Showing posts with label Aniruddha Roy Chowdhury. Show all posts
Showing posts with label Aniruddha Roy Chowdhury. Show all posts
Now we aren’t making movies that can become classics. We’re just wound up in numbers-Aahana Kumra
8:19 AM
Sundas Jawed (BOMBAY TIMES; June 9, 2024)
Actress Aahana Kumra is known for her out-of-the-box choices when it comes to films and speaking her mind. The Lipstick Under My Burkha and Khuda Haafiz actress was in Kolkata on Saturday and did touristy things in the city. CT caught up with her about her impromptu visit, her love for theatre, films and more. Excerpts.
The city as an inspiration
Aahana had posted her Kolkata pictures with a caption quoting Amitabh Bachchan ‘if one needs inspiration, one should come to Kolkata’.
“The simplicity of the city really inspires me,” said the India Lockdown actress. “I have many friends here and just love the city. The beauty of Kolkata also lies in the fact that the city never changes, I have been coming here for 20 years now,” she said. Actor Chandan Roy Sanyal, who is shooting in Kolkata invited her over.
“He invited me to have lunch with him and Tony da (Aniruddha Roy Chowdhury), said the actress. “Everyone from the set of their next movie was there too. I loved the fact that the food I had on set was home cooked,” said Aahana who enjoyed a hearty meal of Kolkata-style fish and mutton on set.
Indian cinema and the need to tell our own heartland stories
“Many big films don’t work because the Indian audience has become very smart now, they want fresh and original content and cannot be fooled,” said Kumra, adding, “We have a lot of stories to tell, we just need to look into our periphery and not imitate the West. We need to make more heartland movies and Bengali cinema is doing that. It is the everyday stories that people connect with. If we look at India’s feat at the Cannes, it is these stories that made it to the global platform."
‘Theatre is like life, with no second chances’
“Both theatre and movies have given me immense love and an understanding of my profession. Theatre is just like life, it doesn’t give you a second chance. But then it is also about how you accept, adapt and move on. Theatre also helps you connect with the audience. Kolkata has the best audience I have ever seen in my life.”
The beauty of Bengali classics
Aahana believes, the beauty of cinema lies in its simplicity, and Satyajit Ray and other Bengali filmmakers aced this art. “When at film school, I watched the Apu trilogy and was awe struck by the simplicity of the film and Ray. Charulata, Aparajito, are stories that stay with you,” said Kumra, adding, “Now we aren’t making movies that can become classics. We’re just wound up in numbers.”
Shopping and food in Kolkata
“My Kolkata visit happened under funny circumstances. I was shooting in Goa and was supposed to be here for a play but the play got cancelled last minute but I decided to come down anyway as I love being in the city,” she said.
Like a true tourist, the actress loves all things Kolkata, heritage eateries included. “I love being on Park Street because of Mocambo and Peter Cat there. I love Chelo kebab. I went sari shopping and love the handloom here,” she added.
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“I went to Kalighat on Saturday afternoon. It was raining that time and it felt so good and peaceful”
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“I’d love to work with Shoojit Sircar & Tony da. I’d have loved to work with Pradeep Sarkar but sadly that cannot happen. Films like Parineeta aren’t made everyday”
It’s such a difficult role. But Pankaj Tripathi is like water; he made it so easy-Aniruddha Roy Chowdhury
8:51 AM
With Pankaj-led Kadak Singh marking his third Hindi film after Pink and Lost, director Aniruddha on how he doesn’t like to rush art
Priyanka Sharma (MID-DAY; December 8, 2023)
It took one phrase, “father-daughter confrontation”, from the producer to sow the seeds of Kadak Singh in Aniruddha Roy Chowdhury’s mind. From there, he developed the crime thriller that stars Pankaj Tripathi and Sanjana Sanghi. After the thought-provoking Pink (2016), this is the director’s third Hindi feature film. In Bollywood, where filmmakers are in a hurry to announce their next as soon as their current project releases, Chowdhury patiently waits for a film to take shape.
His reason is simple—a good story requires time. “I used to wait for my female school friends. They’d never come, but I still loved waiting. Similarly, I waited for 42 years [before] I made my first Hindi film. My wife, my friend and I put money in, and we made it. After that, I got offers every day, but the next film I made was after three years. I don’t want to rush. You need three years to write a script, to understand the characters and fall in love with them. Your art is important, not you,” says the National Award-winning director.
It’s not just his characters, but also his actors that Chowdhury seems to be in love with. He is all praise for Tripathi, whose character is battling retrograde amnesia while trying to piece together the events of the past, in the ZEE5 thriller.
“It’s such a difficult role. But Pankaj is like water; he made it so easy. Complicated things can be easily made. To make a simple statement is the toughest.”
The director is equally happy that he could rope in two actors he wanted to work with for long—Parvathy Thiruvothu and Bangladeshi actor Jaya Ahsan.
“I had told Parvathy almost six months ago, sitting in a Bandra café, that we have to do something together. On the other hand, after watching a Bengali film of Jaya, I had written to her that we had to make a Bengali film. The stars aligned in a way that we ended up doing a Hindi film.”
I used to eat momos and take a nap in Pankaj Tripathi's daughter’s room-Sanjana Sanghi
8:57 PM
From enjoying music together to napping in Pankaj’s house, Sanjana decodes how workshops helped them depict father-daughter bond authentically in Kadak Singh
Priyanka Sharma (MID-DAY; November 24, 2023)
Ahead of the release of Kadak Singh, Sanjana Sanghi is dominated by one emotion—relief. The actor admits that initially, the prospect of starring in the Aniruddha Roy Chowdhury film was daunting. It didn’t help that when the director narrated the thriller to her over a Zoom call, she was left more confused than convinced.
“He was editing Lost, and was distracted. Kadak Singh can be tricky to understand in a narration. But when I read it, it spoke to me,” smiles Sanghi. Couple that with Chowdhury’s unwavering faith in her, and she was ready to jump into the project.
“At this stage of my career, it feels reassuring when a filmmaker of Tony da’s [Chowdhury] calibre wants me, without asking me to audition or to read for him. I’m glad I did the film, otherwise I would have regretted it for the rest of my life.”
The ZEE5 thriller follows Pankaj Tripathi’s Kadak Singh, a joint director at the department of financial crimes, who is suffering from retrograde amnesia and is trying to piece together the events that led to this predicament. Sanghi, who plays his daughter, says the depiction of their bond touched her heart.
“I desperately wanted to do [the film] because I knew Tony da would bring [more] layers to the dynamic.”
The director ensured that Tripathi and Sanghi undertook workshops that would enhance their father-daughter bond on screen. She has fond memories of them. “I will always remember Pankaj sir’s Madh Island house where I used to eat momos and take a nap in his daughter’s room. Tony da would join us sometimes, we’d listen to classical music and not even talk about the film. Our workshops [focused] on discovering each other. We spoke about so many things that weren’t even relevant to our characters. In the middle of all that, we found our film.”
