Akshaye Khanna, who has displayed a wide range as an actor over the years, admits that the thriller genre is among his favourites. From movies like Humraaz (2002) and Naqaab (2007) to Race (2008) and Ittefaq (2017), his filmography is proof that the actor not only enjoys watching thrillers, but also likes to be a part of them.

Akshaye has recently started shooting for his upcoming film, Drishyam 2, helmed by Abhishek Pathak. The movie, a sequel of Drishyam that had released in 2015, will see him locking horns with Ajay Devgn. A remake of the Malayalam film of the same name starring Mohanlal, there are some twists and turns in the Hindi version to add an element of mystery and surprise.

Talking about the franchise and his role, Akshaye says, “I have seen the first one, but not the second. Our film follows the basic premise of Drishyam 2, but the character that I am playing is not there in it. It’s a fresh character, and that makes it more interesting for me. It’s always nicer to do something that is written originally. Yes, it is fun to do a take on somebody else’s role, too, but I prefer it this way. I have played characters in uniform before, but this character is intriguing in the way that he thinks. ”

Akshaye adds, “His modus-operandi is highly intellectual and is a great play-off against Vijay Salgaonkar (Ajay’s character), making them worthy adversaries.”

The film will also see him reuniting with Ajay, with whom he has worked in movies in the past like Deewangee (2002) and Aakrosh (2010). Talking about his equation with Ajay, Akshaye says, “We have a nice, casual, fun relationship. Whenever we have worked together, we have made good films. Deewangee was a commercial success, Aakrosh was not, but still, it was a quality film. It’s something that has stood the test of time. It’s a good history to share.”

Point out his affinity for thrillers in particular, and he shares, “The genres that you watch and enjoy as an audience, it’s very natural to want to do those kinds of films. So, it all stems from being a fan of the thriller genre. These are the films that, over the years, I have enjoyed watching and maybe that subconsciously attract me to them. As a film buff, I practically enjoy everything, but yes, this genre is definitely one of my favourites.”

Besides remaking South Indian films, many filmmakers are now aiming to put together projects that can be viewed as pan-India movies with actors and filmmakers from across the country collaborating on them. Reflecting on it, Akshaye says, “I think it’s long overdue. The imaginary Lakshman rekha between the South and the North was never a negative, but it wasn’t a positive thing either. I don’t see why there should be any kind of divide or segregation between the different film industries in India. After all, we are essentially a part of the same business. As talent, if we are able to pool our resources together, whether it’s in the acting department or any other department, I think it will not only help us enrich each other, but also the content that we provide to the audience. It’s a fantastic thing that has now captured the imagination of the audience as well as the filmmakers.”

Though there was a brief break in Akshaye’s career between 2012 to 2016, post that, the actor has been facing the cameras continuously. Apart from films like Mom (2017), Ittefaq (2017) and Section 375 (2019), he was also seen in the direct-to-OTT film, State Of Siege: Temple Attack (2021).

Is he looking at his career through a new lens or setting new goals? “Not really,” he says, adding, “There are no such goals… you take it one day at a time. The only thing that I do before I close my eyes at night is, pray that I will be able to work till my health and body permit.”

After playing mentor to Alia Bhatt, Jaideep Ahlawat takes on the quintessential villain turn in Ishaan Khatter, Ananya Panday-led film
Himesh Mankad (MUMBAI MIRROR; May 14, 2020)

Jaideep Ahlawat made his acting debut with Ajay Devgn’s Aakrosh and earned praise for his turn as Shahid Khan in Gangs Of Wasseypur. The Anurag Kashyap directorial led to roles in films like Vishwaroop, Gabbar Is Back, Commando and Raees. However, it was Meghna Gulzar’s Raazi, produced by Junglee Pictures and Karan Johar, that put him on the radar of casting agents looking for dependable actors. The Alia Bhatt and Vicky Kaushal spy thriller completed two years on May 11. “It’s a very special film. Raazi upgraded me as an actor and gave me a better understanding of scripts and characters,” Jaideep acknowledges.

Harking back to the first day of the shoot, the actor says, “Gulzar saab and Vishal Bhardwaj were on the set. I touched their feet, sought their blessings and gave my first shot. I had just one scene with Vicky in the film, but we go back a long way. He was an assistant director on Gangs Of Wasseypur,” Jaideep reveals.

The actor believes success brings responsibilities with it, but adds that it’s the writers and directors who give an interesting arc to his screen turns. “Characters in commercial cinema are infused with an element of quirk for entertainment. As an actor, I want to be associated with all kinds of films and commercial cinema is like a cheat day for those on a diet; it helps maintain a balance,” he laughs.

