Mithoon's offerings may be few and far between, but his die-hard fans don't mind waiting. He tells lyricist Manoj Muntashir why
Sonia Lulla (MID-DAY; March 30, 2020)

Manoj Muntashir complains that he often finds his social media inbox littered with pleas from Mithoon's female fans, seeking an interaction with him. He is set to prepare an invoice for the job to present to the composer, who does every bit to evade questions pertaining to his romantic interests, despite Muntashir's repeated attempts. Here's all that the duo discussed in an interaction at Muntashir's vibrant Andheri office in early March, before they departed with the promise of creating a music piece for the "emotional" ending of Tom Hanks' Cast Away.

Manoj: How did you save yourself from being entangled in this wave of re-creations?
Mithoon: I am always tempted to create original songs. Six years ago, I had recreated a song called Aye mere hum safar, which did well. But, I missed the happiness that one derives [while working on original compositions]. Even in the credits roll, [original composers] Anand-Milind's name was placed before mine. So, it wasn't guilt [that bothered me]. But, there was no joy. Many people say composers are not celebrated enough. But they don't understand the joy we derive when a newspaper seller sings our song at a signal.

Manoj: There are few composers whose names are used by directors as a selling point. They are proud to say: 'Mithoon is composing for us.' But, people also complain that you take too long to finish a song. Do you feel insecure about not meeting deadlines?
Mithoon: Like they say, ignorance is bliss. I don't know much about [how a delay in meeting a deadline can affect me]. And I prefer that it remain that way. I want to be consumed by music. In the Bible, it is written that the lord made the world in six days. On day one, he said, 'Let there be light.' And yet, he made the sun and moon on day four. So, I interpret this as the lord referring to the light within us, that is brighter than sunlight.

Mithoon: What went behind the making of Teri mitti [Kesari], which, according to me, is the best written song?
Manoj: At times, all we need is a trigger. Sometimes, our directors and the people around us turn out to be blessings. They elevate us from being ordinary writers. Kesari's director Anurag Singh was responsible for it. The tune was already established by Arko. Anurag referenced Kaifi Azmi's words in Kar chale hum fida, and asked me that if it had to be represented in today's scenario, how would [I do it]. I kept that brief in mind. If a soldier is shot, and knows that he will die within the next 10 minutes, what will he think in the interim? Will he be sad, upset or happy? So, the song was written from that point of view. If you see [a soldier] dying, you'll notice him smiling. Death is a painful process. But that smile comes from the joy of dying for the country. More worthy than any award for me was when I got a call from Punj, from a soldier who was a zamindar. When people would ask him why he was becoming a soldier, and choosing a job with a Rs 25,000 salary [despite being wealthy], he never had an answer. My song, he said, gave him the words he needed to do so.

Mithoon: [How important] is it for a musician to stay away from formulas and templates?
Manoj: There's absolutely nothing that I can say with as much certainty as I can this — setting a template implies death of music. We should be thankful that we don't have a formula. Every song has a journey, and if you begin to search for the roadmap that led to its making, [that isn't right]. None of the people who have made it big, have a roadmap. If you do, you'll be a one-film wonder. A good way to [approach your work] is to leave ego behind. Don't carry the weight of your laurels. Be the student you were when you started, each time you work on music.
Manoj: You received much acclaim for your song in Kabir Singh, which is Tujhe kitna chahne lage. There's something I noticed about it. If you study Kabir's character, who is aggressive and angry, it is tough to fathom how this spiritual song, which is all about surrendering, suits him. But that song helped the film tremendously. Many people have complaints against the character, and rightfully so. But what made Kabir relatable was his simplicity and vulnerability. And it is your song that gave us a peek into his heart, and made us see how weak in love he is. I don't think there's anyone who is as weak as a lover, just like there is no one who is stronger than him.
Mithoon: As much as I've never seen it that way, that's true.

Manoj: You don't have a social life. In fact, the people who love you will, for your own good, never invite you to a party.
Mithoon: As a teenager, I would feel everything that a man who is in love feels, but, that excitement would be to meet Pyareji [Pyarelal Sharma, of Laxmikanth-Pyarelal]. At 16, I was assisting my father [Naresh Sharma], who worked with orchestras for films. In the studio, every musician would have a different viewpoint, and as a young musician, I would want to hear each one, so that I could learn. But there was one voice that [mattered the most], and that was of Laxmikant-Pyarelal. He [Pyarelal Sharma] is my tayaji. But, I never [exploited that] relationship. I was passionate about learning from him. He is among the most passionate artistes that this industry has seen. He wouldn't tolerate mediocrity. I wanted to experience him in that form.

