RUSLAAN could not do much on its second day as it recorded limited growth which was always going to be the case as these sort of films need some sort of start on the opening day.

The film is pretty much devoid of competition as none of the holdovers are collecting that much either and yet, it has not found an audience. The film will not be able to match the business of last weeks dud DO AUR DO PYAAR.

The box office is practically dead with very low occupancy everywhere for all films. The holdovers are getting extended runs but collections for them are low as well.

The collections of RUSLAAN till date area s follows.

Friday - 45,00,000

Saturday - 60,00,000

Actor Ranveer Singh seems to be in the busiest phase of his career. After Rohit Shetty’s Singham Again and Farhan Akhtar’s Don 3 in the pipeline, the actor is all set to collaborate with HanuMan director Prasanth Varma for his next.

A source from Varma’s team exclusively told us that Singh is “interested” in working with the filmmaker but is yet to sign on the dotted line. “Yes, it’s true that Prasanth approached Ranveer for a film in his cinematic universe. It will be his next project after Hanuman. Ranveer is interested and it is almost confirmed but nothing has been finalized yet. An official announcement will be made once it is finalized,” the insider revealed.

Hanuman, which marks the beginning of the Prasanth Varma Cinematic Universe (PVCU), was released earlier this year. Shortly after, Varma announced the second instalment — Jai Hanuman — on the occasion of the Pran Prathistha of the Ram Mandir in Ayodhya.

Varma had taken to X to share the news. “With gratitude for the immense love and support showered upon #HanuMan from audiences across the globe, I stand at the threshold of a new journey by making a promise to myself! #JaiHanuman Pre-Production Begins on the auspicious day of Ram Mandir Pran Prathistha,” he wrote. Whether Singh will be part of Jai Hanuman is not yet confirmed.

Set in the fictional village of Anjanadri, HanuMan featured actors Teja Sajja, Amritha Aiyer, Varalaxmi Sarathkumar and Vinay Rai in the lead roles. The film earned over Rs. 100 crore at the worldwide box office.

After having only one release in Tu Jhoothi Main Makkaar in 2023, Shraddha Kapoor, in a fan meet-and-greet session earlier this year, revealed that she was working on a few projects that included a mythological adaptation and a time-travel story.

Now, mid-day has learnt that she has also liked a drama to be backed by her rumoured beau, Rahul Mody, who co-wrote Tu Jhoothi Main Makkaar. If things work out, the actor will not only headline the film, but also turn producer with it.

Little is known about the movie’s plot at present as the makers are keeping details under wraps. A source reveals, “The talks are in the nascent stage, so it can’t be determined whether this will be her next project. But Shraddha has liked the central idea. She plans to co-produce it along with Rahul’s production house.”

Director Luv Ranjan’s romantic comedy was Kapoor’s first release in three years since the action fare, Baaghi 2 (2020). This year, we hear the actor wants to keep the momentum going with Stree 2, the sequel to Rajkummar Rao-led horror comedy, Stree (2018).

The source adds, “Stree 2 is one of the year’s most-awaited films. Going forward, Shraddha wants to carefully select her projects, choosing ones that evoke a similar kind of buzz. She also doesn’t want long gaps between her films.”

Last year, it was reported that actor Shah Rukh Khan’s son, Aryan Khan’s directorial debut outing, Stardom, features Mona Singh in a significant role. Now, we have learnt that the actor is currently shooting for the web series in Goa. A source says, “The Goa schedule is a long one. Earlier, she shot for the project in Mumbai and Delhi. The details about her role are not known yet.”

Talking about the kind of director Aryan is on set, the insider adds, “He is overlooking things to ensure nothing from the set leaks online. He is known for explaining the scenes well, hence the cast finds it very easy to work with him. His vision is very clear.”

Stardom is said to have six episodes and actors Ranbir Kapoor, Ranveer Singh, Bobby Deol and SRK, and filmmaker Karan Johar, are likely to have cameos in it. Set against the backdrop of the film industry, Aryan has written the script.

We reached out to Mona for a comment, but were not met with a response till the time of going to press.

Krishna Mukherjee took to Instagram on Friday to accuse the makers of her show Shubh Shagun, which last aired in October 2022. The actor, whose concerns range from non-payment of fees to being locked inside her make-up room in the earlier days of shoot, says, “Doing the show was the worst decision of my life.”