Next up for Jaideep is Ali Abbas Zafar’s debut production, Khaali Peeli, in which he plays the antagonist to Ishaan Khatter and Ananya Panday’s leads. “It’s a typical masala film with action, romance and drama. I play a quintessential Hindi film villain, like the ones we grew up watching. He is true to his word and has his own swagger,” he smiles, adding that his co-stars are hard-working, fun and energetic. “I don’t have much screen time with Ananya, but Ishaan and I share an interesting dynamic,” the actor signs off.

Deepali Singh (DNA; January 16, 2019)

Last June, Paresh Rawal had shared an image of himself on social media, looking like NSA Ajit Doval, prompting somebody to comment, ‘Ajit Doval might be wondering... ye mera humshakal kaun hai?’

Indeed, the talented actor seems to have morphed into the real life hero, who was the man behind the retaliatory surgical strike carried out by the Indian Army in Pakistan in September 2016, just 11 days after the terrorist attack in Uri. When we praised him for the physical transformation, Paresh who was seen in the recently released, Uri: The Surgical Strike, laughed and said, “It’s all thanks to my make-up man and some to my parents ki aisa kuch bana diya ki thoda bahut unse milta julta rahe!” Over to him:

Apart from the physical transformation, what else played a part into becoming the character you play in Uri?
People like Ajit Doval are so unassuming and self-effacing; they keep a low profile. It’s only when you speak to them that you realise their worth and value. Till then, you don’t even look at them. That’s the hallmark of a great spy or a great undercover agent. When you listen to his speeches, you come to know that he has in-depth knowledge of foreign policies, the history of our country, etc. and that becomes an interesting combo. So, one has to bring in all this — not bringing himself in the forefront but still calling the shots.

Did you get the chance to meet him personally?
Yes, I met him personally once or twice in the Prime Minister’s Office, but even if I had not, the videos I saw of his would have sufficed.

You have done several roles where you’ve portrayed real-life characters, including Sardar Patel and Sunil Dutt in last year’s Sanju. Is it more fun playing a part based on a real person?
Real-life characters play karne ka ek alag hi mazaa hai. It’s a challenge, and if you have the backing of a good director and writer, then it’s a lot of fun. The outcome is fulfilling and satisfying.

In Sanju, you shared screen space with Vicky Kaushal. How was it working with him in Uri?
It was a joy. These guys (the younger generation of actors) prepare so much and their performance is seamless. There are no tantrums on set, no brooding, no pretence. Their preparation is done in their room. They come to the sets and once the camera is switched on, they are in character. Unki iss quality mein mazaa hai.

The film’s director Aditya Dhar makes his debut with this film...
He had written a film called Aakrosh. At that time, we were doing a lot of outdoors, so we got to interact quite a bit. Aaadmi ki depth pata chal jaati hai uski baaton se. So, I’m really happy he directed this film. I don’t know how anyone else would have handled the subject, lekin Aditya ne kamaal kar diya hai. He has kept the dignity and the drama of the subject intact.

Making a film on the Indian Army and observing them at close quarters, does it make you appreciate their sacrifices more?
Absolutely. At the risk of sounding sentimental, I say that even parents have expectations from us; that when they grow old, we will be there to take care of them. These guys (the army men) are not going to meet you ever, but they are still giving away their lives for your safety. For you, everything is intangible, but for him, his life is tangible. And in spite of that, aap unke jazbe pe shaq karte ho, surgical strike ko galat batate ho, Army Chief ko gunda kehte ho, army ke baare mein galat kehte ho? What kind of desh bhakti is it?

So, you hope the film clarifies all those thoughts?
Bilkul. We call the army for so many things, even when an area gets flooded. They come because they want to help their countrymen. Aur unko aap... border pe dushman ki goli khayenge aur desh mein logon ki gaali khayenge. It’s very sad!

Roshmila Bhattacharya (MUMBAI MIRROR; January 4, 2018)

Last year, I woke up on January 6 to the news that Om Puri had succumbed to a heart attack while brewing his morning cup of tea. Twelve months later, I still remember his booming laugh, anecdotes that peppered his conversations and being taken to task when another paper had apparently misquoted him. When I pointed out that it wasn’t my doing, he had retorted that he didn’t know the journalist in question but since they were from the same publishing house, I should take the blame or pass the message along. I chose the former and he called back after he’d calmed down to tell me he appreciated that I quietly faced the tongue-lashing. The incident made me feel closer to him.

