Since the lockdown first came into force in March, shootings too had to halted. Now, Bollywood has gradually resumed work and come 2021, actor Katrina Kaif will face the cameras again, for a special project — a two-part superhero film helmed by director Ali Abbas Zafar.

“If everything goes well, we should start rolling sometime in January,” he says, adding, “Katrina has already started her physical prep. But she has a few other commitments to wrap up before starting work on the superhero films.”

Zafar and his team have temporarily shifted to Dubai to work on the series. “Yes, right now, my team and I are working out of Dubai. An international team is working with us on the series but due to the Coronavirus travel restrictions, it wouldn’t have been easy for them to fly in-and-out of India,” the filmmaker tells us from Dubai.

Zafar, who has worked with Kaif in films such as Mere Brother Ki Dulhan (2011), Tiger Zinda Hai (2017) and Bharat (2019), calls it “a very special project for all of us.” “There’s also a web show that we are really excited about. It’s a really different format, but at the same time, it’s also creatively liberating,” he adds.

Ali Abbas Zafar's series starts with Katrina Kaif film, followed by Mr India, a superhero rooted in mythology and the fourth one in army
Himesh Mankad (MUMBAI MIRROR; June 20, 2020)

In the last nine years, Ali Abbas Zafar has directed five films — Mere Brother Ki Dulhan, Gunday, Sultan, Tiger Zinda Hai and Bharat. Now, he is all set to debut as a producer with Khaali Peeli. Shot entirely in Mumbai, this one-night-tale was gearing up for a June opening when the Coronavirus-triggered pandemic cast a cloud over its future. Shariq Patel of Zee Studios, which is co-producing the film, had told Mirror (May 16) that they are exploring various release options. Quiz Ali on the possibility of the film going directly to OTT, and he says, “Right now, we are focused on completing the film. After that, it will be wait-and-watch. We don’t know when the theatres will open and at what capacity they will run.”

On his part, the filmmaker is happy with the way this Maqbool Khan-directorial has shaped up. “It’s a commercial potboiler and the fresh pairing of Ishaan (Khatter) and Ananya (Panday) makes it interesting. They brought a lot of youthful energy to the shoot. Everyone had a blast and it shows in the edit,” exults Ali.

While interacting with Mirror (May 29) from his newly-constructed Dehradun home, Ali had confirmed that his next, a superhero film with Katrina Kaif, will roll as soon as normalcy returns. That script is locked; the writer-director is currently working towards completing his Mr India trilogy. Following an announcement on Twitter, the director of the 1987 superhero adventure, Shekhar Kapur, had slammed him for announcing Mr India 2 without his permission, pointing out that they cannot use the characters/story without the go-ahead of the original creators and alleging that the title was only being used to get a big weekend. The controversy had raged for weeks. Speaking for the first time on the subject, Ali clarifies, “My Mr India is neither a remake nor a reboot of the original film. It’s a completely new film, we are just calling it Mr India.”

A self-confessed fan of Anil Kapoor’s invisible man, Sridevi’s Miss Hawa Hawai and Amrish Puri’s Mogambo, Ali asserts that he does not wish to tamper with the cult film or offend anyone. “My film is essentially about the common man fighting a mighty villain, but done in a cool, hip way, using science and technology and being relevant to today’s social scenario,” shares the science graduate from Delhi’s Kirori Mal College.

With two films revolving around superheroes, one wonders if Ali is looking to create his own fantasy universe, like Marvel and DC. He confirms this with a laugh, “Yes, I am creating a superhero universe, beginning with Katrina’s film. We then move to Mr India, which will carry forward bits from Katrina’s film, and we are developing two more characters. My third superhero is rooted in Indian mythology and the fourth comes from the Indian army.”

Speculations are rife that Mr India would feature Ranveer Singh and Shah Rukh Khan. Ali refutes the rumours, saying they are still working on the script and casting will begin only after the writing is complete. “I hope to return to Mumbai with the script of Mr India,” he says fervently. And after a hat-trick of hits with Salman Khan, is another collaboration on the cards? “I have been working on Mr India since the last two years. I was committed to doing it long before Bharat. Ditto, Katrina’s film. But yes, I love him like an elder brother and will work with him again, very soon,” he signs off.

Director Ali Abbas Zafar on how Katrina Kaif is gearing up for her action film during the lockdown
Uma Ramasubramanian (MID-DAY; June 16, 2020)

We have all witnessed Hindi film heroes single-handedly beating a dozen goons to pulp, on screen. For an industry that thrives on big-budget actioners, Bollywood is surprisingly starved of female action heroes. That, Ali Abbas Zafar informs, was the starting point for his yet-untitled superhero film with Katrina Kaif.

"Personally, I feel it's high time we made a larger-than-life action film with women in this country. This story has stayed with me for a long time," says the filmmaker, who has displayed his expertise in the genre with Gunday (2014), Sultan (2016) and Tiger Zinda Hai (2017).

In fact, the climax of the 2017 hit made him believe that Kaif deserved a movie to showcase her action prowess. "After watching Tiger Zinda Hai, several people told me that her fight sequence was the best part of the film. They suggested that I explore a full-blown action project with her. That's when I started writing for Katrina. She has the body type to pull this off."

Any hopes of prepping for the physically demanding role were dashed due to the current restrictions. But Zafar says that his leading lady is "keeping herself super fit". "Her prep during the Coronavirus lockdown entails staying fit and injury-free. Since the film is high on action, she will have to undergo rigorous training closer to the shoot," says the director, who hopes to scout for locations soon. "It's the kind of movie where the locations play a crucial role. We are waiting for things to return to normal. A lot depends on the state of international flights as we have a foreign crew."

Ali Abbas Zafar brought in Eid at his new bungalow up in the hills, which boasts of a sound mixing, editing studio; director locked script of his next from new ‘writing pad’
Himesh Mankad (MUMBAI MIRROR; May 29, 2020)

Last year, on this day, Ali Abbas Zafar was gearing up for his Eid release, the Salman Khan, Katrina Kaif-starrer period-drama, Bharat. This year, the writer-director brought in the festival quietly at his new home, nestled amidst the mountains and a 45-minute drive from Dehradun airport. He moved in there with his parents in March, just before the nationwide Coronavirus lockdown was imposed.