On our last shooting day, we went to Tony Da and said, ‘Please write a few more pages and extend the shoot’-Sanjana Sanghi
8:30 AM
After sharing the screen with Ranbir in Rockstar 12 years ago, Sanjana says co-star Pankaj enhanced her passion for her craft
Priyanka Sharma (MID-DAY; May 23, 2023)
Sanjana Sanghi would agree that the company of a suitable co-star can elevate an actor’s experience multi-fold. Twelve years after she made her acting debut with the Ranbir Kapoor-starrer Rockstar, the actor says she felt the same “magic” while stepping onto the sets of her next project.
“My upcoming film with Pankaj Tripathi sir has been my best experience since Rockstar. I felt the same magic on this set that I felt on my first film. I don’t know what [good] have I done to deserve this,” Sanghi smiles, as she opens up about the Aniruddha Roy Chowdhury-directed drama, which features her as Tripathi’s daughter.
The yet-untitled film, also starring Parvathy Thiruvothu, has been penned by Ritesh Shah and Andhadhun co-writer Pooja Ladha Surti. “Pankaj sir, Parvathy, and our director, whom we fondly call Tony da, are kind and caring human beings. They are creative geniuses. When I look at them, I think that they are too good to be true. On our last shooting day, we went to Tony Da and said, ‘Please write a few more pages and extend the shoot.’ We didn’t want to leave Kolkata. We extended our flights. Such things happen rarely.”
Sanghi says her fourth offering has reignited a renewed sense of passion for the movies within her. “I feel replenished. Even if we worked for 15 hours, things didn’t matter. It’s a beautiful father-daughter drama that is also a thriller. It has such a meaty script. Too many greats are involved with the project.”
Meanwhile, Sanghi will also be seen in the women-led road-trip drama, Dhak Dhak, produced by Taapsee Pannu. Also featuring Ratna Pathak Shah, Dia Mirza and Fatima Sana Shaikh, the film gave Sanghi the opportunity to learn to ride a bike. Tarun Dudeja’s directorial venture, the poster of which was unveiled recently, tells the story of four women embarking on a road trip across the Himalayas, which brings with it epiphanies and discoveries.
Why Bengali films are giving trams a pass now
8:13 AM
Scrapped trams stored at the Tollygunge tram depot
Modern Kolkata Moves In The Metro And App-Cabs While Its People Are Shifting To Highrises. So, The Tram Is Reduced To A Cliche That Appeals To The Outsider But Not Contemporary Bengali Directors
Priyanka Dasgupta (THE TIMES OF INDIA; February 19, 2023)
There’s a West Bengal tourism commercial that shows the city through the lens of a foreigner. Its last sequence features a tram car chugging past the Maidans by night on Route 36. The climax is the spectacular entry of Bengal’s brand ambassador, Shah Rukh Khan, singing Tagore’s ‘Ami chini go chini tomare ogo bideshini’. When the tram car finally chugs out of the frame, the camera zooms in on the words, ‘Experience Bengal: The sweetest part of India’.
Six years since the commercial aired and a pandemic later, Kolkata’s once-ubiquitous trams are chugging out of the city. Even the sound design of contemporary Bengali cinema no longer uses the chimes of tram bells to capture Kolkata’s essence.
Inseparable For Years
Bengali cinema’s tram connection meandered from Satyajit Ray’s ‘Mahanagar’ (1963) to Amitabha Chaterji’s ‘Manohar & I’ (2018) via Buddhadeb Dasgupta’s ‘Kaalpurush’ (2005), Atanu Ghosh’s ‘Abby Sen’ (2015), Nandita Roy and Shiboprosad Mukherjee’s ‘Praktan’ (2016), Srijit Mukherji’s ‘Ek Je Chhilo Raja’ (2018), and Raj Chakraborty’s ‘Parineeta’ (2019).
Not just films, even their opening credits celebrated this connection. Subrata Mitra filmed the two-minute-long title sequence of Satyajit Ray’s ‘Mahanagar’ (1963) by only focusing on a moving tram cable. Once Ray’s credits for the film’s screenplay, music and direction have rolled, the camera moves inside the tram car to freeze on Anil Chatterjee’s tired face.
“Ray used just the electric cable to depict the big city. In the background score, he also changed the tempo and volume of violin, flute and cello to heighten the drama of everydaylife,” said Riddhi Goswami, a member of the Ray Society.
Criss-crossing tram wires form the backdrop for the opening title card of Mithun Chakraborty-Rahul Bose-Sameera Reddy starrer ‘Kaalpurush’. “My father loved everything quaint and old that stood witness to time and defined his Kolkata in its purest form,” said music director Alokananda Dasgupta, daughter of the film’s director, the late Buddhadeb Dasgupta.
Later in the film, Bose falls asleep inside a compartment and has imaginary conversations with his father about his love, hatred, regret and memories. “It is such a vulnerable and sensitive scene. What better than the long-lost tram to act out this metaphor of extended realism in his film,” she added.
Metaphorical Journeys
Ritwik Ghatak used trams in ‘Bari Theke Paliye’ as a metaphor for Kolkata’s mechanical transport. But film scholar Sanjoy Mukhopadhyay said Ray and Ghatak used trams differently. “In Ray’s ‘Apur Sansar’, the tram becomes a space where dreams turn into reality when Apu reads the editor’s letter. In contrast, the tram in ‘Bari Theke Paliye’ symbolizes crude mechanization and not fantasies.”
Trams also appear in Mrinal Sen’s ‘Interview’. “The protagonist nabs a pickpocket in a tram. That was more of an emblem of day-to-day life and living in 1970s’ Kolkata,” Mukhopadhyay said.
Parked In Nostalgia
Once an emblem of modernity and the metropolitan mind, trams now symbolize old-world charm. “People who joined college in the midor late-1980s remember how romantic tram rides were during noon, especially if a couple got the front seats just behind the driver’s cabin,” said Atanu Ghosh, who directed the 2015 sci-fi film ‘Abby Sen’. “As a tribute to my fond memories, I devised the tram ride scene as a metaphor for nostalgia and romance in ‘Abby Sen’. In the story, Abby travels 33 years back in time from 2013 to 1980 and meets his wife in an illusion scene inside a tram.”
Poet-turned-filmmaker Srijato penned ‘Chol rastae saji tramline’ for Srijit Mukherji’s ‘Autograph’ (2010) that highlighted the word tram. Despite the song’s popularity, Mukherji didn’t use a tram shot to picturise it. He waited for eight years to use the tram as the setting for the conversation between Aparna Sen and AnjanDutt in ‘Ek Je Chhilo Raja’. “Tram for me is quintessential Kolkata. I use trams to portray a character of the city which is traditional, old-world, slightly laidback with its own rhythm or something very intimate, quaint and personal,” Mukherji said.
Few contemporary Bengali films use trams for a nuanced portrayal of urban loneliness. One rare exception is a 13-minute-long scene from ‘Manohar& I’, which is among British Film Institute’s 10 great films set in Kolkata. Two strangers-turned-acquaintances hop on to a tram car. The languid pace and the empty space of a tram car allow a lot of time for the characters to communicate. The camera placed up close captures the hoardings and wall graffiti through the huge windows while the protagonist garnishes his narrative with half-truths and yearnings.