Manoj: You have few releases in a year, and keep your fans waiting for them. Is it a calculated move to keep them eagerly anticipating what's next?
Mithoon: The truth is that I celebrate and respect my music first. If I play something on the piano, and like it, I respect that bar [of music]. I won't simply tell my team to [work on] it and send it off to a client who is calling repeatedly for a song. My laptop is kept in my locker, because that's my wealth. I value it so much. For me, my music is a revelation. It must be kept on a pedestal. It is valued, because I value it first.

Hiren Kotwani (MUMBAI MIRROR; July 31, 2019)

Veteran art director R Verman, who had been ailing for a while and was recently admitted to a suburban hospital, succumbed to cardiac arrest on Tuesday around 12.30 am. He was 72.

His son, director Abhishek Varman (2 States, Kalank) performed the last rites at the Oshiwara crematorium. Later, filmmaker Karan Johar, actors Varun Dhawan, Arjun Kapoor and Alia Bhatt, and directors Shashank Khaitan and Anurag Singh met him to offer condolences.

Best known as R Verman, Ratna Verman Shetty was an alumnus of Mumbai’s JJ School of Art. Post completing his education, he started his own publicity designing and cine advertising company. The late Dev Anand’s production house was one of his major clients and Verman worked on his cult classics like Jewel Thief and Guide (above).

It was during this time that art direction piqued his interest and he began assisting noted art director Sudhendu Roy. He went independent in 1975 and worked on over 350 films, including Betaab, Khoon Bhari Maang, Thaanedaar, Hum, Khiladi, Andaaz Apna Apna, Karan-Arjun, Kaho Naa.. Pyaar Hai, Company, Aitraaz and 36 China Town.

The actress has recorded a female version of a patriotic song for her film three weeks after its release as an ‘added attraction’
Natasha Coutinho (MUMBAI MIRROR; April 15, 2019)

Three weeks after her last film, the Akshay Kumar starrer Kesari in which she played his deceased wife, opened in theatres, Parineeti Chopra is bringing a new song to the period drama revolving around the battle of Saragarhi. Recorded at a city studio last week, it is a new version of the track “Teri Mitti”, originally sung by B Praak and will release as a promotional video shortly. The makers are yet to decide if it will be incorporated in the film.

Composer Arko Pravo Mukherjee confirmed the news, saying, “‘Teri Mitti’ is a martyr’s tribute to his motherland and it brought in emotional mails from people all over the world. Parineeti’s version has different lyrics because she was keen to do a female take on the song. Manoj (Muntashir, lyricist), Parineeti and I had a few meetings before Anurag (Singh, who directed the film) came on board. Karan (producer, Karan Johar) approved the idea.”

When quizzed on the timing of the new song, Arko says that they decided on the new version after seeing the response to the original. “This idea was not in place before the release and we had to record thrice because the lyrics were going back and forth and we needed a lot of prep,” he admits, adding that since this is Parineeti’s second song after “Maana Ki Hum Yaar Nahi” (Meri Pyaari Bindu) and wanting it to be perfect, she sang it multiple times.

Parineeti’s track revives a nineties trend, when new songs were incorporated in a film weeks after the release as an ‘added attraction’ to draw in new or repeat viewers.

Soumya Vajpayee (BOMBAY TIMES; March 17, 2019)

For Kesari director Anurag Singh, helming a movie that features Akshay Kumar has been a dream come true. “As a filmmaker, you seek creative and aesthetic growth with every project. That made me nervous and excited at the same time,” says the filmmaker, who has his fingers crossed, as he speaks about his upcoming war drama. The movie marks his return to Bollywood after over a decade. In a candid chat with BT, Anurag shares why working with Akshay was a delight and the kind of cinema he wants to be known for. Excerpts...

Your first Bollywood film, Raqeeb (2007), was made 12 years ago. Do you see Kesari as a comeback of sorts?
When I made Raqeeb, I was young and more of an outsider (he used to work in the Punjabi film industry). The movie didn’t fare well at the box office and I was sitting at home for a while with no work. I started working on some Punjabi films post that and honed my craft throughout the journey. The beauty of the journey is that you learn from your mistakes. That’s what I did. I hope the audience connects with my work in Kesari.