“I was lucky to get out of Mumbai early. I left Dehradun in 1999 to go to Delhi University and since then, I have never spent so much time at a stretch with my mom and dad here. It is a blessing in disguise,” exults Ali, admitting that he hadn’t taken a break since Mere Brother Ki Dulhan (2011). “I have got some much-needed sleep, fresh air and lots of time to write.”

The house is Ali’s gift to his parents. “My parents, like me, were raised in Dehradun and this town is close to our hearts. I bought a plot of land here after Sultan and constructed this house through the making of Tiger Zinda Hai, Bharat and a show that I wrapped up recently,” he shares, informing that he designed the dream home from scratch—acquiring land to finalising the interiors. “Mom and dad are very happy. It is a good change for us to be in the middle of the mountains and so close to nature.”

Once normalcy returns, Ali will fly back to Mumbai to start work on his upcoming films. Ask him if the house would be his holiday destination and he laughs, “I have written all my films either in Dehradun or Mussoorie. I cut myself off from Mumbai to write peacefully here. So, yes, this will be my writing pad.”

The filmmaker admits that the house has been designed in a way to enable him to work on post-production, too. “There is a sound mixing studio here. I can also edit a film in the house. It’s very simple, all you need is a machine and the hard drive. This is like my back office out of Mumbai,” he shares.

Ali has been writing scripts during the lockdown. “My next is a superhero film with Katrina (Kaif). Recently, I locked that script and it will go on the floors once the lockdown ends. I have completed the first draft of another film as well, and hopefully that script will be ready soon,” he says, adding that once back in action, he will go on a recce for the Katrina film. “There’s a lot of prep required because of the kind of action involved and I am in touch with an international team over video calls. I’m also doing script readings with my actors and chatting with the production designer. There’s a lot happening.”

As Twitterati urges him to advance release of Saif Ali Khan's Dilli, director Ali Abbas Zafar says show in post-production to meet the October deadline
Uma Ramasubramanian (MID-DAY; May 9, 2020)

Several showrunners are speeding up the post-production work to release their digital offerings during the Coronavirus lockdown. Though the idea of having all eyes glued to his show sounds tempting, director Ali Abbas Zafar is in no hurry to reach the finish line. The director — whose political drama, tentatively titled Dilli, is currently in post-production — says he would rather revel in the satisfaction of a series made well than join the rat race.

"On Twitter and Instagram, people have been asking us to release the show now. So, there has been pressure, but we don't want to rush the process. Our series was supposed to drop in the last quarter of 2020, and we will stick to that deadline. If the show was ready, we would have released it now because it is an ideal time to grab eyeballs," says Zafar, happy that the Saif Ali Khan-starrer has piqued the audience's interest.

When it comes to developing an offering for the global audience, the post-production is a long-drawn process. "Once you deliver your project, it has to be dubbed in nine languages. So, the post-production takes three to four months, longer than the shoot itself."

As his team gives the finishing touches to the project, Zafar, nestled in his hometown Dehradun, has begun writing the sophomore season. "[The top brass of] Amazon Prime have seen the rushes, and basis that, they have decided to sanction the second edition," he says, beaming with pride.

Point out to him that the drama has found its way into the second instalment, but has yet to find an apt title, and he laughs at the irony of the situation. While the working title was Tandav, the makers rechristened it Dilli, only to have a change of heart later. "We are struggling with the name. That's why Amazon has not been able to make an official announcement."

Ali Abbas Zafar on the bond between him and his leading man and why switching genres is important for a filmmaker
Himesh Mankad (MUMBAI MIRROR; June 24, 2019)

At 28, Ali Abbas Zafar made his directorial debut with the 2011 Katrina Kaif and Imran Khan-starrer Mere Brother Ki Dulhan. He followed it up with three films with Salman Khan, and the duo has emerged as a formidable combo. Now, Ali is looking forward to their reunion with a franchise. Excerpts from an interview:

How did your friendship with Salman take off?
I was an assistant director on Marigold (the 2007 Salman-starrer) but our first interaction happened while I was directing Gunday and he was shooting for Ek Tha Tiger. Katrina, who is close to both of us, introduced us. He heard Gunday’s story, and reacted positively to it, saying it’s a typical mainstream potboiler. He is like family to me. I treat him like an elder brother. The maturity in my work comes from his experience. When you do a film with Salman Khan, you can’t alienate a section of audience.

How do you react to fall-out reports between the two of you?
I don’t need to answer anyone because we know what our relationship stands for. I have never seen anyone write an article saying ‘oh, things are great between Salman and Ali’ but people only want to write that things are not great. They are more interested in writing wrong things about people.

How did you become a filmmaker?
I was doing a lot of theatre while studying at Kirori Mal College (in Delhi). I was involved in stagedesigning, acting, direction. Since then, I was clear that I wanted to be a director. After finishing my last project as an assistant director (Badmaash Company), Adi (Aditya Chopra), who is my soul brother and responsible for who I am today, told me, “Ali, I see a strong creative side in you, why don’t you start writing?” I had already written Mere Brother Ki Dulhan. He heard the story, and it was locked within seven days of the first meeting, while the cast was in place in another month.

From a rom-com to a sports drama (Sultan), an action thriller (Tiger Zinda Hai) and now, a family-drama with Bharat. You have switched genres with every film…
Exploring new stories gives you the same excitement as that of your first film. I don’t want to be termed as a filmmaker who makes a certain kind of cinema. It is important to explore new stories so that you don’t become boring with your work. Sometimes the appreciation will be universal, sometimes it will be mixed. But it’s important to keep trying.

Which one has been the most challenging?
It has to be Bharat because we tried to compress 70 years of history in two hours and in doing so, one has to be sure of what to retain and to edit out. Also, since it’s a period drama, I had to find emotion in something that I had not experienced in my life—it came from research. The film was not a copy-paste of the Korean original (An Ode To My Father). I made it a completely new film.

Did you think Bharat was riskier than the previous films as well?
Since Sultan and Tiger were big blockbusters, SK and I decided to team up on a film that’s different. We were aware that the new film’s business might not be the same as Sultan or Tiger Zinda Hai as we were on a slightly unconventional route. At the box-office, it has not done similar business as our previous films but is still a big money spinner for everyone associated. Not all films are meant to make Rs 300 crore at the box-office.