“In between their conversation, I deliberately kept some top shots of a serpentine tram negotiating the traffic. The tram becomes a metaphor for Kolkata’s indifference that alienates migrants from the suburbs. The metropolis shuts them up inside boxes. Their existence resonates with tram cars moving around the city like long matchboxes in motion,” director Amitabha Chaterji said.
Iconic For The Outsider
Most contemporary Bengali films steer clear of the tracks to avoid clichés. Besides, their plots have long shifted to highrises where the chimes of tram bells hardly reach. “As a child, I used the tram regularly while commuting. But trams have now disappeared from the cityscape. If I set a realistic film in the city, where is the space for trams since my characters will use the metro and app-cabs?” said director Aniruddha Roy Chowdhury.
But those who haven’t lived in this city as an insider rely on trams, Howrah Bridge and Victoria Memorial to reinforce a stereotype. From Mani Ratnam’s Yuva (2005) and ‘Guru’ (2007), Sujoy Ghosh’s ‘Kahaani’ (2012), Tigmanshu Dhulia’s ‘Bullett Raja’ (2013), Shoojit Sircar’s ‘Piku’ (2015), Dibakar Banerjee’s ‘Detective Byomkesh Bakshy!’ (2015) to Mridul Toolsidas’ ‘Toolsidas Junior’ (2022), Kolkata’s trams and even tram depots remain the perfect backdrop for period films and romantic songs.
Father is one of the most brilliant scripts that I’ve read in the past five six years-Pankaj Tripathi
8:39 AM
Sharing screen space with Sanjana and Malayalam actor Parvathy in Father, Pankaj says it’s enriching to team up with artistes from different schools of cinema
Priyanka Sharma (MID-DAY; January 19, 2023)
Few things give an actor as much high as a well-written script does. Pankaj Tripathi remembers being elated when he read the script of Aniruddha Roy Chowdhury’s Father, which has been penned by Ritesh Shah.
Considering the actor has a keen eye for stories, it says a thing or two about the script’s merit, when he states, “It’s one of the most brilliant scripts that I’ve read in the past five-six years. When I am so excited about the [material], I am sure the outcome will live up to it.”
Father is an investigative drama set against the backdrop of a dysfunctional family coming together. The unit wrapped up the shoot in Kolkata recently. As he collaborated for the first time with Malayalam actor Parvathy Thiruvothu, and Sanjana Sanghi, Tripathi says teaming up with artistes of different sensibilities leaves one richer.
“The film stars Parvathy, Sanjana, actor Jaya Ahsan from Dhaka, and a lot of new artistes. It’s [joyful] to have artistes of different industries and regions come together.”
A collaboration with Chowdhury was on his wish-list ever since he saw the director’s Pink (2016). He describes the union as “magical”. “I had such a good time working with Tony da that I didn’t even realise when the shooting finished. The film is a father-daughter story; it explores their bond and how far they can go for each other,” says the actor, who plays father to Sanghi.
Pink director Aniruddha Roy Chowdhury’s next, starring Sanjana Sanghi, Pankaj Tripathi goes on floors
8:20 AM
(L-R) Aniruddha Roy Choudhury, Parvathy Thiruvothu, Sanjana Sanghi, Pankaj Tripathi, Mahesh Ramanathan, Viraf Sarkari, Jaya Ahsan and Shyam Sunder Photo: htbs
HINDUSTAN TIMES (December 7, 2022)
Set to take movie buffs on a roller-coaster ride, National Award-winning director Aniruddha Roy Chowdhury’s untitled next went on floors yesterday and it promises to be high on content. Starring actors Pankaj Tripathi, Sanjana Sanghi and Parvathy Thiruvothu in lead roles, the film is an investigative drama with a heartwarming story of a dysfunctional family coming together.
Chowdhury, who has earlier helmed films such as Pink (2016), says, “I am happy to do this film that has an intriguingly layered story.” The first shooting schedule started in Mumbai and the team will move to Kolkata for the second schedule.
Producer Viraf Sarkari of Wiz Films is elated with their first feature film production. “We are delighted to begin this journey with a socially relevant film being put together by a multi-award-winning and talented team of actors and music director Shantanu Moitra,” he says.
National Award-winning producer Mahesh Ramanathan, CEO, HT Content Studio, says, “Aniruddha builds on his forte of exploring socially relevant themes with honesty and promises to deliver another impactful film that would entertain audiences while the message hits home. Coming from a team that has won over 12 National Film Awards and delivered box-office successes, audiences can expect a film that stays with them.”
Producer Venkat K Narayana from KVN Productions says, “We are very happy that our first Hindi feature film will be featuring one of India’s finest actors — Pankaj Tripathi.”
The cast, too, is excited to embark on this journey. Tripathi tells us, “I have read a lot of scripts lately and this was the most amazing one.”
Sanghi, who plays Tripathi’s daughter in the film, says, “It was that rare moment every artiste craves for, to hear a story that you resonate with. I can’t wait to bring our pure, yet complex tale to audiences.”
Thiruvothu calls this project a “massive opportunity” to “dismantle and unlearn”. She explains, “I’ll be working with Aniruddha sir and Pankaj sir. That’s always an amazing and scary process.”
The film, co-produced by Shyam Sunder and Indrani Mukherjee, is slated to release next year.
People would talk about how my keratosis pilaris condition should be airbrushed or concealed-Yami Gautam
8:10 AM
Gautam with Roy Chowdhury
Yami, who has promising films in Lost and A Thursday, says it was “liberating” to open up on her skin condition keratosis pilaris
Mohar Basu (MID-DAY; December 27, 2021)
It’s hard to steal some time from Yami Gautam who has been “mad busy” shooting films back-to-back throughout 2021. The actor will soon be seen in Aniruddha Roy Chowdhury’s Lost. Quiz her whether there is enough room for creativity in such a tight schedule, and she says, “I don’t underestimate the importance of giving enough prep-time for my characters. When you are this busy, that is sacrosanct. The quality of work speaks louder than the volume. Every film is an exhibit to get better work. Prep is not just about physical training; it is about being emotionally on the same plane as your character. I ensure that I know my script thoroughly, nuance my part with imagination, and nail the body language.”
Chowdhury’s emotional thriller tackles the subject of media integrity, with Gautam playing a crime reporter. For the actor, it was an all-consuming project. “If we are talking about media integrity in today’s times, it must feel authentic. The characters have to feel familiar. Tony da [Chowdhury] gives the freedom to be as natural as possible. It makes me proud to be part of a film that stands for certain values. In a fast-paced world driven by competition, emotions don’t hold the same value. Lost and A Thursday are two films that have made me discover a lot about myself.”
Films aside, her unafraid attitude reflects in her social media posts too. Recently, she opened up on battling keratosis pilaris, a condition that leaves the skin patchy and with small bumps. Having been the poster girl for glowing skin for over a decade, Gautam’s post was a reminder to be real at a time when the beauty industry propagates perfection.
“Writing the post wasn’t difficult; it was liberating. The journey from the time when I learnt of my condition to the day I put the post out, was challenging. When people saw me at shoot, they would talk about how it should be airbrushed or concealed. That would affect me a lot. It took years to accept it and wear my confidence. I was overwhelmed to see the response to the post.”
