday rituals.
Underworld don sues director Prakash Jha over his web series, Aashram
3:46 PM
Alleges that the director used his photograph in the web series Aashram without consent to depict him as having links to a drug cartel
Anamika Gharat (MUMBAI MIRROR; July 8, 2026)
Ejaz Yusuf Lakdawala, a well-known gangster lodged in Mumbai Central Prison who describes himself in court records as a businessman engaged in property leasing and development, has filed a criminal defamation complaint against filmmaker Prakash Jha. He alleges that the director used his photograph in the web series Aashram to depict him as having links to a drug cartel.
The complaint, filed before the 13th Court of the First Class Magistrate at Sewree under Section 223 of the Bharatiya Nagarik Suraksha Sanhita (BNSS), seeks prosecution under Section 356 of the Bharatiya Nyaya Sanhita (BNS) for criminal defamation.
According to the complaint, the objectionable scene appears in Season 3 Part 2, Episode 5, released on February 27, 2025. During a courtroom sequence, a lawyer is shown producing documents before a judge referring to “drug cartel and mafia transaction reports”. Lakdawala alleged that his photograph is visibly affixed to one of those documents, creating the impression that he is involved in drug trafficking and organised crime.
Claiming that he has never been involved in any drug-related offence, Lakdawala alleged that the makers of the series used his photograph without obtaining his consent. He contended that the episode, watched by lakhs of viewers, has caused irreparable harm to his reputation, subjected him to humiliation and mental agony, and violated his privacy and personality rights.
In the complaint, Lakdawala describes himself as a law-abiding citizen, a businessman in the property leasing and development sector, and a reputed person in society. He also states that no complaint of any nature is pending against him before any court or judicial forum.
Lakdawala has been widely identified in police records and media reports as an alleged gangster and former associate of underworld figures Dawood Ibrahim and Chhota Rajan. He has faced multiple serious criminal cases over the years, including allegations relating to murder, extortion and organised crime, and has been the subject of several prosecutions.
Despite that background, Indian defamation law recognises that every individual has a legally protectable reputation. Lakdawala’s case is based on the specific allegation that the web series falsely associated him with a drug cartel, an allegation he denies, and that his photograph was used without authorisation.
Interestingly, the complaint has been filed nearly 16 months after the release of the episode. Explaining the delay, Lakdawala stated that because he is in judicial custody, he was unable to investigate the matter or obtain details of the accused earlier. The complaint, however, does not disclose when he first became aware of the alleged use of his photograph or why no legal action was initiated immediately after the episode’s release.
Lakdawala has sought issuance of summons against Jha, preservation and production of the relevant footage, and an expedited hearing of the case. He has also requested the court to restrain the accused from leaving the court’s jurisdiction until further orders.
The court will now examine whether sufficient grounds exist to take cognisance of the complaint and issue process against the accused. The allegations made in the complaint are yet to be tested in court, and no findings have been returned against Prakash Jha or the makers of Aashram.
Shafi Inamdar, Rakesh Bedi taught me the choicest Hindi gaalis-Swaroop Sampat
3:21 PM
Back on stage after 25 years with Jaane Pehchaane Anjaane, Swaroop Sampat reflects on the choices that defined her life
Faheem Ruhani (MUMBAI MIRROR; July 7, 2026)
If you were old enough to watch television in the 1980s, you know Renu Verma. During the pandemic, you met her again. She was the witty, level-headed neighbour from Yeh Jo Hai Zindagi, the 1984 Doordarshan sitcom that found a new audience on OTT. The character became one of Indian television’s most enduring icons, thanks to former Miss India Swaroop Sampat.
Now, after a 25-year break from theatre, Sampat is back on stage opposite Anupam Kher in the musical Jaane Pehchaane Anjaane. We meet at a rehearsal studio where she talks about the lessons she learnt from Shafi Inamdar and Rakesh Bedi, and why she believes no other actress could have achieved what she has outside cinema.
A return to the stage
Director Gajendra Ahire first thought of casting Sampat after visiting her home to meet her younger son, Aditya Rawal.
“I was amazed that someone so accomplished was serving us tea so casually,” he recalls. When Anupam Kher decided to adapt Ahire’s Marathi play Shvegyachya Shenga into Hindi, Ahire suggested Sampat for the lead.