Since it’s Salman, a lot of people expected more action in the pirate scene, but you did not play to the gallery...
His character has been brought up with the philosophy of non-violence. The idea was to make people realise that violence is not the answer and the biggest problems can be solved by sitting across the table. We wanted to take a newer approach rather than have people say, “Ab toh Salman logon ko marega.”

You have thanked Baahubali writer, K V Vijayendra Prasad, in the film. Why is that so?
I think that thanks came from Atul (Agnihotri, producer) because when I was doing Sultan, Mr Vijayendra Prasad was developing the script for SK and Atul.

Is there anything you wish to change about your previous films?
With Bharat, I would want to rework the music because when we were working on it, we were sure that it would have a strong appeal, but it didn’t turn out the way it was intended. On Tiger (Tiger Zinda Hai), given the available resources, a little more time and we could have executed the action even better. In Sultan, if I had more time, I would work on the fights that SK had in the MMA section. I feel a bit more work on Gunday’s script would have made it stronger. The first film is always special and since I was learning while shooting Mere Brother Ki Dulhan, I wouldn’t want to change anything.

What’s happening with the third instalment in the Tiger franchise?
Right now, I am on a break in Dehradun, but I will be working on the script and as soon as it is ready, I will share it with SK. He is busy doing big films one after another and when we find a window, we will jump into Tiger 3.

And that would be your next directorial?
I haven’t decided on my next film as there are two stories that I am toying with right now. One of them is Tiger. Depending on which one I finish first and availability of dates, I’ll decide my next.

Is the second script also for Salman?
Well, that’s something I’d know only after completing the script.

Have you thought of a spin-off on Katrina’s character, Zoya, from Tiger franchise?
We are working on something which is a spin-off for Zoya, but let’s see. It is very important to lock the story first as only after that everything is possible.

What are the pressures of directing a big franchise like Tiger?
There is always pressure working with Salman, but when you do a franchise, it just multiplies. It is essential to write a bigger and better story every time you decide to carry forward the franchise. With my combination with SK, people put extra pressure and it gets even tougher.

Lastly, any plans to cast Salman and Shah Rukh in a film?
That is my dream project and inshallah, someday, I would write a story that brings them together in a film.

DNA (June 11, 2019)

(19 May 1938 – 10 June 2019)

Noted playwright and film as well as theatre personality Girish Karnad breathed his last on Monday morning. To grieve his loss, Karnataka has declared a three-day mourning while yesterday was announced as a holiday for schools, colleges and government offices.The Jnanpith Award winner, who was 81, was a popular face on television and in cinema. The Padma Shri and Padma Bhushan recipient was known as one of the doyens of modern Indian theatre as he had penned powerful productions in Kannada including Yayati, Tughlaq, Hayavadana and Taledanda, which were a strong comment on the socio-political scenario. Some of his works have been translated into several languages and have been helmed by stalwarts such as Alyque Padamsee, Ebrahim Alkazi and Satyadev Dubey, to name a few.

The versatile artiste also had an impressive body of work both in South as well as Hindi cinema. Having made his acting debut with the Kannada film Samskara in 1970, he went on act in movies such as Nishaant (1975), Manthan (1976) and Swami (1977). After foraying into direction with the Kannada film Vamsha Vriksha in 1971 (for which he even won the National Award), he helmed other movies including Rekha and Shashi Kapoor-starrer Utsav (1984).

The versatile artiste was also a prominent face on Indian television as he was seen in Malgudi Days (1987) and Indradhanush (1989). He had a long association with filmmaker Nagesh Kukunoor as he acted in several of movies such as Iqbal (2005), Dor (2006), 8 x 10 Tasveer (2009) and Aashayein (2010). Having acted in Salman Khan-starrer Ek Tha Tiger (2012), he was last seen on the big screen in the espionage thriller’s 2017 sequel Tiger Zinda Hai.

The multiple award-winner served as director of the Film and Television Institute of India or FTII from 1974 to 1975, chairman of the Sangeet Natak Akademi from 1988 to 1993, and director of the Nehru Centre in London from 2000 to 2003. The political activist was known for his strong views and believed in freedom of expression.

I can’t forget his ever-smiling face: Shreyas Talpade
The news of his death was extremely shocking. When my wife (Deepti) informed me, I couldn’t believe it. It was a huge honour for me to work with Girish sir in my first Hindi film, Iqbal. I was nervous about sharing screen space with stalwarts like him and Naseeruddin Shah. Also, it was produced by Subhash Ghai so, overall, I was feeling overwhelmed. Had it not been for Girish ji — the way he hugged me and made me comfortable on the set on the first day... He was the most loving, caring and supportive co-actor. I cannot forget his ever-smiling face. I will miss him.

I wasn’t in touch with him that much, but every time we met at events or film festivals, he would give me a warm hug. He was fond of my wife and me, and would always greet us with a smile.

Girish sir was full of knowledge not just about films and plays, but also politics and various cuisines. He was fond of good food and would relish it. I remember during the shoot of Iqbal, Dor in Rajasthan and even Aashayein, in which I had just one song, which was shot in Pondicherry, we would enjoy dinner together. He would share so many stories and anecdotes. I only have fond memories of him.

- As told to Chaya Unnikrishnan

My relationship with Girish sir was like professor and student: Ali Abbas Zafar
For me, it was a great experience to work with a man like Girish sir. Not only as an actor, but he was also such a gentleman and a knowledgeable soul. It’s not only the film fraternity that will miss him, but the entire nation. He was a writer, a theatre actor, he used to write and direct plays and films. The kind of talent that he possessed was phenomenal. He was a great human being and a great person to have conversation with. While working with him in Tiger Zinda Hai, I had a fabulous time. He was one of those people who could nicely and easily tell you what they think is right or wrong. He was very articulate. My relationship with him was like a professor and student. I am deeply saddened by his demise.

Bharat director Ali Abbas Zafar talks about refusing to amend character initially designed for Priyanka Chopra
Shaheen Parkar (MID-DAY; June 4, 2019)

Although claiming to be indifferent about her departure from the project, Bharat actor Salman Khan seems to be seizing every opportunity to talk about Priyanka Chopra quitting "the biggest film of her career", during media interactions. But for director Ali Abbas Zafar, finding a substitute for the desi girl in a film that banks heavily on its portrayal of the Indian milieu, was no mean feat. Roping in Katrina Kaif, who, despite her enhanced grasp over Hindi over the years, is still distanced from the face he had in mind, was a bold choice.