There’s more work for actors now, but I reserve my comments on the quality-Rahul Khanna
8:24 AM
Chandrima Pal (BOMBAY TIMES; August 19, 2021)
Rahul Khanna, who was in Kolkata recently to shoot for Aniruddha Roy Chowdhury’s new film Lost — costarring Yami Gautam and Neil Bhoopalam — was excited to return to work post the pandemic. We caught up with the actor — known to be reclusive and fiercely private — who spoke to us about everything, from the factors he considers before taking up a film project to how the pandemic has changed the industry. Excerpts:
How does it feel to get back to work after the long pause amid pandemic?
It is sooo exciting! I have been interacting and rehearsing with Aniruddha via Zoom for several months. We met for the first time in person only recently. It was the culmination of all these months of work, and we were finally able to kick off this project. Meeting Aniruddha was like meeting an old friend I had never met! Given the Coronavirus situation, we are on a really tight schedule, trying to make the most efficient use of time.
Almost every actor, irrespective of the industry they represent, has been talking about how there is more and better work coming their way primarily because of the OTT platforms. Has your experience been similar?
I definitely feel there is more work now. In fact, there is a broader spectrum of work for actors. But I am reserving my comments on the quality. There are some high quality pieces on OTT and stuff that is not really of the same standard. I feel there is a lot of scope for quality correction in everything. I understand there is a demand for content and I do understand that people are rushing to get more films out there quickly. The pandemic has set everyone back and there is an economic factor at play here. But, yes, there is probably some space for better quality.
You are evidently particular about the projects that you engage with. What are the kind of filters you apply while saying yes to a film?
There are several factors that work for me. The role and ultimately my connection with the material and the people working on it. I need to have that connection and respect for the people who are making the project and their vision. Finally, I need to have enough confidence in the director and the producer that they are going to stay true to that vision. It is my safety cocoon. Once I find that right connect, everything falls into place.
Aniruddha Roy’s film which you are currently working on is set in the underbelly of Kolkata. How did you prepare for your role?
Aniruddha shared some research material with me, some references to YouTube clips. We watched a few Iranian films because he wants to achieve something similar visually. I hadn’t seen Pink, so I watched that, too. I also watched Satyajit Ray’s Agantuk and Nayak.
With shoots resuming and theatres opening in several parts of the country, do you think a positive reaffirmation is being sent out to people out there?
We are all trying to regain some level of composure after what we have been through. But the pandemic is not over by any stretch of imagination. Now is the time to be respectful of the situation by not being cavalier in our attitude towards safety protocols. We have to move with extreme caution.
Yami Gautam to play journalist in Pink director’s next that rolls in Kolkata in August
8:07 AM
Uma Ramasubramanian (MID-DAY; July 2, 2021)
Yami Gautam, who tied the knot with director Aditya Dhar last month, is revelling in the joys of matrimony. But soon, it will be work calling the actor. Gautam is expected to begin shooting for Pink (2016) director Aniruddha Roy Chowdhury’s yet-untitled next in August.
A source reveals, “The film was supposed to be shot in Kolkata and Purulia in May, but the plans went awry due to the second wave of the Coronavirus pandemic. Now that the situation is improving, Aniruddha wants to kick off the shoot in Kolkata in August. A major portion of the story is set in the city.”
True to Chowdhury’s hard-hitting style of cinema, the movie will examine the crimes in journalism that sometimes go unnoticed. “Yami had loved the script right at the narration. She will play a journalist who propels the narrative forward. She is deeply invested in the project, and has had several Zoom calls with the director over the past few months to understand the finer details of the story,” adds the source.
mid-day reached out to Chowdhury, who remained unavailable for comment.
I have waited for these chances, says Yami Gautam as as she signs eight films
8:03 AM
Kavita Awaasthi (HINDUSTAN TIMES; February 5, 2021)
With eight films in her kitty, actor Yami Gautam is on a roll. This year started for her with a bang as she recently wrapped up the shoot of her upcoming film, Bhoot Police. Next, she starts prep for Dasvi, a social drama, which will be shot in Agra (Uttar Pradesh) in mid-February, alongside Abhishek Bachchan.
“I am looking forward to playing a cop in this film, it will be fun to learn Haryanvi. Another film that I am excited about is, A Thursday, which is a sequel of A Wednesday (2008). It is one of the best scripts I have read in a long time. Apart from headlining this film, I am also the lead in director Aniruddha Roy Chowdhury’s next, which is a take on crime journalism. I didn’t want to headline a movie just because it is female led. These are really good scripts and roles with some amazing directors,” says Gautam, adding that the other four films will be announced soon.
The actor admits that in nine years of her career, she has had phases where she would have just one film in hand. “People would say, why are you so choosy? One can be choosy only when you have many options. If you don’t, then you do one film at a time, like I did. But things changed after I did films like Kaabil (2017), Uri: The Surgical Strike and Bala (both 2019). These films changed people’s perspective about me, and things started rolling,” she says.
Gautam adds that she waited for these opportunities as she wanted to focus on strong subjects. “The idea was to select films and be a part of scripts which also help me portray and become a versatile actor. I want to be who I am as a person but on screen, I want to surprise myself and the audience and see what more can I explore. That’s what makes it fun,” she says.
I want to start a discussion with Priyanka Chopra again-Aniruddha Roy Chowdhury
8:17 AM
After his suspense thriller did not materialise in 2017 due to Priyanka Chopra's busy date diary, Pink director Aniruddha Roy Chowdhury keen to revisit the subject
Uma Ramasubramanian (MID-DAY; September 30, 2020)
Priyanka Chopra Jonas has several international projects on her plate, including the Amazon Prime Video series Citadel. But if the actor is on the lookout for a Hindi film outing, she need not look any further than filmmaker Aniruddha Roy Chowdhury. Post the success of Pink (2016), the director was in advanced talks with Chopra for a suspense thriller. While the project did not materialise then, Chowdhury — who is back on the Hindi film circuit with the short film, Rules Of The Game — says he is keen to revisit the subject with the actor.
"That script is still with me. If given a chance, I would like to start the discussion again. I would love to do the film with Priyanka because she is a fascinating actress," says the director, adding that he will need some time to "reconstruct the script."
The duo had several discussions in 2017, with rumours suggesting that Chopra had liked the story so much that she was keen to co-produce the film. Ask him why the movie hit a roadblock, and Chowdhury says, "Priyanka got busy with a show in the US then. She had several other commitments as well."
For now though, the National Award-winning director is neck-deep in prep for his next that goes on floors in January 2021. "It is a social thriller. Shoojit [Sircar, producer of Pink] and I will collaborate soon, but I have committed to another studio for this movie. Shoojit is a friend; we spoke about 15 days ago and he asked me about my future films."
Aahana Kumra teams up with Aniruddha Roy Chowdhury for ZEE5 anthology, Forbidden Love
8:01 AM
Uma Ramasubramanian (MID-DAY; September 25, 2020)
Aahana Kumra considers herself fortunate to collaborate with director Aniruddha Roy Chowdhury on Rules of the Game, which is part of the ZEE5 anthology, Forbidden Love. The actor believes that the filmmaker, who gave Bollywood a powerful story in Pink (2016), has the rare quality of telling stories from a woman's perspective.