Recalling an incident, she says, “The producer, Kundan Singh, gave us the money for two months. Then, he stopped paying. They made us shoot for 13-14 hours a day. One day, I said I won’t shoot until they gave me my pay cheque. Sameer, the head of production and another guy, who was the executive director, started banging on the door and said, ‘Tu kapde change karke shoot karegi’.”

She claims she was so scared that she went to the washroom to change. When she tried to open the door, it was locked from outside: “They said, ‘Humein seedha karna aata hai’. A girl opened the door and asked me to leave. But then those guys said, ‘Dekhte hain gaadi kaise nikalegi’. I was shivering.”

However, she regrets that she continued to be part of the show till the end. She says she decided to speak up now as her dues from the show haven’t been cleared yet. “Itna time anxiety aur depression hua. My personal life was f****d because of all this. I regret that I didn’t quit even after the incident. Kundan Singh ne show band hone ka saara [blame] mujh par daal diya. He is lying in his Insta post.”

A grab of producer Kundan Singh’s Insta post

He was a legend. Every artiste can say that Irrfan sir was a phenomenon. He gave us so many good films and memories. In fact, two days ago, I was missing him so much that I watched our film,” says Radhikka Madan, as she talks about her Angrezi Medium (2020) co-star, Irrfan, on his fourth death anniversary today.

Irrfan, who suffered from a rare neuroendocrine cancer, was not keeping well towards the last leg of the film’s shooting schedule in October 2019. Hence, Madan couldn’t spend a lot of time with him off the set. “I was already informed that he would be low on energy. We finished shooting in October 2019 and in April 2020, he passed away. He shot the last scene with me,” says the 28-year-old, who played his daughter in the film. She adds, “I only saw him as my father. I couldn’t get the opportunity of fangirling around him.”

Reminiscing the days spent with the late actor, who died at the age of 53, Madan remembers him as someone very “respectful and passionate”. The 28-year-old says, “Full credit to Irrfan sir for treating me like an equal and not a newcomer, and giving me that respect as a co-star. That was the biggest motivation and it gave me the confidence to believe in my gut and craft. He really inspired and encouraged me as a professional. I was always his student.”

Madan also feels that the late actor’s honesty and dedication reflected in his craft. “He couldn’t lie in a scene. That’s the biggest lesson I learnt from him as an actor that if you are not feeling the truth, you cannot just deliver the lines. You need to find the truth in every word,” she ends.

Four months into 2024, Pratik Gandhi sits comfortably with two much-loved films, Madgaon Express and Do Aur Do Pyaar, behind him. But what lies ahead makes the actor happier—the web series, Gandhi. Based on historian Ramachandra Guha’s books Gandhi Before India and Gandhi: The Years That Changed the World, Hansal Mehta’s show dissects the man behind the world-renowned leader Mohandas Karamchand Gandhi, better known as Mahatma Gandhi.

Pratik, who recently kicked off its London schedule, says, “I get nervous when I do a series; even on my 200th show, I’m nervous. On Gandhi, I try not to think of the magnitude or expectations. I only think of my excitement. I try to bring the rigour that will pull me through for 120 days. It’s a plus that Hansal sir and everyone in the crew also has that rigour.” 

It’s fascinating how some roles become an integral part of an actor’s life. Since 2015, Pratik has been playing the Mahatma in a play titled Mohan No Masalo. As he brings the character alive again, this time on screen, the actor views it as something far bigger than a coincidence.

“I was destined to do this. I have been prepping for this for nearly eight years in three languages [Gujarati, Hindi and English]. This character has been a spiritual performance [for me].”

The actor, who broke out with Scam 1992: The Harshad Mehta Story (2020), has been seen in two back-to-back theatrical offerings recently. Does going back to a series worry him since theatrical releases are perceived to be the way forward?

“I never think of OTT and big screen as different. I look for a story. Madgaon Express’ success is empowering; [it tells us that] people come to screens for stories. As actors, all we can do is portray a character memorably and give our all. I want my stories to surprise people. I have a range of emotions to display in Gandhi. The Hindi film audience has never seen me play such a character, and I hope that shock value will land.”