"I told Katrina at the onset that we would not alter the script for her. The film was written with Priyanka in mind, and Katrina would have to do precisely what we expected of that character following Priyanka's departure," says Zafar.

With the film being a remake of the Korean offering, An Ode To My Father (2014), Zafar had already amended enough to make it suited for Indian audiences. He initially harboured reservations about casting Kaif, but the actor stood up to his challenge. "She attended workshops for two months. From the diction, to the body language, she gave it her all. As far as her different looks are concerned, she has pushed the envelope."

Neha Maheshwri (BOMBAY TIMES; June 1, 2019)

He might have a few box office winners to his credit, but director Ali Abbas Zafar says that his craft is not rooted in formal education. Instead, it’s the world around him and the works of a few Indian and international filmmakers that has inspired him and helped him evolve. In a candid tête-à-tête with BT, ahead of the release of his next, Bharat, Ali talks about why he is a firm follower of Mahatma Gandhi, and the blind trust that Salman Khan and Katrina Kaif have in him. Excerpts…

Bharat is your third film with Salman Khan after Sultan and Tiger Zinda Hai (TZH). How has your equation with him changed over the years?
The relationship between an actor and director has be to be honest. During Sultan, my relationship with Salman was different, which changed while working on TZH. And, it has matured further with Bharat. Arguments and disagreements are bound to happen; if I can disagree with my family and friends, it can happen on a film set, too. However, I never impose myself on Salman or Katrina and it’s the same with them. Sometimes, I fall short, and other times, they do. But it’s never about pointing fingers at each other.

Katrina was part of your directorial debut, Mere Brother Ki Dulhan (MBKD, 2011). As an artiste, how much has she evolved over the years? Her performance in Zero (2018) was appreciated by everyone...
She has evolved phenomenally. When I worked with her on TZH six years after MBKD, I saw a different person altogether. As an actor, what you do in front of the camera is not the only thing that’s important, what you go through in your personal life also matters. Everyone learns and grows with experience. For example, when I watch MBKD today, I feel that I made such an amateurish film. Maybe, I will feel the same about Sultan, TZH and Bharat when I watch them 10 years later. One should be critical of one’s own work, learn from it and do a better job in the next project.

Did you have to alter the script of Bharat when Katrina came in place of Priyanka Chopra Jonas, who opted out because of personal reasons?
Priyanka was doing something, which was giving her a lot of happiness. She said that she could manage the film, but her dates would go for a toss. I couldn’t do anything about it, as I had already zeroed in on my release date. If that wasn’t the case, we could have pushed it. However, I wasn’t upset. Marriage is very important, and Priyanka is still a good friend of mine. When Katrina came on board, I gave her the script and told her that we would retain only what she wanted. However, after reading it, she told me that she didn’t want anything changed.

You talked about how experiences help an artiste grow and evolve. How do you look back on your own journey? Could you take us back to the time you chose to be a filmmaker?
I had no intention of becoming a film director. After completing my schooling in Dehradun, I joined Delhi University (DU), where I was part of a theatre group called The Players, which boasts of a huge legacy of stalwarts like Amitabh Bachchan, Satish Kaushik and Kulbhushan Kharbanda. That’s where the writing, directing and acting bug bit me. I realised that I wanted to do films and found it to be more exciting than biochemistry. So, I came to Mumbai without any connections in the industry, but still landed work with a big banner. Five years later, I made my first film. I didn’t have a formal training in filmmaking, but learnt everything on the job. I was fairly good at studies, especially science. And when you are a science student, you understand technicalities really well. Cinema is applied art, where you really need to understand what the camera and the sound do. However, as far as the script and sensibility is concerned, it is internal and emotional. I feel that balance shows in my work.

Is there anyone in particular who inspired you?
Back home in Dehradun, I was hardly exposed to movies. At home, we had a DVD of the Amitabh Bachchan-starrer Deewaar (1975), which is phenomenal. So, everything I do today is somewhere inspired by Yash Chopra’s work, along with movies by international filmmakers. People’s lives inspire me a lot as well, whether it’s The Dalai Lama, Nelson Mandela, Mahatma Gandhi or Bhagat Singh. Their stories helped me evolve as a person. I always believe that whether it’s a play, story, poem or film, what matters the most is the perspective that you want to show your audience.

Well, viewers seem to relate to your perspective, given the fact that your previous films were hits...
God has been really kind. But that’s always been my approach. For me, it’s all about relatability and the conversations happening around me. They somehow become the driving force behind my point of view. That’s the crux of cinema — it’s entertainment, but with that, if you can give the audience some content or a story they can identify with, you are through. My films reflect my own value systems and beliefs in some way or the other. Having said that, I also know that viewers come to theatres for entertainment. So, I am not here to preach. As Katrina Kaif says in Bharat, ‘Itne bhaari gyaan ki koi zaroorat nahi hai’. As a filmmaker, the most important thing you need is clarity about the story and its relevance.

You said that you have been inspired by real-life heroes like Mahatma Gandhi and The Dalai Lama. Does that prompt you to feature your heroes as larger-than-life on screen?
Till the time my hero doesn’t trigger anything emotionally, physically or do something for society, he is not a hero. Obviously, physicality plays a big role, too. I always ask myself one pertinent question: Why will the audience watch my hero or heroine? When I say hero, it doesn’t represent only the man in the film, it’s also the female lead and other characters. These days, people use the term ‘content’, as if it has just dropped from nowhere. The films I grew up watching, had content. So, why do we keep saying that Indian cinema needs content? The fact is that our stories are changing and we need to narrate relevant stories instead of old ones. My own films, which have worked, had strong and relatable stories. Relevant stories will always draw the audience; a bad story will not work even with the biggest stars. Actors are not superheroes. What makes them superheroes are the films they do.

Ali Abbas Zafar, the writer-director of Salman Khan’s upcoming Eid release, has written and composed a song for the first time with the film
Himesh Mankad (MUMBAI MIRROR; May 16, 2019)

Mirror had earlier reported (January 30) that Salman Khan’s upcoming Eid release, Bharat, will have half-a-dozen songs celebrating the different festivals and spirit of its leading man. Now, we have learnt that the film’s director, Ali Abbas Zafar, is making his debut as a composer and lyricist with the song “Zinda”, which is also the film’s anthem. Ali has penned and set it to tune with Julius Packiam, who has also worked on the background score of the period-drama.