"Aniruddha liberates his actresses; on his set, we are all treated as equals. In fact, there are more women than men on his set. Through his stories, he changes the way one looks at things. He lets us experiment and helps us find joy in the process," she says.
Shot over five days, the film sees how the life of a couple — essayed by Chandan Roy Sanyal and Kumra — is upended after the wife plays a seemingly harmless game at a roadside stall. Kumra, who has been dabbling in digital entertainment, feels the medium is a welcome change from cinema. "To me, OTT is an extension of theatre because I would do these sort of roles on stage. There are few liberating parts for women in mainstream cinema. In theatre, we experiment fearlessly because we have nothing to lose."
Pink to be remade in Tamil; Ajith to step into Amitabh Bachchan's shoes?
8:46 AM
Shoojit Sircar confirms the news to BT. The news doing the rounds is that Ajith will play Amitabh Bachchan’s role in the remake
Rachana Dubey (BOMBAY TIMES; November 25, 2018)
For sometime now, speculations have been rife about filmmaker Aniruddha Roy Chowdhury’s Pink (2016), starring Amitabh Bachchan and Taapsee Pannu in key roles, being remade in Tamil. Now, BT has it on record from Shoojit Sircar, the creative producer of the original film. Talking to us on the sidelines of his masterclass at the 49th edition of International Film Festival of India (IFFI) in Goa, he said, “Yes, Pink is being remade in Tamil. I don’t think I will direct it, but the team has said that they will show the film to me once it’s ready. As much as I love what Aniruddha did with Pink, I respect the fact that the makers in Tamil want to have their own interpretation of the story.”Buzz is that Tamil superstar Ajith will step into Big B’s shoes in the remake. The actor had apparently given his word to the late Sridevi (while they were shooting for the Tamil version of English Vinglish) that he would collaborate with her husband Boney Kapoor’s company, which is now bankrolling the remake of Pink.
The film, tentatively titled Thala 59, is expected to go on floors in the third week of December and release sometime in the second half of 2019. A R Rahman is the top choice for the composer. We hear that the modalities are being worked out with a host of technicians in Chennai and Boney is likely to fly to the city to finalise the team, over the next couple of days.
Priyanka Chopra's next Bollywood film is with Pink director Aniruddha Roy Chowdhury?
7:10 PM
Sanyukta Iyer (MUMBAI MIRROR; April 19, 2017)
Priyanka Chopra, who recently wrapped up season two of her American TV show, Quantico, which doesn’t return for a third outing before July, is returning to Mumbai this weekend to more work. And while the 34-year-old actress is scheduled to meet a host of filmmakers and brands, and is shooting for an endorsement as soon as she arrives, Mirror has learnt that one of the Bollywood film’s she is expected to finalise and shoot for this year, is Pink director Aniruddha Roy Chowdhury’s yet-to-be-titled next — a suspensethriller, which PeeCee is rumoured to also be co-producing. Next week, the actress is set to meet the writer-director for a final narration, after which she will decide on signing the project.
Aniruddha, known for exploring the intricacies of human relationships in award-winning Bengali films Anuranan and Antaheen (the 2009 film bagged four National Awards), made his Bollywood debut last year with the Amitabh Bachchan-Taapsee Pannu-starrer Pink, which recently won a National Award for Best Film on Other Social Issues and went on to become the flag-bearer of consent with the catchphrase, “No means no”. Fondly called, Tony Da, the Bengali filmmaker’s next is a femalecentric thriller inspired by real events.
Expected to kick off by mid-year, the film will be shot across Mumbai, Goa and Kolkata in a start-to-finish schedule, with the producers – Ajay Kapoor and Sam Fernandes – eyeing an early 2018 release.
Meanwhile, Priyanka will return to the US after the break to kick off international promotions for her Hollywood debut, Baywatch, which releases this May.
Priyanka Chopra gets Pink director Aniruddha Roy Chowdhury for her next production?
7:55 AM
DNA (March 30, 2017)
Priyanka Chopra has been missing from Bollywood for a while now, while her banner is busy churning out regional films. We’ve learned that she has signed on Pink director Aniruddha Roy Chowdhury for her next, a Hindi production, which will be written by Pink writer, Ritesh Shah. The film rolls next year. PC has made it known that she wants to back powerful women-oriented scripts now. Whether she takes on the film as her newest B-Town project since Jai Gangaajal, remains to be seen.
Shoojit Sircar analyses his directorial & production ventures; reveals surprising facts
8:23 AM
Stories from director Shoojit Sircar’s filmography and a decade in Bollywood
Roshmila Bhattacharya (MUMBAI MIRROR; October 5, 2016)
PINK (2016)
‘I was woken up around 2 am by a call from Mr Bachchan’
Director Aniruddha Roy Chowdhury had come to me with a Bengali film on moral policing which was pretty much what the first half of Pink is. When I decided to produce it as a Hindi film, I turned it into a courtroom drama, with the first scene in the original script, the molestation sequence, coming at the end as I wanted the audience to form their own perception of the girls.
Falak’s admission that they’d taken money, when they hadn’t really, was another idea which struck me while on a flight from Kolkata. The minute I landed, I called my writer, Ritesh Shah, and was adamant on it being incorporated into the screenplay. For me, it was the lead up to Mr (Amitabh) Bachchan’s closing remark, “No means no” because the issue here wasn’t whether the girls should have gone out for dinner and drinks with the boys. They themselves admit it was a mistake. It was of the latter trying to paint them as sluts.
We’d prepped up for the “No means no” speech in defence lawyer Deepak Sehgal’s closing statement for weeks. The night before we were to shoot it, I went to bed early, only to be woken up around 2 am by a call from Mr Bachchan who had prepared two different pitches. I listened to him for 15 minutes and knew exactly which one I wanted, requesting him to hold on to it. The next morning we shot the scene in one take.
Equally important to the film was the camaraderie between the three girls which reinforced my belief in universal sisterhood. I chose Taapsee Pannu, Kirti Kulhari and Andrea Tariang over A-list actresses because they looked the parts, in particular Taapsee who is a Delhi girl herself and embodies their aggression. There were constant instructions to Ritesh and later the girls not to let the bonding snap because if it did, Pink would fall flat.
Why Pink? Everyone kept asking till the release. Many, including Aniruddha, were sceptical about the title, but after toying with ‘Eve’ and ‘#No’, I knew it had to be ‘Pink’ the minute Ritesh suggested it. It’s a young, electric colour that everyone knows. And it has a deeper meaning of woman being caged by the femininity it symbolises. I think the meaning came through in the first poster itself, as did the essence of the film in the first trailer through a single, blatant question posed to Taapsee’s Minal, “Are you a virgin?” I hoped my track record would keep anyone from concluding that it’s a vulgar film or that I was playing to the gallery. I knew if I didn’t hurt anyone’s sentiments, they would come to the theatres… They did.... They still are.