The offer left her conflicted. Husband Paresh Rawal warned that theatre demanded too much after such a long gap. Her sons were divided. “Anirudh said, ‘I don’t know if you should do it, but it will be nice if you do.’ Aditya said, ‘Come what may, you have to do it.’ They weren’t much help!” she laughs.
Then Kher sent her a brief voice note: “Aap toh aise na the, Swaroop ji.” She gave in.
The play marks her first stage appearance since Shaadi@Barbaadi.com, in which she starred with Paresh Rawal 25 years ago. Yet theatre was her first home. Her father, Bachu Sampat, was Chief Producer of the Indian National Theatre, and she practically grew up backstage.
“By nine, I had learnt make-up by watching theatre doyenne Sarita Joshi. I also learnt how to change saris in seconds. In this play, I have nine costume changes, and I think of her every night.”
The woman behind Renu
After winning Miss India in 1979, Bollywood came calling. But she turned away from most offers. “The films being made in the 1980s did not match my sensibilities.”
She appeared in Naram Garam and Nakhuda, but it was Yeh Jo Hai Zindagi that made her a household name. Behind the scenes, she says, the cast became family. “Shafi Inamdar and Rakesh Bedi taught this South Bombay girl the choicest Hindi gaalis,” she laughs.
Although she stepped away from the spotlight to focus on family, she never entirely left acting. She later appeared in All The Best, and more recently in Ki & Ka and Uri: The Surgical Strike.
“Now, Aditya Dhar is the kind of director I’d love to work with. I’m also open to OTT if the role and the project excite me,” she says.
A different legacy
Interestingly, some of her most significant work happened far from film sets.
A conversation with Paresh Rawal inspired her to complete her education after dropping out years earlier. She eventually earned a PhD in Education from the University of Worcester on a full scholarship. Her doctoral research, The Role of Drama in Enhancing Life Skills in Children with Disabilities, became the foundation for years of work in education policy and classroom training across India. She taught life skills to children in some of the country’s most remote regions, including Bindevpada, a village whose name translates as “A Place Without God”.
“I am ambitious, and I chose to do what truly made me happy,” she says. “No actress could have done what I’ve done in education.”
The remark is neither boastful nor defensive. It is simply how she measures success.
Moments later, rehearsal calls. Despite nursing an injured foot, Sampat heads upstairs for another run-through. The tour will soon take Jaane Pehchaane Anjaane across the US and Canada. After decades away, the stage once again feels like home.
I came back with one suitcase weighing 32 kilos, mostly full of documents, heartache, pain-Celina Jaitly
3:19 PM
Onkar Kulkarni (BOMBAY TIMES; July 6, 2026)
For Celina Jaitly, stepping back into the world of cinema isn’t about returning to the spotlight — it’s about returning with purpose. The actress will next be seen portraying Sister Nivedita (also known as Nibedita), the social reformer and educator who was Swami Vivekananda’s disciple.
About her return to cinema, Celina says, “This is not my comeback. This is my homecoming through one of India’s greatest daughters.”
Celina reveals that her return to India followed one of the most difficult phases of her life. “I came back with one suitcase weighing 32 kilos, mostly full of documents, heartache, pain, trauma and uncertainty. Much of what had defined my world had changed,” she says. The actress is currently undergoing a bitter divorce battle with her estranged husband, Peter Haag.
‘Every actor dreams of a role that transforms them’
Interestingly, Celina’s role in this movie is the complete opposite of the glamorous image audiences have long associated with her.
“I never believed glamour defines an actor. Cinema gave me fame, but characters like Sister Nivedita remind me why I became an artiste in the first place — to tell stories that outlive us,” says the actress, who was launched by Feroz Khan in Janasheen (2003) and was last seen in the short film Season's Greetings (2020).
The preparation for Sister Nibedita, which is being helmed by Ram Kamal Mukherjee, extended far beyond physical transformation. Celina immersed herself in Sister Nivedita’s writings, personal correspondence and historical accounts while studying her profound connection with Swami Vivekananda.
“Every actor dreams of a role that transforms them rather than merely entertaining an audience. Sister Nivedita is one of those rare characters,” she explains.