We can’t end our chat without asking him whether Madgaon Express will have a sequel, as rumours suggest. “Kunal [Kemmu, director] left that Las Vegas reference in the end. So, he may have something in mind.”

It may have been three years since the release of Pushpa: The Rise - Part 01, however, tracks like Srivali, and Saami saami are still fresh in people’s minds. Devi Sri Prasad, the composer who arguably put the spotlight on south Indian music with Oo Antava, acknowledges the popularity of the score of part one, but says he doesn’t carry the weight of his success as he gears up to present his setlist for Pushpa 2 - The Rule. In this interview, he discusses creating the music for the film’s upcoming edition, which is set to be presented in six languages.

Edited excerpts of the interview.

I find that I am blessed in that I am not consumed by pressure. When you work without being stressed, you can deliver your best work. I treat each movie as a separate entity, because to cater to any film’s needs, you need to have a clear mind. I feel like an instrument of music rather than a composer of music. When I am inspired by a narration, I think of all the elements I can include to decipher what the best music for the situation could be. That’s how music flows through me, and I am grateful for it.

[In this edition], the story continues from where part one ended. It’s not like a franchise in which the actors are retained but the characters are different. Here, we are continuing with the same characters. So, you’ll notice progress in the music. Even then, we tried to make something different from the past soundtrack. 

Also, this time, we are making the film in Bengali, so we have to go through the exercise in six languages. It took me more than two months to make the songs, since I had to sit with the lyricists of each language to make it.

All the writers flew to Chennai to [work with me] in my studio. It was like a kavi sammelan. We had a great time talking about literature, lyrics, and old and new music.

Any creator will always create something with the hope that people will love it. An artiste creates art so that it appeals to people. Success, today, is defined as a song that reaches many people. Once it does, we need to see if it is being loved. We always work in this imaginary world where we assume our work will be appreciated. But, there may always be songs that do not enjoy the kind of reach that we desire. Other songs, however, have a wider reach, and there is always a balance that is created. So, I don’t analyze a soundtrack too much. I feel it takes away from the charm of working on new music. Create music, and then leave it to the audience. Sometimes, a song works in different instances. For example, I created a song called Bang bang for a film. I also choreographed and directed it. That song has suddenly started going viral now across India, China, Japan and Dubai. So, everything has its own journey. Sometimes, you don’t know the result, and you’ll have to wait. 

I am doing it to encourage other musicians from the south, because the independent music scene is not [thriving] there. It’s only picking up now. This year, there are big collaborations [in the pipeline]. 

In the north, every occasion warrants a huge celebration, and music is a major part of it. Their culture is like that. Also, independent music has been thriving in the north for a long time. Punjabi music is celebrated across the world and is consumed by individuals who speak Hindi, Gujarati and Marathi too. It’s popular even in south India. The penetration of the language determines its success. I think it [south Indian music] will also have that reach [in due course of time].

Mumbai: Actor Sahil Khan was arrested on Sunday in connection with his alleged role in the Rs 15,000 crore Mahadev betting app case. Khan (50) was produced in a city court and has been sent to police custody till May 1. A special investigation team of the crime branch nabbed him from a hotel in Jagdalpur, Chhatissgarh. He was brought to Mumbai.

Khan, who had been working as a fitness expert until recently, had fled the city on Apr 24 and had been dodging the police by constantly changing his location. After his anticipatory bail application was rejected by Bombay high court on Apr 24, the police team had been trying to nab him.

To track down his whereabouts, the police had been tracking his location which showed he was constantly on the move at different points of time — Gadchiroli in Maharasthra, Goa, Karnataka, Telangana, and also Chhattisgarh.

A senior crime branch officer said Khan was a partner in a betting app firm. “He had been promoting the app through social media and had also forged some documents. He was asked to explain about the money trail. He did not cooperate in the probe,” said the officer.

Khan, who was on the top list of suspects involving Mahadev betting app and its promoters Saurabh Chandrakar and Ravi Uppal, had two weeks ago appeared before the city crime branch office to record his statement.

Police are probing the alleged financial transactions between some real estate companies and promoters of Mahadev betting App. Investigators found several betting apps were created under the Mahadev betting app.