PIKU ( 2015)
‘I still quiz my kids about their motions’
I took the role of Piku to a leading actress whom I don’t wish to name and told her the film was about a selfcentred constipated father and his daughter who constantly nurses him. Her eyes rounded, “Aur kya hota hai?” I admitted nothing more happened and I knew it was “no” before she said so. I then approached Deepika (Padukone) who was shooting for Tamasha. She called around 11 pm that she was delayed and wondering if we should meet the next day. I was in a hurry to start rolling and was okay with a late night narration if she wasn’t too tired. She arrived home around 12.30 am, dashed inside for a shower and came out dressed in a tee, hair dripping, a plate of food in her hand. I told her what if this was the look I wanted. She loved the idea and later confided that statement and the first scene I narrated convinced her that she had to do Piku.
I was elated when Mr (Amitabh) Bachchan agreed to play the father, Bhaskor Banerjee. Once when we were rehearsing the lines together, his manager, Rosy, was in fits. Not everyone found it funny, they were upset with me for trying to tarnish his image of a superstar and a legend. I was convinced it would become an iconic character and people would love him because that’s how fathers are. I still quiz my kids about their motions before they leave for school.
Irrfan (Khan) was amazed by Mr Bachchan’s prep and Deepika’s girl-next-door attitude. And I was amazed to have these three talents under one roof, working in complete sync, without any display of ego.
The end triggered off plenty of debate too with some advising me to wrap up with Bhaskor’s death and others insisting I get Piku and Rana married. But I don’t believe all relationships have to culminate in marriage. You can be best friends all your life. Piku was an independent girl, she’d heard her father tell her not to get married unless there was a purpose, I left it to her to make the decision.
MADRAS CAFÉ (2013)
‘One person thought Jaffna was a fruit so we changed the title’
If I could revisit the film I would use actual names since everyone knows that Madras Cafe is inspired by real life people and incidents, including our former Prime Minister Rajiv Gandhi’s assassination. In Hollywood they’ve had films like JFK and Lincoln on former American Presidents and have not hidden behind different identities. But we were told youngsters hadn’t heard of Rajiv Gandhi and LTTE Chief Velupillai Prabhakaran. Also, we already knew the subject was controversial and unsure about whether the film would release so I played safe.
I should also have taken a chance with ‘Jaffna’, the original title. But when during one of the focus group screenings, one person thought Jaffna was a fruit, we opted for ‘Madras Café’. These changes apart, I was true to the situation as it was playing out at the time, with the Tamil Tigers, the Sri Lankan government, our politicians, RAW and the unseen foreign hand. Only recently, Neena Gopal who interviewed Rajiv Gandhi moments before he was assassinated in 1991, says in her book, The Assasination of Rajiv Gandhi, that Gopalaswamy Mahendraraja alias Mahattaya who was executed in 1994 and was once the right hand man of Prabhakaran, was actually a RAW agent, recruited as early as 1989. The news had us jumping with joy because it proved that our research four years ago was bang on. I’ve always challenged anyone who disputed any detail to a debate on an open platform.
Nargis’s casting raised eyebrows because she couldn’t speak Hindi. I didn’t need her to, she was a foreign correspondent based in London, and blended beautifully.
Questions were also raised about John Abraham. I did go to other A-listers before he came on board, they liked the idea but found it too controversial. Then, one day, I was chatting with John and was amazed how much he knew about world politics, history and literature, contrary to his image of a romantic hero with a great body. He mentioned how his mother had cried when she learnt about Rajiv’s assasination and that convinced me to cast him as RAW agent Vikram Singh. It’s one of his best acts.
VICKY DONOR (2012)
‘Till the last day we were unsure how many babies he should father’
The best thing about this film is that after its release most hospitals have infertility clinics and sperm donors attached to them and as a lawyer confided, the number of cases of childless couples seeking donors have gone from four-five to 40-50. It’s opened people up to a medical treatment that few knew of and would openly discuss. For us, it was important to ensure that Annu Kapoor’s character of Dr Baldev Chaddha was not seen as a caricature or a quack but a qualified medical practitioner because if his credentials were in doubt, the film would fail.
Till the last day, we were unsure about how many kids Ayushmann Khurrana’s Vicky Arora should father. We moved from 10 to 50, having learnt that some donors in the US and UK fathered as many as 100, before settling on 53. Why 53? I have no idea. But the expression on Ayushmann and Yami Gautam’s faces was priceless when they heard how many kids had been born from Vicky’s sperm even though they had read the script.
Talking about these two, they had a lot of apprehension about their first on-screen kiss. I placed just one camera in the room and threw everyone out, but still had to close the windows and the door before Ayushmann was ready to pucker up. It was bizarre! It came out beautifully thanks to Yami who took charge. Ayushmann simply told me not to ask for a retake.
Another scene which had us in fits was that of Vicky’s mother and grandmother who squabble all day, companionably drinking together at night. The problem was that neither Dollyji (Ahluwalia) or Kamleshji (Gill) who played beeji had ever touched a drop of liquor and had no idea how to behave when drunk. I was worried the scene would go overboard but they simply asked to be left alone for 30 minutes. I’m still clueless about what they discussed but when they came out, they killed it!
YAHAAN (2005)
‘If I could, I would change the end’
The idea came from my lyricist friend Swanand Kirkire who asked me to check out a newspaper article of a Hindu jawan posted on curfew duty in Srinagar’s Lal Chowk. Since there are no public toilets in that area, he had to request an old Muslim man to let him use the toilet in house. One day, he requested for a cup of tea. A window opened, an arm stretched out and handed him chai. This happened every day and he fell in love with the girl’s arm without having seen her face. His feelings were reciprocated and the couple decided to get married. Her father and the jawan’s commander were horrified but eventually were persuaded to help them elope from the Valley. Then, in an ironic turn of events the jawan was posted in the North-East where he was killed. Their poignant love story was the inspiration behind Adaa and Aman’s story. If I could, I would change the end. In the first draft, Aman is killed in the final assault in the mosque and Adaa comes out alone, with the little Hindu Kashmiri girl her family had adopted. I don’t know why I went for a happy ending.
When I make a movie, I don't think much about the audience-Aniruddha Roy Chowdhury
8:08 AM
Garvita Sharma (BOMBAY TIMES; September 15, 2016)
Aniruddha Roy Chowdhury,
who is known for exploring the intricacies of human relationships in
National Award-winning Bengali films Anuranan and Antaheen, makes his
Bollywood debut with Pink. Jolly and open-minded, Tony Da, as he is
fondly called, wears many hats with ease. Apart from being a director,
he is also an actor and a sarod player. As we settle down for the
interview, he tells me that he watches at least one movie every day,
listens to classical music, sits idle for two hours each morning to
admire his vast collection of paintings (his sole investment) and
discover something new in them. He reveals how all his films are a state
of his mind and why he thinks filmmaking is similar to making babies!
As compared to Bollywood, Bengali cinema is more aesthetically-inclined. How did you traverse the boundaries while directing Pink?