“It was originally a poem which I had written while scripting the film,” informs Ali, saying the idea stems from Bharat’s journey through seven decades as he endeavours to keep the promise he made to his father. “The core message of the film is that belief and conviction keep you alive.” Ali reveals that the track plays during the most vulnerable moments when Bharat is on a high or has hit a low. “It is an uplifting track and infuses him with the strength of purpose,” says Ali. It is sung by Vishal, from the composer duo of Vishal-Shekhar, who have collaborated on the album of the film which is produced by Atul Agnihotri and Bhushan Kumar and co-produced by Nikhil Namit. “We composed it keeping Vishal’s voice in mind, it’s powerful and grungy.”

Prod him on Salman’s reaction and Ali laughs, “Bhai doesn’t know yet, we don’t share these small details, he knows I keep doing something or the other. But this time I think he will be surprised. Of course, he’ll pull my leg, saying, ‘So now, you’ve starting writing songs too, now you will ask for an extra cheque.’ That’s the kind of bond we share,” he chuckles. Having worked with Salman in Sultan and Tiger Zinda Hai, Ali believes that it is essential to write larger-than-life characters for the actor. “The characters have to be bigger than what his fans have seen so far. Right from Sultan to Bharat, his roles in my films have always been very inspiring,” the writerdirector maintains, but admits this film is more emotional than the spythriller and the wrestling-drama. “No one can pull off emotions like Salman. Of course, there is action, drama, and comedy too.”

Bharat also features Katrina Kaif, Sunil Grover, Shashank Arora and Jackie Shroff in pivotal roles. It takes off in 1947 and continues till the present day. 

Director Ali Abbas Zafar on completing a hat trick with the superstar in Bharat, tying together 70 years and his bollywood journey
Shaheen Parkar (MID-DAY; May 5, 2019)

When Salman Khan first saw himself in the mirror dressed in his character's old look from Bharat, he told director Ali Abbas Zafar, "Wow, am I going to look like this at 70? I think I will age gracefully."

Zafar is teaming up with Khan for the third time with Bharat after Sultan (2016) and Tiger Zinda Hai (2017). He hopes to collaborate yet again with the superstar. "God has been kind to give me. I have had the opportunity to work with a superstar so early in my career. Now, there is this connect."

He admits, however, there were "teething problems" when Sultan took off. "But it lasted barely for two weeks, and then we flew with the film." So is he more comfortable directing Khan now? "It is a director and actor relationship. More than comfortable, I can say things have remained the same. There are days we argue, some days we have discussions galore. Filmmaking is a collaborative process. But I can say, I am used to working with the biggest of them now."

So that makes Zafar a 'star' of sorts himself. We are with him at Yash Raj studios, Andheri, where he is getting his make-up done for video interviews. We are used to seeing actors dabbing on the greasepaint, but this is the first time that we are in the green room of a director. So we talk, sometimes looking at the mirror and at times, looking at each other. The film's release is exactly a month away and Zafar is tied up with the post-production, so, every minute counts.

Bharat is the official adaptation of the Korean film, Ode To My Father (2014). "When we began work on it, we realised it needed a complete rewrite. It had to suit Indian sensibilities. A lot of research had to be done as the film spans six decades since Independence. The only thing that remains the same is that it is the story of a family getting displaced due to Partition. We have packed 70 years in two and a half hours. Usually, films span a few years or a decade, here, we have shown how the country has evolved over the years as well," explains Zafar.

Both Khan and co-star Katrina Kaif have pulled out all stops to get things right. "Six Salman Khan films have been packed into one. It required a lot of patience and long hours to get the various looks for every decade, right for Katrina and Salman. Both have not done anything like this before. The excitement on the set was contagious, everyone wanted to go beyond what was expected. The film is packed with actors. There is Disha Patani, Jackie Shroff, Sonali Kulkarni, Aasif Shaikh, Shashank Arora, and Karishma Irani. You can refer to it as a film with an ensemble cast, as each character is crucial to the story, in the various timelines of the film. It felt like directing several films at the same time as we shot for one decade at a time."

Khan had a roaring success at the box office with his previous outings, Sultan and Tiger Zinda Hai, hence expectations are high from Bharat. "Numbers matter and thanks to social media, now everyone is up-to-date. As the day of the release nears, anxiety does sink in, you want things to be appreciated after all the hard work that has gone in," says Zafar who began as an assistant on Marigold (2007), which starred Khan. "At that time, I did not even go near Salman. I was way down the line to interact with stars."

Zafar says he veered into filmmaking by chance through friends. "I am from Delhi with no film connections. My dad was in the defence and later in ONGC. My mother, a teacher. Everyone in the family is into academics, except for me, I am the only undergraduate. I dabbled in theatre during college (Kirori Mal, University of Delhi) days, and when I came to Mumbai, I did ad films." One thing led to another till his directorial debut, Mere Brother Ki Dulhan (2011), which was followed by Gunday (2014).

Bharat also marks the first time he has stepped out of the Yash Raj banner to wield the directorial baton. "I want to work with everyone, there are so many interesting actors around," he says. But Yash Raj, he says, will always be home."

Upala KBR (MID-DAY; April 29, 2019)

"It was like making seven different films," says director Ali Abbas Zafar, the ambitious scale of Bharat not lost on him. The central plot of the Salman Khan-starrer — that of tracing India's journey from the Partition to the present day through the protagonist's point of view — may be simple, but executing it was a different ball game altogether.

The director, along with production designer Rajnish Hedao and stylists Alvira Agnihotri and Ashley Rebello, dedicated one-and-a-half years to research the different eras before taking the Katrina Kaif and Disha Patani film on floors.

The most challenging chapter, he says, was recreating the Partition. "The way the Partition was depicted in Richard Attenborough's Gandhi [1982], was my benchmark. We shot the sequence over 10 days in Punjab, in the freezing cold. The scene required us to recreate a station near Lahore, replete with a steam engine. Of the five functioning steam engines in the country, we had one brought to Punjab. The art department worked on it for four days to make it resemble those from the Northern Frontier Railways of 1947."