‘If audiences embrace this new chapter, I will be grateful’
Looking back at her years away from films, Celina says what she missed most wasn’t fame but the opportunity to tell meaningful stories. “I missed storytelling far more than I missed the spotlight. Life has taught me that fame comes and goes, but meaningful work stays with you forever,” she shares, adding, “I return today not as the actress who left years ago, but as a woman with greater empathy, greater resilience and a much deeper understanding of life. And if audiences embrace this new chapter, I will be grateful. I did not come back to reclaim fame, I came back to tell a story that deserves to be remembered,” she concludes.
When Anirudh Chawla pointed out that I had completed 60 years my entire journey came rushing back to me-Hema Malini
3:06 PM
The actress looks back on her cinematic journey ahead of her Diamond Jubilee charity concert
Vinay MR Mishra (MUMBAI MIRROR; July 16, 2026)
Veteran actress Hema Malini is set to celebrate 60 years in Indian cinema with Hema Malini Live in Concert – The Dream Girl’s Diamond Jubilee Charity Concert, to be held on July 10 in Mumbai.
Ahead of the concert, Hema reflected on her six-decade journey in films at a press conference. She recalled how the milestone only truly sank in after show producer Anirudh Chawla pointed it out to her.
“When he pointed out that I had completed 60 years in cinema, my entire journey came rushing back to me — scene by scene. I remembered all the actors I had worked with, all the directors, photographers, cinematographers, comedians, countless heroes, producers, lyricists, music directors and all those unforgettable songs. Everything came flooding back because we discussed all these memories together,” she said.
Hema admitted she initially felt the timing wasn’t right to celebrate the milestone. “I said this was not the time, but Anirudh insisted it was, because we are already losing so many people from the industry. So many great artistes who were once with us are no longer here,” she added.
The evening will also pay tribute to her late husband, Dharmendra. “Dharam ji always shared a wonderful bond with the entire film fraternity, especially the workers. He treated everyone with warmth and affection,” she said.
Adding a charitable element to the celebrations, Rs. 10 lakh from the concert’s ticket proceeds will be donated to support members of CINTAA and FWICE.
The musical evening will feature performances by Kavita Krishnamurti, Suresh Wadkar, Anup Jalota, Anu Malik, Padmini Kolhapure, Vijayta Pandit, Sushma Shrestha, Shabbir Kumar and Sudesh Bhosle.
A star-packed tribute to Hema Malini’s six-decade journey
Several of Hema Malini’s longtime collaborators, including Jeetendra, Shatrughan Sinha, Rakesh Roshan, Javed Akhtar, Ramesh Sippy, Subhash Ghai, Umesh Mehra, Sanjay Khan and Anandji Virji Shah, are expected to attend the celebrations and will be felicitated for their contributions to her cinematic journey.
Ikaai is one of the boldest choices I’ve made so far-Saiee Manjrekar
3:00 PM
Renuka Vyavahare (MUMBAI MIRROR; June 23, 2026)
Saiee Manjrekar says she is currently going through one of the most experimental phases of her career, taking on roles that push her beyond familiar territory and challenge her as a performer. The actress recently opened up about playing what she describes as her most demanding character to date in Ikaai, a film produced by filmmaker Vikas Bahl and directed by Raj Singh Chaudhary.
Speaking about the experience, Saiee said, “I think every actor reaches a point where they want to challenge themselves beyond what feels familiar or comfortable, and for me, Ikaai became that project. This film pushed me emotionally and mentally in ways I didn’t expect. I had to unlearn certain instincts as an actor and approach scenes from a far more instinctive and raw place.”
The film also stars Raghav Juyal, whose presence, according to Saiee, added a unique dynamic to the creative process.
She further added, “Working with Raj has been an incredible experience because, as a filmmaker, he constantly encourages you to take risks and surrender completely to the atmosphere of the film. And sharing screen space with Raghav, who brings such unpredictability and intensity to his performances, added so much energy to the process. I genuinely feel this is one of the boldest choices I’ve made so far, and I’m excited for audiences to see me in a space that is so different from anything I’ve done before.”