Every film has its own language. When I started this project, I wanted it to be slightly commercial. But both my producers - Shoojit Sircar and Ronnie Lahiri - advised me against it. They wanted the movie to be truthful. All of us come from humble, middle-class backgrounds and the only thing that remains of us in this glossy world of movies is our integrity which needs to reflect in our work. When I make a movie, I'm so engrossed with it that I don't think much about the audience. For me, it's like making a baby. How can you think of other things like morals or financial status while doing that? I equate them both with nirvana. When I'm doing a Bengali film, I know the nuances and the language. I chose Delhi as the backdrop for Pink because I'm familiar with that city. Besides, Shoojit and Ronnie were always by my side. My only challenge was to converse with my cast and crew in Hindi.
Every form of performing art is an artiste's expression. Did this film stem from your personal experiences?
The germ of this idea came five years ago when apart from the media, even discussions with my friends and family centered only on crime against women. Even though it's not my business, I would feel humiliated. I loathe moral policing. Who am I to decide on your behalf what clothes you should wear and who you should hang out with? It's my problem if I react to it and my upbringing needs to be in check. Personally, I have a liberal outlook, which implies for my wife and daughter. Pink is my reaction to all these emotions that I strongly feel. Even while shooting, I went through an emotional turmoil and sleepless nights. But it has been a heartfelt experience and has given me a deep creative satisfaction. I can't have a one-night stand with my movies; I need to fall in love with them. That's the reason I don't work on too many films at one go.
How was it working with Amitabh Bachchan? Was it easy to convince him to play the part?
Absolutely. I had my share of uncertain ties when Shoojit took us for the meeting. But post the narration, when he agreed to do the film, we were jumping with joy. All this while, he's been like the head of the family - sheltering, and nurturing a film like this. I obviously had to do my homework with Shoojit being my coach. But it all happened organically and I'm happy with the end result.
Given that the movie is on a hard-hitting subject, did you face any problems with the Censor Board?
Not at all. I don't know why they have been so stringent and uptight in the recent past. As our story is based on everyday, true incidents, they didn't raise any objections.
How did your affair with cinema begin and what dominates your filmmaking style?
My father was a Communist Party of India (Marxist-Leninist) member. I grew up in Tollygunge, Kolkata, during the '70s and witnessed the turmoil, closely. When I was five, I accompanied my dad to buy some comics when we saw an old man being beaten up. When my father intervened, the perpetrator pointed a gun towards him and later, our house was bombed. We moved to my aunt's place. When I was in class 10, my school screened The Virgin Spring. It was the first European film that I watched. After that, I started watching a lot of movies and learnt a lot from them. I grew up on a heavy dose of Satyajit Ray, Mrinal Sen, Bollywood films and European films, which were screened at various clubs and festivals in Kolkata. Gradually, cinema became my passion. Later, I did some theatre, made a few short films while studying, got into advertising, saved money and produced my first film.
Did your advertising background act as a catalyst?
The most important thing that it has taught me is discipline and the beauty of storytelling in 10 to 30 seconds. Also, film marketing as a tactic has helped me a lot. For regional films, the budget is quite low and if I can fit a brand in a frame without destroying its theme, why not?
As compared to Bollywood, Bengali cinema is more aesthetically-inclined. How did you traverse the boundaries while directing Pink?
Every film has its own language. When I started this project, I wanted it to be slightly commercial. But both my producers - Shoojit Sircar and Ronnie Lahiri - advised me against it. They wanted the movie to be truthful. All of us come from humble, middle-class backgrounds and the only thing that remains of us in this glossy world of movies is our integrity which needs to reflect in our work. When I make a movie, I'm so engrossed with it that I don't think much about the audience. For me, it's like making a baby. How can you think of other things like morals or financial status while doing that? I equate them both with nirvana. When I'm doing a Bengali film, I know the nuances and the language. I chose Delhi as the backdrop for Pink because I'm familiar with that city. Besides, Shoojit and Ronnie were always by my side. My only challenge was to converse with my cast and crew in Hindi.
Every form of performing art is an artiste's expression. Did this film stem from your personal experiences?
The germ of this idea came five years ago when apart from the media, even discussions with my friends and family centered only on crime against women. Even though it's not my business, I would feel humiliated. I loathe moral policing. Who am I to decide on your behalf what clothes you should wear and who you should hang out with? It's my problem if I react to it and my upbringing needs to be in check. Personally, I have a liberal outlook, which implies for my wife and daughter. Pink is my reaction to all these emotions that I strongly feel. Even while shooting, I went through an emotional turmoil and sleepless nights. But it has been a heartfelt experience and has given me a deep creative satisfaction. I can't have a one-night stand with my movies; I need to fall in love with them. That's the reason I don't work on too many films at one go.
How was it working with Amitabh Bachchan? Was it easy to convince him to play the part?
Absolutely. I had my share of uncertain ties when Shoojit took us for the meeting. But post the narration, when he agreed to do the film, we were jumping with joy. All this while, he's been like the head of the family - sheltering, and nurturing a film like this. I obviously had to do my homework with Shoojit being my coach. But it all happened organically and I'm happy with the end result.
Given that the movie is on a hard-hitting subject, did you face any problems with the Censor Board?
Not at all. I don't know why they have been so stringent and uptight in the recent past. As our story is based on everyday, true incidents, they didn't raise any objections.
How did your affair with cinema begin and what dominates your filmmaking style?
My father was a Communist Party of India (Marxist-Leninist) member. I grew up in Tollygunge, Kolkata, during the '70s and witnessed the turmoil, closely. When I was five, I accompanied my dad to buy some comics when we saw an old man being beaten up. When my father intervened, the perpetrator pointed a gun towards him and later, our house was bombed. We moved to my aunt's place. When I was in class 10, my school screened The Virgin Spring. It was the first European film that I watched. After that, I started watching a lot of movies and learnt a lot from them. I grew up on a heavy dose of Satyajit Ray, Mrinal Sen, Bollywood films and European films, which were screened at various clubs and festivals in Kolkata. Gradually, cinema became my passion. Later, I did some theatre, made a few short films while studying, got into advertising, saved money and produced my first film.
Did your advertising background act as a catalyst?
The most important thing that it has taught me is discipline and the beauty of storytelling in 10 to 30 seconds. Also, film marketing as a tactic has helped me a lot. For regional films, the budget is quite low and if I can fit a brand in a frame without destroying its theme, why not?
Director Aniruddha Roy Chowdhury on why Pink is a pivotal film
7:42 AM
MUMBAI MIRROR (September 14, 2016)
Shoojit Sircar's Pink is
certainly the flavor of this month, with Amitabh Bachchan's explosively
provocative dialogues, Taapsee Pannu's never-seen-before avatar along
with her friends submerged in mysterious circumstances and various
thrill elements having the audiences keenly looking forward to its
September 16th release.
A lot has said about the film, but we hear it straight from the National Award winning director Aniruddha Roy Chowdhury, who marks his Bollywood debut with Pink on 16th September.