When cinematographer Marcin Laskawiec came on board, he had detailed mood boards ready for him. "We did thorough research, based on the material available in libraries and museums, of what a circus looked like in the '60s. Salman's look in that decade is modelled on Elvis Presley, who was a rage at the time. We got vintage cars, costumes and even newspapers made, to stay true to the era. Reimagining the '70s and '80s [was relatively easier] as we could source props from bazaars in purani Delhi, but we built everything from scratch for the preceding decades."

Zafar adds that a distinct colour palette has been used to depict each period. "The Partition era is in desat [desaturation] mode, while we have employed Eastman colour for the '60s and '70s, and sparkling colours for the next two decades."

Ali Abbas Zafar explains what makes Salman Khan a crowdpuller; recounts his journey from biochemistry to Bollywood’s wonderland
Roshmila Bhattacharya (MUMBAI MIRROR; April 24, 2019)

In jeans and a Tee, Ali Abbas Zafar looks more like a guy-next-door than Bollywood’s A-list director. His Eid offering, the Salman Khan, Bhushan Kumar, Atul Agnihotri-produced Bharat, will open on June 5 and Ali is in the midst of post-production. But when he settles into his chair at a suburban studio, there’re no signs of rush. In fact, there’s a rare thehraav in his demeanour, a mathematical clarity in his thought process as he states that cinema is an applied art and not a fine art. Excerpts:

Mere Brother Ki Dulhan, Gunday, Sultan, Tiger Zinda Hai, and now Bharat, you are one of the most sought-after directors today. Enjoying the high or does the pressure give you sleepless nights?
(Laughs) Oh, lots of sleepless nights but since I’m doing what makes me happy, the days are satisfying. The pressure increases when it’s a big Eid release for a pan-India audience. There are people who watch one-two films a year and measuring up to their expectations keeps me on my toes.

You were doing your masters in biochemistry at the Delhi University. What brought you to Bollywood?
I’m a filmmaker by accident. Kirori Mal College has an active theatre group, Players, whose alumni includes Mr Bachchan (Amitabh), Satish Kaushik, Kabir Khan and Habib Faisal. I wanted to join the Indian Administrative Services (IAS) but after becoming a part of this group, I realised this is what makes me happy. So, though I had no background in TV or film – my dad is in the armed forces and my mom is a teacher – your typical-small town boy came to Mumbai to tell stories.

Tell us about your first attempt at direction?
That was Mere Brother Ki Dulhan (the 2011 romcom). The simple story, told earnestly, grew out of real life. It was set in Dehradun where I’d grown up and Delhi where I was studying. My brother lived in London while I was a struggling assistant director in Mumbai, like Imran Khan’s character. It was a customised Bollywood film with a three-act structure, an emotional and musical graph. It struck a chord.

Did you get the girl in real life?
(Laughs) No, but you can live your dreams in films.

What kind of films did you grow up on?
In mid-90s Dehradun, we either played sports or watched movies. I saw many films with friends after school and on holidays. But the only film I saw at home was Deewaar which my dad said balanced out right and wrong in a human way.

Would you like to remake Deewaar?
Sultan was very close to Deewaar in the way its protagonist’s self-esteem/ego swings between right and wrong, and his redemption happens when he hits rockbottom and comes from within. Islam says the strongest jihad is the one you fight within yourself.

Sultan could have played any sport, why wrestling?
He could have been a rock star too, but I chose to make him a sportsman because I’d played hockey and football. It was wrestling because hundreds watch you fall in the akhada, making a loss a public humiliation, and the rise a public celebration. Kushti is a centuries-old sport that rises from the grassroots and has the soul of Hindustan which made it easier for the mass audience to identify with.

Bharat is the journey of one man over six decades, reflecting the country’s history. How old are you to attempt a film with an epic sweep?
(Laughs) I’m 36, but it’s not so much about experience. If you understand life, even if you haven’t lived it but seen it in those around, you can mirror it. This is my third film with Salman (Khan) and much of the maturity in my work comes from his experience. Bharat is the story of every Indian, of togetherness and responsibilities. A line in the film goes, “Desh logon se banta hai aur logon ki pehchan unke parivar se hoti hai.” And as the nation is a family, that’s the metaphor Bharat hinges on without being preachy or political.

Why adapt a Korean film, Ode To My Father, to tell the story of Bharat?
Emotions are universal and what I liked about Ode To My Father was the coherency of the emotions and the text. We’ve added a lot of Indian cultural subtext, the film reflects the events and changes from 1947 to 2010. My dad believes if you pick the right story that says the right things, you can’t go wrong. While many Hindi films revolve around the mother and son, the father has often been portrayed as a hard disciplinarian. My relationship with my dad and Salman’s with his (Salim Khan) is different and at the core of the film. That’s why only Salman could play Bharat.

How did the title come about?
Since the film isn’t only about a father and son, I didn’t want to translate Ode To My Father. I was tossing in bed at 5 am when the title came to me. Hours later, when I met SK and Atul I told them I had a title, Bharat. They froze for two seconds, then Salman said “yes”. Since this man symbolises the nation what better than Bharat.

How do your parents view your phenomenal success?
(Smiles) My father is my hero and my mother my superhero. They’re simple people, have never visited a set, not even mine. They’re happy for me but still urge me to complete my education. My brother has two MBAs and a Masters in Social Work, my parents are both post-graduates, I’m the only uneducated one (Laughs).

Salman’s Tiger comes out of a room full of poisononous gas, guns blazing, and the audience cheers. How do you create this suspension of disbelief?
Whether it’s Gunday, Tiger Zinda Hai, Sultan or Bharat, you have to connect with the audience in the first 20 minutes by showing something the character does or believes in that makes them root for him. Once that happens, they are with him even when he single-handedly decimates an entire army. If a superhero is selfless, and you have a star like Salman Khan, whom the audience loves, playing him, half the battle is won.

What makes Salman a superhero?
His honesty and earnestness. His communication with his audience is very direct. And even when he lives a character, Salman Khan doesn’t disappear 100 per cent. Whether its Tiger, Sultan or Bharat, his magical presence in there in the characters.