So, how did Kesari happen to you?
I was approached for this film when I was planning to work on another project. Kesari’s co-producer Amar Butala called me in December 2016, and offered me the film. When I was told that it will feature Akshay Kumar sir in the lead role and is being backed by Karan Johar sir’s production house, I couldn’t contain my excitement. The film went on floors in December 2016, and we finished working on it recently. It’s been a long journey, indeed.

What motivated you to direct a subject like this?
Being a Punjabi, I knew about the Battle of Saragarhi (in which an army of 21 Sikhs fought against 10,000 Afghans in 1897). Making a film on a subject that holds a lot of relevance in Indian history was the greatest motivation. Since Akshay and Karan sir were part of the project, I was sure that I would be able to do justice to the subject. I wanted the world to know about this story of valour. I feel that self-doubt is the greatest strength and weakness of a creative person. The responsibility of doing justice to the subject of Kesari was challenging. I had to ensure the right mix of drama and reality, so that the story doesn’t seem unbelievable. Striking that balance was hard.

How was your experience of working with Akshay?
It was phenomenal. Since I was the assistant director of his 2003 film, Andaaz, we knew each other. I remember, while working with him back then, I had hoped to direct him someday. When I was offered to helm Kesari, I felt that life has come full circle after almost 14 years. Akshay is an easy actor to work with. What’s special about him is that he hasn’t changed over the years. He remains grounded and has no starry airs. What I love the most about him is his discipline. If I called him on the set at 8 am, he would say, ‘Saat baje hi aa jaata hoon. Jaldi kaam shuru kar lenge!’ When he is on the set, he doesn’t get distracted. He never uses his mobile phone or meets outsiders. The best example of his dedication was that when we were shooting for the film in Wai (Maharashtra), he wouldn’t go to his vanity van despite donning a heavy turban, beard and costume. He used to have trouble eating, but he wouldn’t remove the beard or turban, because he believes in finishing things in one go. Despite the rigorous action sequences and high temperature, almost 40 degrees, he would only eat lunch post pack-up. I was amazed by his dedication.

Compared to the kind of Punjabi films you have done, the Jatt & Juliet series, for instance, Kesari is a serious subject. As a filmmaker, what kind of films do you want to be known for?
As a creative person, you always want to attempt something different and new. My 2014 Punjabi film, Punjab 1984, was also based on true incidents. As a viewer, I enjoy all genres of films — be it out-and-out commercial movies or arthouse projects. But as a filmmaker, I want to make movies that have relatability and commercial elements at the same time. It’s a challenging mix, but that’s what I want to be known for. 

Anurag Singh on his upcoming film which recreates the Battle of Saragarhi on screen
Himesh Mankad (MUMBAI MIRROR; March 7, 2019)

How long have you been planning a film on the Battle of Saragarhi?
Well, I always knew about the incident, but there was no plan to make a film on the subject because a few other filmmakers were also doing something similar. Then, one fine day, because of my understanding of the Punjabi culture, I got an offer to direct a Hindi film on one of the bravest battles the world has seen. And in a flash, I accepted it. I have worked on the script and prepped with my team for almost a year before taking the film on the floors. The challenge was to get everything right, from the costumes to locations.

Was Akshay Kumar always your first choice to play Havildar Ishar Singh?
He was already on board before I was approached. Having said that, I don’t think any other actor could have played this character better than him. Akshay is a Punjabi and has played Sikh characters in the past though in a different genre. He is an A-list actor and the script called for someone like him.

But his look has got mixed reactions. Shouldn’t he have at least grown his hair and beard, like Randeep Hooda had for Rajkumar Santoshi’s film on the same subject which has since been shelved?
The idea was to replicate a look from the time and while we would have loved him to grow a beard for real, he was juggling multiple projects. Also, growing a beard this long would have taken Akshay sir seven-eight months. He would have had to keep it for another seven months through the duration of the shoot too. The logistics were not falling into place.

The film was announced as a collaboration between Karan Johar, Akshay Kumar and Salman Khan. Why did Salman drop out?
I am not aware of the discussions that took place behind closed doors. All I know is that one day, I was informed that Salman doesn’t want to be a part of the film anymore.