An FIR in the betting case had been registered at Matunga police station in November and the accused had been booked for cheating, forgery and criminal conspiracy under sections of Indian Penal Code and Information Technology Act.

The SIT had in Jan arrested Dixit Kothari (27), a Mira Road resident, in this case.

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The Mumbai police arrested actor and influencer Sahil Khan for his alleged involvement in the Mahadev betting application case. However, Khan stated that he hadn’t even received the payment of Rs. 3 lakh per month for promoting the Mahadev betting application on his Instagram account.

In 2023, the Mumbai Crime Branch sent a summons to actor Sahil Khan and three other actors to appear for questioning in the Mahadev betting application case. However, Khan didn’t show up and continued to post videos on social media. Sahil Khan also posted a picture of himself in a pool with the caption, “Good morning, Jumma Mubarak.”

The Crime Branch, Special Investigation Team (SIT) discovered that the actor had fled to Chhattisgarh. A 40-hour-long operation was conducted and the actor was arrested in Chhattisgarh and taken into custody. So far, the SIT team has arrested 32 people involved in the betting application scam.

Khan filed an application in the high court to obtain anticipatory bail, however, the court rejected his application. He was produced in court and remanded to four days of police custody until May 1.

Speaking to mid-day, Khan’s advocate, Mujahid Ansari, said, “My client is a victim and is not involved in the Mahadev betting application. He received a contract from the agencies only to promote the app on his Instagram page. An agreement was made with the agencies wherein my client would receive a salary of Rs. 3 lakh per month for 24 months. However, my client didn’t receive any amount. He is a victim, and the cops should release him and lift all charges against him.”

“Actors usually get paid for publicizing such products, and this is conducted with a signed agreement. While promoting the app, Khan also agreed with the agency that he would not be responsible for any damages or losses,” advocate Ansari added.

According to the police, Khan has changed his location multiple times in an attempt to evade the cops. He has reportedly been in Goa, Karnataka, Andhra Pradesh, Gadhchiroli, and Chhattisgarh.

Police discovered that the government has lost approximately Rs 15,000 crore in taxes because they were not paid through the Mahadev betting application.

On January 1, 2019, the Mahadev Betting application was launched on many portals, and millions of people signed up. The accused used many celebrities to promote it on social media platforms such as Facebook, Instagram, and Google pages. On this application, people across the country placed online bets on sports like cricket, football, tennis, casino games, and teen patti. However, the accused who was running the betting application evaded taxes.

When we join Manisha Koirala and Sonakshi Sinha on a fashion shoot, they are sharing a laugh at something somebody said. Koirala bids adieu to Sinha as she leaves for the online launch of her song Tilasmi Bahein.

It’s an hour before Sinha returns, ready to speak of her role in next week’s Netflix release, Heeramandi: The Diamond Bazaar. A period piece on Lahore’s most powerful women, the series centres around these two warring courtesans. But behind the scenes, they are fixing each other’s hair and tiaras. Where is the war we ask? That’s for the screen, they tell us.

Bhansali fashioned his series around a concept by journalist-writer Moin Beg, who has lived with the story for 15 years. Historically, Heeramandi was a bastion of the classical arts patronised by the tawaifs under Mughal rule but devolved into a centre of prostitution when the British consolidated their rule in undivided India. Through eight episodes, the story hurtles through turbulent times, weaving a narrative of love, betrayal, loss, and power.

Koirala, Bhansali’s first heroine (Khamoshi, 1996), is working with him after 28 years. “The first time Sanjay and I met was on the sets of 1942: A Love Story; he was working on the film’s songs. I was in the midst of filming the beautiful [song] Pyaar hua chupke se, and we instantly became friends. He wanted some feedback on his own script. I loved it and I am glad that I got to be his heroine. Now, I get to play Mallikajaan.”

The queen bee of Heeramandi, Koirala’s character decides what happens in the haveli and the neighbourhood, and unabashedly uses her charm to control the Nawabs. “I won’t lie,” she makes an honest admission, “I don’t think I connect with Mallikajaan. She is dark, complex, layered and extremely controlling. She is insecure, power-hungry and traumatized. But as an actor, when you step into a role like this, you must channelise every bit of your art. I had to know her from a place of empathy and ask questions about what makes her who she is. What does her trauma feel like to her? She is an emotionally intelligent woman. There is a certain grammar to how she conducts herself. Her body language is also a product of this world and her experiences.”