Growing up in Auroville shaped who I am-Ahilya Bamroo
2:51 PM
Divya Shree (BOMBAY TIMES; July 4, 2026)
Ahilya Bamroo always knew she wanted to be an actor. What she didn’t know was that an Instagram account would become her ticket to the movies. Growing up in the multicultural township of Auroville near Puducherry, she was far removed from the traditional film circles, but her humorous videos on accents, multilingual observations and language-learning series went viral and eventually led to acting in Shoojit Sircar’s I Want to Talk and Sing Geetham, directed by Singeetham Srinivasa Rao, which released last month.
In a candid conversation with Hyderabad Times she shared about her unconventional journey, how her upbringing shaped both her life, her role as Gauri in the film, and the lessons she learnt from working with the legendary filmmaker Singeetham Srinivasa Rao.
‘Growing up in Auroville shaped who I am’
Growing up in Auroville gave Ahilya a childhood unlike most. Surrounded by people from different countries and cultures, those formative years instilled empathy, patience and a broader perspective that continue to shape her both as an artiste and as a person.
“At one point in school, I was one of only four Indian students in a class of about 25. Everyone else came from places like Korea, Germany and Italy, so it was an incredibly diverse environment. Because we were such a small community made up of people from so many different backgrounds, you naturally learned empathy,” she says, adding, “You had to be patient with one another because everyone came from a different place. I’m incredibly grateful to my parents for raising me there.”
‘Playing Gauri taught me a lot about myself’
Those values also helped Ahilya connect deeply with Gauri, the character she played in Sing Geetham, an eco-fantasy musical directed by Singeetham Srinivasa Rao and set in the fictional mining village of Kuberapuram.
“The theme of the movie is very relevant to what’s happening in the world today. Many of the things Gauri goes through are things I’ve also felt at different points in my life, and that’s been shaped a lot by where I grew up. I grew up in a forested environment, in a place that really values nature, peace and serenity over material wealth, and in some ways, that perspective feeds into the film as well,” she says.
Despite sharing an emotional connection with the character, Ahliya believes Gauri is far more courageous than she is. “At the same time, Gauri is much braver than I am. I really admire her. I’ve actually learned a lot from her. So even though I don’t come from the same background as the character — I’m not a Telugu girl and I didn’t grow up in those exact circumstances — there were still parts of her personality that I could connect with and draw from,” she says.
‘Even at 94, Singeetham sir pushes boundaries of filmmaking’
Beyond the character, the biggest takeaway for her was watching the 94-year-old legendary filmmaker at work.
“What’s inspiring is that the strong, progressive ideas around women and lead characters are coming from someone who is 94 years old. It’s incredible. I remember once, someone suggested doing a scene in a way that’s commonly done in mainstream Telugu commercial cinema, but he simply said, ‘We’re not making a film like everybody else, are we?’ He encouraged us to move away from familiar commercial conventions and experiment scenes in a more organic way instead of relying on a formula. Even now, he continues to experiment, push boundaries and always wants to change the game. Watching that firsthand has been incredibly inspiring,” she says.
‘Social media opened doors I never imagined’
During the pandemic, Ahilya’s comedic skits, vlogs and spot-on impressions, including a fan-favourite French accent, found a wide audience on Instagram. What began as a creative outlet soon became a launchpad for her acting career, with the platform helping her land opportunities in both Bollywood and Telugu cinema.
“I think one of the best things about Instagram is that it has made opportunities much more accessible. You can be sitting in a small town in India, and someone in Mumbai, Delhi or Hyderabad can come across your work and cast you in a project. In that sense, I owe a lot to Instagram because it allowed me to stay in my little world in Pondicherry while still being discovered by people in the industry,” she says, adding, “In fact, this is the second film I’ve landed through an Instagram direct message. The first was I Want to Talk, with Shoojit Sircar and Abhishek Bachchan, which still feels surreal to me. I’m incredibly grateful to Instagram, but I’m equally grateful to filmmakers who are willing to look beyond the usual circles when casting.”
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“Singeetham sir is so ahead of the curve. He always has been, as an artiste and as a visionary. Very often, he’ll suggest changes to the script or propose approaching a character differently, and it always feels so fresh and modern. The way he looks at stories is constantly ahead of its time.”
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“Of course I want recognition, but I don’t measure success by how many followers I have or whether a film I’m part of becomes a box office hit. For me, it’s about growing as an artiste.”
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