Has he evolved through the three films you’ve done together?
He was very evolved in the first film itself. I was the one who learnt from him. SK is a deep, mature and beautiful actor/human being, and when he identifies with an emotion, it just flows. There’s a scene in Sultan when he takes off his shirt and looks at his slightly out-of-shape body in the mirror. He avoided doing it till the last day, then suddenly stripped and faced the camera. It was a one-take shot and I couldn’t have asked for anything better. He’s so spontaneous when he’s in character. A star needs to be an actor, or he’ll fizzle out soon. Salman has been around for 30 years and his stardom has only grown.

Katrina Kaif and you share a beautiful relationship and she came on-board just days before Bharat rolled; after Priyanka Chopra confided her secret in you in the “nick of time” and exited.
Priyanka was doing the film but things happened. As a friend she shared it with me and I told that her life is most important. She’s still a close friend. We laugh and talk twice a month. I’m very happy for her. And I’m grateful to Katrina for stepping in. I was honest with her and told her I was sending her a script. If she liked it, we’d discuss it further. She’s my closest friend in Mumbai, we come from similar middle class backgrounds, our values are the same, and we discuss everything. But on the work front, we’re very transparent with each other. If she doesn’t like something I’m doing, she lets me know and vice versa. In an industry where friendships don’t last even for months, ours has continued for over a decade.

What was her reaction to Bharat?
She told me it’s one of my best scripts and she’d do anything to be a part of the film. She’s done a phenomenal job. She’s grown as an actor, has a better command over the language now. She was loved in Mere Brother Ki Dulhan, Tiger Zinda Hai and even her performance in Zero was well received. She’s in top form and the maturity she has brought to Madam Sir’s character is commendable. There were times when on the sets, Salman would take me to a corner and say, “Sir, yeh scene to Katrina le gayi, ab mujhe kuch karna padega.” (Laughs) We are both very fond of her and together in a happy space, so he can crack such jokes.

Is your next with Ranveer Singh?
We’re friends, we keep meeting and discussing ideas, but there’s nothing concrete.

Sultan 2 or a Tiger 3 happening?
I have a couple of stories and I’d like to return with Tiger someday. I also want to do a love story.

With Salman?
(Smiles) There’s a possibility, he’s a big romantic hero. And I always narrate my stories to him first, he’s very objective. Aditya Chopra is another strong influence. In our field, it’s hard to find people you can trust, I’m lucky I have them as my first bouncing boards. But to get out of Bharat, a journey with many shades, I want to do a big action film next. But till Eid, my focus is Bharat.

After the Malta schedule of his film, director Ali Abbas Zafar is looking forward to more romance and action in Abu Dhabi next month
Natasha Coutinho (MUMBAI MIRROR; August 27, 2018) 

Salman Khan and Katrina Kaif wrapped up the Malta schedule of their period-drama Bharat over the weekend with a romantic song. The lead jodi, dressed in desi wear — he in a black sherwani and she in a green lehenga — caught everyone’s eye. After a short break, the team will head to Abu Dhabi in September to continue with the shoot.

Speaking about Katrina, who stepped into the project after Priyanka Chopra’s sudden exit, director Ali Abbas Zafar told Mirror, “Salman and Katrina’s chemistry is unmissable. This was Katrina’s first schedule with Salman for Bharat and an important one for us because it sets up both their characters strongly. We shot a romantic song with them and one featuring Nora Fatehi, along with some elaborate action sequence. There will be more action and romance in Abu Dhabi next month.” The team kicked off the film in July with a circus sequence set in the 1960s at Filmistan Studio with Salman doing some daredevil motorcycle stunts and Disha Patani as a trapeze artiste.

Lasyapriya Sundaram (BOMBAY TIMES; August 20, 2018)

Director Ali Abbas Zafar and Salman Khan’s Bharat is an ambitious project, so when Priyanka Chopra made an exit from the film, it created a lot of rumours as to why she wasn’t doing it. PeeCee has a Hollywood movie at hand and as we all know, she got engaged to Nick Jonas, too. In a chat with BT, Zafar sets the record straight once and for all…

Priyanka Chopra just got engaged to Nick Jonas. While you have spoken about her exit from Bharat on social media, you had also hinted at the personal reason on why she had to bow out. Do you want to add anything more to what you’ve already said?
Whatever I wanted to say is out there. I wanted to wish Priyanka Chopra all the love and happiness. Obviously, there are a lot of special things happening in her life professionally and personally. We wanted to wish her from team Bharat and there was nothing more and nothing less.

Was Priyanka Chopra your first choice to play the role in Bharat because you had already worked with her in your earlier film?
When you write a film, you flesh out the characters. Even when I do a Salman Khan film, I first write the character and then get the superstardom of Salman Khan in the film. Similarly for the actresses, all my films have strong female leads. When I wrote Bharat, I was sure that I wanted a certain kind of an actor to play the part. I approached Priyanka for the role. She is a very close friend and she had expressed a desire to come back and work with me. When Bharat happened, we were all on the same page and I adapted the role for her. It’s a strong role on paper at par with Salman Khan’s role, which is why we wanted to cast a big star and a good actor in it.

Now that Katrina Kaif is on board, the question that begs to be asked is — are actresses so easily replaceable? That doesn’t seem to happen as easily when it comes to the actors.
I don’t think that’s the way it is. At times, you have to replace even the actors. Films are similar to real life in many ways. Life goes on and that’s exactly what happens with a film. People leave a film for personal and professional reasons. The film will not stop for anyone. If there’s anyone who has lost out on anything in Bharat, it’s the team. This is a big film and the role is a strong one. We would look for someone not as a replacement, but from the point of view of casting for the part. The good thing that happened is that Priyanka didn’t shoot for the film. We would have shot with her in three weeks’ time for her first schedule. We had time to think about the recasting. The only person I could think of was Katrina because I have worked closely with her on two films. Also, it is very important for an actor and director to have the so called understanding, that if someone comes on board at such short notice, they are both comfortable with each other. She has been appreciated in the films that she has done with me. That’s what gave me the confidence to go to Katrina. I told her to read it and said that if we work together then we can create magic, like we have in the past. Everybody in the team was supportive and they said, ‘It’s your film and you need to get the best person in. You take the decision and we will all stand by you.’

Do you owe Katrina a lot, considering the fact that she came on board when you really needed someone to bail you out?
I do owe a lot to Katrina. When you make a tent-pole film like this, which everyone talks about, there is a lot of pressure that’s riding on you and you will make that film only once in your life. Considering that, the decisions have to be unemotional. Often, emotional decisions can backfire. I have taken the decision of roping in Katrina unemotionally. Luckily, Katrina’s dates were also available. Obviously, the schedule is going to change a lot. She also has two other films in her kitty, but we will work around that.