Koirala says she broke down her character’s conscious and subconscious mind. Because acting is more than just learning your lines and cracking the body language, she had to make sure she emoted with her eyes. “I don’t know if Heeramandi ever had a Mallikajaan. I have never met a person like her.”

As Fareedan, Sinha is Mallikajaan’s nemesis. The hatred that their characters harbour for the other is both, fearsome and valid. It is not easy to figure who is right and not. Sinha describes her character as angry.

“What defines Fareedan is her rage. Life hasn’t been pretty or pleasant. Her anger stems from the unfairness life has meted to her. I have never played someone who is constantly seething and undoing the wrong done to her. She is borderline sadistic, but also a good person. I was careful not to let Fareedan enter my life beyond the director’s, action!”

Both actors admit that their big challenge was that the story is set in a milieu and country that’s unfamiliar. Koirala shares that the research was cumbersome. “It was exhaustive. It started with reading the script multiple times. I had to request Sanjay to get me a diction coach since I have laborious dialogues. Sanjay’s research, Beg’s perspective and detailing—it all added a lot [of value]. At the end of the day, it is Sanjay’s call. He knows what he wants so  when I would perform, he guides me. Ye nukhta zyada mat bolo, ye kam tha.”

Sinha agrees. “All my preparation came from listening to Sanjay sir talk about Fareedan. He is passionate about even the darkest of characters. He spoke to me about Fareedan like he knows her, narrated what has transpired in her life, her trauma. I am an observer and so these conversations permeated into my subconscious. I took it all in.”

Then there were books. Zahid Akasi’s detailed title, Heera Mandi (2005) includes a plethora of details about the neighbourhood and its genesis. During the Mughal era, it stood near a towering brick wall, 30 feet tall, encircling purana or old Lahore; safeguarding the city. Thirteen gates punctuated the ramparts, facilitating entry into the city. Positioned in the northwest corner of the old city, Heera Mandi was entered through Taksaali Gate. Named after Maharaja Heera Singh, son of Maharaja Dehan Singh, a prominent minister in Maharaja Ranjit Singh’s administration, the red light area earned a fitting moniker.

During emperor Aurangzeb’s reign, the construction of the Badshahi Masjid in the vicinity led to the area being referred to as Shahi Mohalla, or royal neighbourhood. The courtesans were not only skilled in classical dance like kathak and music but also well-versed in poetry, literature, and the arts. Koirala says that learning dance and music are the frills of any performance. The real drill is to capture the soul of the character.

“Dialogues don’t always do it for you. There are times when a character has no lines [in a scene], but is able to leave a mark. We all work hard to understand.”

Zahid traces the roots of numerous popular singers to this locality, including Madam Noor Jehan, Farida Khanum, Naseem Begum, Tasawar Khanum, Nahid Begum, and Surayya Khanum. The music for the series has been making waves since the launch, especially that surrounding the kathak pieces. Which is why Sinha’s performance in Tilasmi Bahein is unexpected, and filmed as a single shot. Sinha tells us it was all done impromptu, like most good things.

“Whatever we had prepared for was scrapped by Sanjay sir on the day of shoot. Four days were kept aside for the song, but when we reached the set, he decided that he didn’t want what was earlier planned. Instead, he said, ‘What if we do it in one shot?’ I had zero time to prepare. So, whatever he was saying, I was following in real time. I had to learn the lyrics right then...it was daunting. There was no running away from this. I shed all my inhibitions and became Fareedan. I almost forgot Sonakshi. It was unreal once the shoot was over. Sanjay sir gave me a standing ovation. It was the happiest moment for me as actor. He is not easy to please.” 

Actors can mature, and so, directors can change too. Has Bhansali changed as filmmaker in 30 years? “Sanjay was always a beautiful director. Khamoshi was poetic, sensitive. It spoke about the insecurities of a deaf and mute couple. Their child sings beautifully and they want to exert their control over her. Sanjay has become a filmmaker who envisions larger-than-life stories. He has become better with time, and even more of a perfectionist. There is a reason why he is a genius.”