Even Ajay Devgn was planning to make a film on the same subject…
(Cuts in) When we conceptualised the film, only Santoshi (Rajkumar) saab was in the process of working out a film on the same subject. But I hear even his film is stalled now. Of course, there were internal discussions to make sure that we didn’t end up having three-four films on the same subject. But we had information that none of the other films are taking off. I know many people were talking about their Battle of Saragarhi but none of their films went into production.

The promotions have started late and been pretty low-key?
(Cuts in) We planned on a month-long promotion as people like Akshay Kumar and Karan Johar automatically get traction. Social media has made film promotions easy. It’s a well thought of strategy, as given the plethora of releases, it is difficult to hold the audience’s attention for a longer span.

Did the fire on the set in Wai result in financial losses?
It’s not about the money but the effort that went into making the sets. The location was not easily approachable. The team lived there for three months and then, one fine day, everything just vanishes. It was heart-breaking! I am grateful nobody got injured. We can always recover from financial loss, but not loss of a life.

Don’t you fear comparison with other period films like Baahubali and Padmaavat?
I’m not trying to compete with Baahubali in particular because that was made on a much bigger scale and since it wasn’t based on a true incident, they could create fantastic visuals that may not have existed in reality. We didn’t approach the script with the intention of matching up to the standards set by other films, the idea is to stay true to the subject. The scale has been derived from the script.

What next after Kesari?
There are subjects I’m discussing with Karan, however everything depends on how this film fares. 

With action playing a crucial role in Akshay's period drama Kesari, director Anurag on how they roped in Mad Max stunt coordinator to visualise battle sequences
Mohar Basu (MID-DAY; February 21, 2019)

"The Battle of Saragarhi is a well-known chapter of our history," starts off Anurag Singh, the director of Akshay Kumar-starrer Kesari. The Karan Johar production is a retelling of the 1897 battle that saw 21 Sikh soldiers of the British Indian Army fight the 10,000-strong troop of Afghani tribesmen in the Saragarhi outpost.

Considered one of history's greatest last stands, the subject had caught the attention of many filmmakers. "I was approached by Salman Khan Films, which was co-producing the drama along with Dharma. They later opted out and Dharma took over. This film fell in my lap."

Since a major portion of the film takes place on the battlefield, roping in an experienced action director was crucial. The team found their man in Mad Max: Fury Road (2015; top left) stunt coordinator Lawrence Woodward. Singh says that despite being distanced from Indian history, Woodward was able to employ the battle techniques that were prevalent in the 19th century.

"He did extensive homework on the warfare techniques brought in by the British. He knew how to handle the old guns that we had sourced for the film. He took a while to adjust to the Indian working model because this was his first Bollywood film. Between him and Parvez bhai [Sheikh, action director], they took the action notches above what was conceptualised."

The period drama, he says, is a product of several months of research. "We referred heavily to Gurinder Pal Singh Josan's book [The Epic Battle of Saragarhi]. He researched the subject for 25 years and was able to locate the families of the 21 martyrs. Amarinder Singh's research on Saragarhi and The Defence of the Samana Forts came handy."

Singh credits Kumar for being a pillar of strength as he gave shape to his Bollywood debut. "Senior actors like Akshay bring heft to such parts and stories. He added fervour [to his character] over and above what was written on paper."

Four upcoming historicals and period fantasy adventures featuring Salman Khan, Akshay Kumar, Ajay Devgn and Ranbir Kapoor are in various stages of production currently at the suburban Mumbai studio
Himesh Mankad (MUMBAI MIRROR; December 11, 2018)

Bharat
CAST: Salman Khan, Katrina Kaif
After shoots in Malta, Punjab and Delhi, Salman Khan and Katrina Kaif will start a month-long schedule of Ali Abbaz Zafar’s Eid 2019 release, Bharat, in Mumbai. The production team is recreating parts of Delhi. Filming will commence from the first week of January.

“It is difficult to shoot with a superstar like Salman on the streets of Delhi as he would bring the city to halt which is why we have recreated the capital in Mumbai,” informed a source close to the development, adding that the film will wrap up by January-end. Bharat chronicles the journey of a man and a nation, from 1947 till the early 2000’s and will see Salman and Katrina age from 20 to 70 years.