Shoojit Sircar recently said that Amitabh Bachchan reportedly okayed the script within five minutes of hearing the narration. Director Anirrudha Roy Chowdhury says the reasons to watch Pink is “Amitabh Bachchan, Amitabh Bachchan, Amitabh Bachchan. He truly personifies Deepak Sehgal in the film. After a very long time, we will see such a power packed performance of a lawyer and courtroom drama on screen.“
The provocative dialogues by Amitabh Bachchan certainly shocked us when they came out, Aniruddha says, “We have shown proceedings exactly how they take place in real life. This kind of detailed and no holds barred questioning is reality.“
Amitabh Bachchan also said in recent interview that the 'young talent' of Pink is what one will remember the most after coming out of the theatre. Director Aniruddha attests to this saying “The three girls and three boys are exceptional in the film, their youth and vitality have added an important touch to the film.“
Another reason why Pink is a vital film of today's generation, is not only the unconventional and path breaking content, but the way the nuances of Delhi as a city have been highlighted. “The feel and smell of Delhi, will be realistically felt by the audience throughout the film and this is all thanks to Shoojit, who insisted we shoot in Delhi to back the script.“
The city of Delhi, stellar acting talent and a minimalistic but striking background score with unconventional singers on board has all shaped up to be a pivotal film of today's generation. Well, we for one, are keenly awaiting the release of Pink!
Rashmi Sharma Films presents Shoojit Sircar's Pink, a Rising Sun Films production.Directed by Aniruddha Roy Chowdhury and produced by Rashmi Sharma and Ronnie Lahiri, Pink releases on September 16th 2016.
A lot has said about the film, but we hear it straight from the National Award winning director Aniruddha Roy Chowdhury, who marks his Bollywood debut with Pink on 16th September.
Shoojit Sircar recently said that Amitabh Bachchan reportedly okayed the script within five minutes of hearing the narration. Director Anirrudha Roy Chowdhury says the reasons to watch Pink is “Amitabh Bachchan, Amitabh Bachchan, Amitabh Bachchan. He truly personifies Deepak Sehgal in the film. After a very long time, we will see such a power packed performance of a lawyer and courtroom drama on screen.“
The provocative dialogues by Amitabh Bachchan certainly shocked us when they came out, Aniruddha says, “We have shown proceedings exactly how they take place in real life. This kind of detailed and no holds barred questioning is reality.“
Amitabh Bachchan also said in recent interview that the 'young talent' of Pink is what one will remember the most after coming out of the theatre. Director Aniruddha attests to this saying “The three girls and three boys are exceptional in the film, their youth and vitality have added an important touch to the film.“
Another reason why Pink is a vital film of today's generation, is not only the unconventional and path breaking content, but the way the nuances of Delhi as a city have been highlighted. “The feel and smell of Delhi, will be realistically felt by the audience throughout the film and this is all thanks to Shoojit, who insisted we shoot in Delhi to back the script.“
The city of Delhi, stellar acting talent and a minimalistic but striking background score with unconventional singers on board has all shaped up to be a pivotal film of today's generation. Well, we for one, are keenly awaiting the release of Pink!
Rashmi Sharma Films presents Shoojit Sircar's Pink, a Rising Sun Films production.Directed by Aniruddha Roy Chowdhury and produced by Rashmi Sharma and Ronnie Lahiri, Pink releases on September 16th 2016.
My next directorial is on the freedom movement-Shoojit Sircar
8:17 AM
Roshmila Bhattacharya (MUMBAI MIRROR; August 18, 2016)
For Shoojit Sircar cinema is
not about name, fame and money. The producer-director points out that
he makes enough money from ads to survive. Cinema elevates him
spiritually. “I need to be inspired to make a film,“ he reasons, and
admits that it was a remark by his wife that made him develop a one-line
idea by National Award-winning director, Aniruddha Roy Chowdhury, into
his next production, Pink.“Around Piku's release, my wife came across an article on woman empowerment and sarcastically remarked that it was surprising that we are discussing this in 2016. Guilt-stricken, I decided I needed to address it and started working with my writer Ritesh Shah on Tony's (Aniruddha) idea,“ he says, adding that Pink is inspired by real incidents and recalls visits to the High Court and Supreme Court bar councils and reading up on similar cases in Mumbai, Delhi, Kolkata and Bangalore. “The research left us emotionally drained and shocked at the uncanny similarities. Lawyers everywhere were asking insensitive questions and trying to manipulate the law, making us believe that the fault lay in the system. We ended up with a human document which is real and brutal.“
Pink, used as a metaphor, revolves around a molestation incident which pits three young girls against three influential boys, with Amitabh Bachchan playing the defence council. Having lived in the Capital for 18 years where such incidents are rampant, Shoojit decided to set it there and, recognising a fellow Dilliwala in Tapsee Pannu, a Punjabi from Shaktinagar, cast her as his protagonist, Meenal Arora. “Having worked with her in Runningshaadi.com I knew what she was capable of. And then there was those eyes... Pure and innocent. She is yet not corrupted by the film industry,“ he muses.
Piku had earned the filmmaker Big B's respect and trust but he still had second thoughts before sending the veteran a text asking to meet him for an important film which he felt Bachchan should be a part of. “We were still developing the role. It was a two-minute briefing. Next morning I almost fell off the chair when his office called asking for the script and when I wanted to shoot,“ he laughs, adding that once the actor was on-board as the lawyer with strange mood swings, he too started reading up on cases as part of his prep. “I started out like the head coach of a football team, offering Tony a platform, but because of Mr Bachchan was involved in every department.“
Talking about football, what's happening with his period sport drama, 1911, featuring John Abraham? Shoojit reveals that they are still working on the script. He is still interested in the project as football is his passion. “John and my partnership is still on but a film happens only when the script and casting is right,“ he argues.
Meanwhile, he is happy playing football with Abhishek Bachchan and Ranbir Kapoor. His growing camaraderie with RK has lead to speculations about the actor featuring in his next. Shoojit refutes this saying he connected with him earlier for a film and would like to collaborate in the future. “But for now, our addas are only about football and films. He loved Piku and wanted to chat about it,“ he smiles.
His casting for his next directorial, which he will announce after Pink opens on September 16, hasn't started. “It is on the freedom movement and will roll next year, around March-April,“ he informs.
He's also working on another political subject set in Kashmir but it's not a sequel to Yaahan. Nor is there a Vicky Donor 2 in the offing even though he gets calls and scripts every month. “I can easily spin a big budget franchise, but I won't unless I get a story that will surpass the honesty and integrity of the original, I won't corrupt it,“ he maintains, revealing that Vicky Donor was earlier titled Father's Day and then Phool Khile Hai Gulshan Gulshan. “Of course, I liked Vicky Donor better. Ditto Piku, the name of the central character in Juhi Chaturvedi's story. I would have liked to retain Jaffna for Madras Café. Getting the right title is as important as getting the right name for your child. It has to click instantly.“
Shoojit is known for not just steering clear of the formula, but also breaking a Bollywood actor's stereotypical image, be it Bachchan or John Abraham, Deepika Padukone, Nargis Fakhri or Tapsee, and making these make-overs talking point-performances. How does he sleep at night? He laughs, “I wouldn't be able to sleep if I didn't. I come from a theatre background. It teaches you to be socially active, grounded and happy with little. It wouldn't bother me if I lost my car and house tomorrow, as long as I have creativity I'm sorted.“
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