Does it get uncomfortable when you have to offer a role to an actor, when another actor has just walked out of it?
Maturity and time also teach you a lot of things. Sometimes, you have to keep your ego aside. It is not a show where people are coming first or second. It’s important to enjoy the process. In Bharat, the character does justice to Katrina’s presence, and that is why I think she has chosen to do the film. We have been close friends and even in the past, I have told her that if she doesn’t like a film that I have offered her, she can always choose to say no. Our friendship does not come in the way of our professional relationship. And she has said ‘no’ to me a couple of times. We work on many scripts, more than the ones that actually are made into films. I have offered Katrina many roles between the time that I made Gunday and Tiger Zinda Hai and she’s said ‘no’ to a lot of those roles. There is nothing wrong in an actor refusing a role you’ve offered them, because they might not share the same passion when it comes to the story. I keep my emotions on the back foot when it comes to my profession. Tomorrow if a superstar, male or female says no to me, I won’t take it to heart.

So, you didn’t feel let down when Priyanka bowed out of the film?
She is a dear friend, so I can’t feel hurt or angry with her. Priyanka also came with very valid reasons and I couldn’t say no to them. Acting and directing is our profession. Whatever is beyond that is our personal life. Somebody who is part of the fraternity needs to value your professional as well as your personal life. We can’t be insensitive and I am not that kind of a person. I understood her point and where she was coming from. Obviously, I was unnerved and then I had a couple of sleepless nights. But eventually, whatever happens is for the best. Katrina’s presence in the film is a big plus. It’s bizarre, but let me share this. When we finished Tiger Zinda Hai, Katrina smiled and told me that I am going to miss her on my next film. At that time, I was quite clear that Priyanka is going to do Bharat. Katrina laughed and told me that she will find some way to be a part of the film. Now she is a part of Bharat, so maybe it was destiny.

While you guys made the announcement of Priyanka leaving Bharat and Katrina being roped in for the film on Twitter, there were other rumours doing the rounds which you didn’t put to rest on social media. There were reports that Salman Khan was upset with Priyanka. There was conjecture that you had put out your neck to cast her, but she left you in the lurch. Is there any truth to these speculations?
People will only talk about such a film because they know that it will snowball into a big story. A lot is being written about it, even the fact that I shot a song with twenty dancers or five hundred dancers becomes news. I guess when a lead actress moves on from a film because of professional or personal reasons; it makes for a big story. This is my third film with Salman and my relationship with him is like that of a younger brother. He has always let me take my own decisions when it comes to casting. I share my thoughts with him because of the sheer experience that he comes with. I cross-check things with him. In fact, I do it with other actors as well. I will hear what he says, but the final call is always mine. I don’t think we are so shallow that we will be angry with someone or term that unprofessional. When people don’t know about the real story, they tend to interpret it in their own way. The decisions taken were solely mine. All the stories that have been doing the rounds are completely baseless. There is no bad blood between any of us.

Ali Abbas Zafar’s next rolls on Sunday with the two actors; Priyanka Chopra to join the shoot in August
Natasha Coutinho (MUMBAI MIRROR; July 19, 2018)

Ali Abbas Zafar’s period drama, Bharat, featuring Salman Khan, Priyanka Chopra and Disha Patani, rolls on Sunday. The team will begin shooting on an elaborate set in Mumbai’s Filmistan Studio and continue till August, after which they will move to Malta, followed by a schedule in Abu Dhabi.

Ali has been planning the shoot for months and will be starting with an elaborate circus sequence set in the late ’60s. “The idea is to create an Indian-Russian circus like Raj Kapoor’s Mera Naam Joker. Performers from all over the world are flying down for the circus tricks which will be a mix of trapeze hoops and rope stunts. This is Salman and Disha’s introduction. He plays a daredevil stunt motorcyclist in the circus while she is a trapeze artiste,” informs the director. The actor, who was away in the US and Canada on his Da-bangg concert tour, began training from Tuesday while Disha has been prepping up for a while now.

Priyanka Chopra, who turned 36 yesterday, is currently in the US wrapping up her Hollywood commitments. “We will be ending the Mumbai schedule with a Holi song featuring Priyanka and Salman. She joins the shoot in August and will have different looks in the film which the team has been working on in great detail as the film travels from the 1960s to the present day,” informs the director.

Salman and Disha will also go through a metamorphosis through the course of the film and Ali shares that prosthetics will take Salman back to his Karan Arjun days.

Nayandeep Rakshit (DNA; January 16, 2018)

Salman Khan and Ali Abbas Zafar, who have collaborated on two films (Sultan and Tiger Zinda Hai), are all set to team up again for Bharat, which is being produced by brother-in-law Atul Agnihotri. While previously, Salman and Ali upped the ante with some great stunt sequences, this time too they have something unique up their sleeve.

The story of Bharat chronicles Salman’s journey from the age of 18 to 70. Currently, the team is busy with the groundwork for the film. Ali reveals, “We have just locked the script. The idea is to make Salman look the way he appeared in Maine Pyar Kiya — from the time he began his career to now. But we will know how much we can achieve only after our complete research is done.”

The makers will reportedly use an age-reduction technique to achieve what they have envisioned. “We are in talks with the prosthetics and VFX team of The Curious Case of Benjamin Button. They had worked on the Shah Rukh Khan-starrer Fan, too,” adds Ali.

In an earlier interview to this paper, Salman had said that he hates using prosthetics as it aggravates his nerve disorder (trigeminal neuralgia). About this, Ali tells us, “I know Salman doesn’t like a lot of prosthetics and make-up, so we will have to design something that doesn’t bother him too much because he’s the central character. We are figuring out other ways of doing it. Benjamin Button came a decade ago and during this time, a lot has happened with respect to technology. Many things can be done with VFX. So, we might not need too much prosthetics or make-up.”

The filmmaker is hopeful that Salman will surprise his fans once again with this film. “He’s such a good-looking man. He will work a little harder, as I keep pushing him to lose more weight and look younger. He can reduce weight and look 10 years younger within four weeks,” smiles Ali.