Taanaji: The Unsung Warrior
CAST: Ajay Devgn, Saif Ali Khan
Ajay Devgn’s period drama, Taanaji: The Unsung Warrior, went on the floors on September 25, and they’ve been filming at several Mumbai studios since. Currently, director Om Raut is shooting a VFX-heavy action sequence against a green screen with Ajay in Film City. Taanaji: The Unsung Warrior, Raut’s Hindi debut, is the tale of the unsung warrior who fought till the end to protect the pride of Chatrapati Shivaji Maharaj. The film also features Saif Ali Khan and Jagapati Babu, reportedly also Kajol, and is lining up for a November 2019 release.


Kesari
CAST: Akshay Kumar, Parineeti Chopra
Team Kesari had recreated the Saragarhi and Gulistan forts in the Wai district of Maharashtra but the entire set was destroyed in a massive fire that broke out in April this year. With around 10 days of shoot on the recreated locations still left, the team has now recreated the Saragarhi fort in Mumbai. “Apart from a few action sequences, the current schedule will see an interaction between Akshay Kumar and his troop of 20 Sikhs. The shoot will conclude on December 16 or 17,” revealed a source.

Directed by Anurag Singh, the film narrates the tale of the Battle of Saragarhi, in which an army of 21 Sikhs fought against 10,000 Afghans in 1897. The film took off on January 5 and is gearing up for a Holi 2019 release.

Shamshera
CAST: Ranbir Kapoor, Sanjay Dutt, Vaani Kapoor
Shamshera rolled in Mumbai on November 30 at the city studio where a major chunk of the film will be shot in a British era-style fort in a marathon schedule which continues till February end and features the principal players—Ranbir Kapoor, Sanjay Dutt and Vaani Kapoor. The Karan Malhotra directorial is set in the 1800s and revolves around a dacoit tribe fighting for their rights and independence from the British. Sanjay plays the antagonist in this period saga that is slated to release on the Bakri Eid 2020 weekend.

MUMBAI MIRROR (April 25, 2018)

On Tuesday at 5 pm, a major fire gutted the Wai sets of the Akshay Kumar and Parineeti Chopra-starrer Kesari. The unit, which has been filming extensive sequences in the area since last month, had been shooting a war scene for the Karan Johar production when the fire broke out. The sequence in progress featured shots of extras running amok after a series of bomb blasts, one of which was a mistimed explosion, leading to fire engulfing the entire set. “Luckily, everyone was rescued on time and there were no casualties. But the set, including equipment and cameras, has been completely destroyed,” a source from the site told Mirror.

Akshay, who has been taking the chopper from Mumbai to reach the location, which is situated in the Satara district, at 7 am every day, had already wrapped up his portions for the day and left. “Ten days of shooting for the film’s climax sequence is pending and now the makers are scouting for an alternate location where the war set can be rebuilt,” the source added.

Directed by Anurag Singh, the period-actioner is based on the 1897 battle of Saragarhi, which was fought between 21 Sikhs and 10,000 soldiers of the Afghan army. The film, which kicked off in January 2018, is expected to release in 2019 but shooting has temporarily been put on hold.
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Blast on location in Wai as elaborate war sequence goes horribly wrong, cast and crew of period drama escape unhurt
Mohar Basu and Chaitraly Deshmukh (MID-DAY; April 25, 2018)

Akshay Kumar has been shooting for Kesari, which is based on the 1987 Battle of Saragarhi, in Wai over the past four months. The unit of the period drama was in for a shock yesterday when a massive fire broke out on the location in the early evening.

A source says, “Anurag Singh [director] was filming a war sequence on location when one of the bombs, being used for the scene, exploded. Within a matter of seconds, the entire set was gutted. Most of the lighting equipment and cameras were lost in the fire. Fortunately, not a single person of the 100-member-strong unit was hurt.”

Kumar, who usually shoots through the day in Wai and flies back to Mumbai on his chartered chopper in the evenings, had left for the day around 3.30 pm. “None of the primary actors were required for the shoot. Akshay filmed his portions by late afternoon and then the director proceeded to can the war sequence with the additional artistes,” adds the source.

With the set now destroyed in the fire, the team has the challenge of recreating the Gulistan Fort — one of the key sites of the battle. “Since a 10-day shoot is yet to be covered, a new set will need to be recreated. Though it’s too early to say, the makers are now considering building the set in Film City in Mumbai.”

Confirming the news, the police officials of Satara said, “The fire department of Bhuinj and those of surrounding areas were alerted [about the incident]. By evening, the fire was brought under control.”