As his first death anniversary nears, I connect with Govind Nihalani who had collaborated with him on half a dozen films. The filmmaker reveals that soon after Puri’s demise, he’d been flooded with calls from journalists wanting to know his assessment of the actor. Govind was initially bemused by the question, but it set him thinking and he realised in retrospect that what had set his friend apart from other actors was that while he had always been meticulous in his prep, the effort that went into giving a character his body language, accent, getup and sometimes a fictional biography was not visible on screen.

“Om was an excellent wristwatch whose beautifully designed dial displays the time to the last second and we accept it without thinking of the pendulum, springs and many tiny components within that contribute to the soft tick tock that goes unheard until it stops and with it the watch,” explains Govind. He points out that Om internalised his characters so subtly and his performances were so spontaneous that one took his genius for granted till reminded.

He goes on to share that this empathetic, compassionate man had a hard time controlling his emotions in the early years. Govind remembers a scene from Aakrosh where Naseeruddin Shah, a lawyer, is trying to convince Om’s character, Bhiku Lahanya, to tell his story so he can fight his case in court. But the daily labourer, in prison for a crime he didn’t commit, remains obdurately silent. His eyes dart around the room and his face mirrors myriad emotions, but his voice remains unheard till the last scene when to avert another rape, and the fate of his wife, he chops off the head of his young sister, then screams at the skies. The agonized cry of a wounded makes Aakrosh unforgettable and forges an instant connect with Om Puri.

“He was quick to grasp my cues and only faltered in that he couldn’t keep his emotions from spilling over. Frequently his eyes would well up and the tears would flow unchecked, forcing me to call for a retake, interrupting a word-perfect, rehearsed Naseer,” Govind says.

Twenty-four years later, when the director-actor duo worked again in Dev, he saw that Om had not only evolved as an actor, but had greater control over his emotions and craft. Govind talks about a scene where Om and Amitabh Bachchan, two senior cops, are chatting over a drink. In the course of the conversation, Om’s character, special commissioner Tejinder Khosla, recalls how joint police commissioner Bachchan’s son and his best friend had been gunned down by terrorists. “The painful memory makes him emotional to the point where Tejinder bursts out. But this time I didn’t have to tell him not to cross the line, like a good classical singer, he’d learnt to play with notes while staying within the daayra of a raag. It was a pleasure watching Amitji and him play out the scene underlining the maxim that less is more and the hallmark of any great actor,” Govind smiles.

As told to Subhash K Jha (DNA; January 8, 2017)

I was numbed on hearing about my dear friend Om Puri’s death. I was shooting away from Mumbai. Om and I had parallel careers in parallel cinema, so to speak. But I never felt any envy or resentment towards his achievements. He got a lot of roles like East Is East, which I thought would come to me. But I felt nothing but joy for him.

Real and rooted

His success in the West and when he spoke to me about working with Tom Hanks or Steven Spielberg, filled me only with happiness. Om was the salt of the earth. There’s no other way to describe him. He remained real and rooted all his life. Success or failure didn’t change him. There was not a pretentious or pompous bone in his body.

In a shambles

But his personal problems — in which I did not intervene at all — had left his mental and physical health in a shambles. I know for a fact that Om was really suffering during the last few years. And there was no way out of it. Though his death was sudden, I can’t say it was totally unexpected. In a way, death has relieved him of all the stress, and that includes the bad films he took on, I presume for financial reasons. Om took all the criticism on his chin.

Keeping the faith

As I think back on my rapport with him, I cannot recall one unlikeable incident. We were very close and most relaxed with one another. And we happily played walk-on parts or supporting parts in one another’s films. Om would often do cameos for my films, like that one scene in Sai Paranjpye’s Sparsh. I’d ask him if he didn’t feel embarrassed to be cast in such small roles. He would give gaalis and say, ‘Arrey yaar. I’m not doing it for you. I am doing it because I believe in the film.’ His faith in meaningful cinema was unshakeable.

What’s in a name

No role was too small or too big. He did walk-on parts in some of my films and I happily reciprocated his gesture by doing supporting roles in Govind Nihalani’s Aghaat, Ardh Satya and Droh Kaal where Om was the main character. In Godhuli, one of my earliest films in a leading role, Om had a small role and he was billed as Azdak Puri. There is a reason for that. When Om entered the film industry, his name was often confused with that of Om Shivpuri, who was doing a lot of work at that time. Om was dismayed. And he was seriously tempted to change his name to ‘Vilom Puri’ or ‘Azdak Puri’. I told him to stick to his name. ‘One day, Om Shivpuri will be mistaken for you,’ I told him. And that did happen.

The Puri voice

Om was not only mistaken for Om Shivpuri, but also for Amrish Puri’s brother, as they looked similar. One of Om’s specialties was mimicking Amrishji’s baritone. He would call me up pretending to be Amrish Puri and speak in Amrish’s voice. I’d be completely taken in. He would then say, ‘Arrey b**c**d, main hoon’.

I think the way Om used his voice was exemplary. In Ardh Satya, there is a scene where he speaks to Smita Patil on the phone supposedly in a drunken state. We don’t see Om at all in the sequence. But we know exactly what his character is going through. I later asked Om if he had downed some pegs before doing the scene. He hadn’t.

A shattering loss

More than me, Govind Nihalani must be shattered. It was Govind who spotted the talent in Om and harnessed it in film after film since Aakrosh. I remember after Aakrosh when Om attempted comedy in Kundan Shah’s Jaane Bhi Do Yaaron, everyone said he would be wrong for the role. But I had seen how funny Om was on stage in an adaptation of Molliere. I think Om in Jaane Bhi Do Yaaro was a laugh riot.

Will miss Om

Today, I remember Om’s hearty laughter and his generosity of spirit. I am sorry I couldn’t be there for his funeral. I was shooting out of town. But my wife and sons were there. Hell, I am going to miss Om!”

As told to Roshmila Bhattacharya (MUMBAI MIRROR; January 7, 2017)

This is a great loss for cinema and a personal loss too. A chapter has ended. We last met a few months ago and on Wednesday we chatted on the phone and agreed to meet on Friday. He was to come over, before lunch. Instead, I get the news that he’s gone.

I remember his blood-curdling scream from my 1980 film, Aakrosh, after the chilling silence throughout. Both Vijay Tendulkar, who scripted it, and I concluded that this was the only way to end a story of human rights violation perpetrated against a victim not educated or empowered to challenge the culprit. This was the oppressed peasant Lahanya Bhiku’s way of raising his voice against grave injustice. An expression of repressed rage and helplessness, it rents the air after he axes his sister to save her from the foreman’s lust and a fate that drove his wife to suicide.

By the time this scene was shot in Alibaug, Om empathised with Bhiku completely. I just told him I did not want his expression to be either neutral or over-emotional and then left it to him. His screams touched me, like they did every viewer. My reaction was simultaneously a heartfelt ‘wow’ and the dispassionate ‘correct’ of a cinematographer-director. They didn’t leave Om untouched either.

Ardh Satya in 1983, also scripted by Vijay Tendulkar, traces the life of a reluctant cop pushed into the force by his tyrant father and then betrayed by the system that makes a mockery of the law. Even before the murder of goon-turned-politician Rama Shetty (Sadashiv Amrapurkar) which sounds the death knell for Anant Welankar, there are two incidents of police brutality in custody that build up to the horrific climax.

In the first instance, three of Shetty’s henchmen are roughed up by Anant. The sub-inspector only escapes suspension due to the machinations of a middleman. In the second instance, in an alcoholic trance, he gives a prisoner accused of a petty theft the third degree.

The latter was filmed in a classroom in St. Columbus High School near Gamdevi in a few hours. We didn’t have an action director and I told Om, “Josh me ek do laga dena.” I then told the prisoner, played by my assistant, Raju Parsekar, “Sambhal lena.” Raju silently took a lot of beating, with Om profusely apologising after every shot.

Subhash K Jha (DNA; April 14, 2015)


Om Puri, however, won’t mince his words. Says Om with a sigh, “Firstly, I’d like to say the lovemaking in our films is really the pits. We Indian actors don’t know how to make love on camera. There is so much awkwardness in the body movements. We are all limbs and elbows. It looks very fake and strained.”

Om also wants to know why Indian actors do lovemaking scenes with their clothes on. “Where in the world, and how, do people make love with their clothes on? It’s ridiculous. If you don’t want to show actors without their clothes, just shoot the faces. There is no point in shooting an unconvincing love scene. I am sorry to say our lovemaking scenes are highly unaesthetic.”

Om cites the instance of Basu Bhattacharya’s Aastha where he had such scenes with Rekha. “They could have been done much more aesthetically. Our actors are too conscious of their body to make love scenes look convincing.”

However, he does not think nudity is mandatory for a credible bedroom sequence. “In my lovemaking sequence with Smita Patil in Govind Nihalani’s Aakrosh, Smita wore her saree throughout. But because we were not hesitant to lose our inhibitions, the lovemaking didn’t look contrived.”

SAB KUCH DIRTY HI HOGA
Om’s lovemaking sequence with Mallika Sherawat in Dirty Politics, left him unhappy with the way it was shot. “Ab agar film Dirty Politics hai, toh sab kuch dirty hi hoga,” he says wryly. He admits that the ‘hot’ scene left him cold and told director KC Bokadia to shoot it “sensibly". Supposedly, Ms Sherawat didn’t cooperate.