Showing posts with label Asoka. Show all posts
Showing posts with label Asoka. Show all posts
I feel like I am finally getting my reward, says Anu Malik on San Sanana from Asoka trending
8:09 AM
Abigail Banerji (HINDUSTAN TIMES; May 13, 2024)
With over 500K reels and over a million views, San Sanana from Asoka (2001) is the latest viral sensation. Sung by Alka Yagnik and Hema Sardesai, the song has caught the fancy of social media users all over the world, who are going to great lengths to get ready in traditional Indian avatars while staying on beat.
Composer Anu Malik says, “My daughter Anmol showed me the Reels and said, ‘Papa, your song has gone viral’. The project is very close to my heart because having Shah Rukh Khan and Bebo (actor Kareena Kapoor Khan) in the song was like sone pe suhaaga. I must have hummed innumerable tunes to Sivan saab (Santosh Sivan, director), but he was clear that the music has to be very different. I feel like I’m finally getting my reward.”
Of late, Indian music has consistently got people grooving on the ’Gram. What does he feel makes this song apt for a different generation? “The kids of today, who are aged 18-25, appreciate a good song. It has got a breezy tune and goes well with people wearing lovely gowns walking the red carpet or doing their makeup,” he ends.
Salman Khan is sharp as a knife; Shah Rukh is made of special cloth; Aamir is too focused on himself-Kareena Kapoor
9:03 AM
Kareena Kapoor Khan on her cinema, clan, and version 2.0
Mayank Shekhar (MID-DAY; October 14, 2023)
I think it works for actor Kareena Kapoor Khan to not come across as way too interesting, during interviews—scratching merely the surface, without engaging too hard during a conversation. One, it keeps the mystique alive, for a star-actor, who’s been under the Bollywood spotlight for 23 years, straight.
Also, forget an overpowering intellect, for a second—there is rarely a correlation between an incredibly interesting conversationalist, and an equally fine actor, on screen. In fact, the reverse might often be truer.
Take Kareena, when she’s out with roles far too different from her public image—seamlessly slipping into lives of distant others. She inevitably surprises.
She says, “I have always tried to balance out the stardom/persona, with character-driven films, all through. I was 22, when I did Chameli [2003; that shines a light on a sex-worker’s life, over a night]. Back then, there weren’t mainstream actors attempting such a role. Likewise, Dev [2004], Yuva [2004], Omkara [2006]…”
At one point, Kareena, 43, reiterates, “Of course, the big-ticket films will be there. But I don’t wanna do stardom anymore. Would rather dig deep into challenging parts.”
This is in context of Jaane Jaan (2023), that she debuted on OTT with, starring alongside Jaideep Ahlawat, Vijay Varma—equally stars in their own right, although from another sky, namely, streaming.
This choice for Kareena was personal: “I binge-watch crime thrillers at home—I’ve watched all of Harlan Coben’s books that have been made into shows on Netflix. So, I always thought that if I come on a streaming platform—it should be in a genre that I would like to see, myself!”
As she also points out, she’s seen Mare Of Easttown six times already—and that kinda explains her next release, The Buckingham Murders, that premièred at the British Film Institute festival.
Over three weeks since Jaane Jaan dropped on Netflix—based on the crime thriller, The Devotion Of Suspect X—it’s been on the world top 10 chart, for non-English films, on the global platform. Kareena paints a picture of sheer vulnerability in the movie—single-parenting a teenaged girl, while they grapple with an accidental murder.
It’s a whole new world for her, she admits. And the process remains the same. Which is? Mainly to learn your lines, yes: “Because that’s how you can manoeuvre a moment on a set. I’m a prepared actor. But I like to leave room thereafter for the director, co-stars, and the collective energy, that makes a scene and film work. I’m not set in my head.”
She essentially rubs off the energy in the room, she says. And that, of course, changes from room to room, doesn’t it? With Jaideep as co-star, and the role of Maya, for instance, Kareena says, “You have to be more focused. The [co-stars’] modus operandi is different.”
Which is diametrically different from, say, a Salman Khan film—whether Bodyguard (2011), or Bajrangi Bhaijaan (2015)? “With Salman, you have an actor playing on his confidence, and his super-duper stardom. He is confident to another level. And while it may seem so on the set, it’s not like he is unaware, or that he’s not listening, or is kinda sleeping… He’s listening to everything, and is sharp as a knife. Whereas Jaideep is sincere, constantly thinking about his character.”
Over two decades in Bollywood that’s been dominated by the Khan trio, it might be fair to suggest that the female co-star who’s been by their side all along might well be Kareena. Sometimes even picking parts more for the size of the film, than her role. She’s obviously in the best position to define that pop-culture phenomenon more closely.
I ask her to explain the three Khans, ideally through anecdotes, for how they roll, separately. With Shah Rukh Khan, she says, “He’s all those things you hear about him, and more—truly the Shah, or Emperor, or Conqueror, as they say. For him, the film is about everybody, who’s on the set—from the co-star, to the light boy on the tarp. You sense none of his stardom, once he’s in front of you, and how he multi-tasks, while making everyone feel special. He’s made of a special cloth.”
Kareena was 21, when she starred opposite SRK in Asoka (2001): “That was a truly brave film for his maiden home production. He took it all the way to the Venice Film Festival. It’s incredible, the vision for 20 years ahead, that’s he’s had. Back then, he knew that cinema was going to change, and he invested hugely in a VFX studio.”
The super-hero film, Ra.One (2011), with SRK and Kareena, was a result of that. As we speak, with Jawan (2023), SRK has made an astounding comeback for himself, and Bollywood itself.
It’s also not far away from the unexpected debacle of Aamir Khan’s Laal Singh Chaddha (2022), which was Kareena’s last release in theatres—a hard labour of love: “With several years of production gone into it.”
Kareena had her second child shortly after the film came out. And she barely had the time or mental space to mull over its commercial failure: “Recently, Aamir and I were at the inauguration of NMACC [Nita Mukesh Ambani Cultural Centre]. That’s when we first met after Laal. Well, I saw his face, and I could see how he was looking at me, apologetic and sad, at the same time: ‘What happened?’ Together, we’ve delivered big films, 3 Idiots [2009], Talaash [2012]. But you know what? It doesn’t matter. I wrote a long letter [on WhatsApp] to both Aamir and the director [Advait Chandan], telling them that our relationships and talent don’t depend on the outcome of a film.”
I wonder if she’s personally analyzed what went strikingly south with a movie so sincere and sweet, that the audiences simply stayed away?
“I think it was the post-COVID times. People were looking for some more fun in their entertainment. And Laal Singh Chaddha is dark. Even while we were making it, Aamir discussed with me if we were going too dark with my character, Rupa. I said, no, let it be—that’s what it is.”
As a Khan co-star, of course, Kareena has the same things to say about Aamir that’s earned him the title, Mr Perfectionist: “He’s too focused on himself; obsessed. Sometimes I’d tell him, ‘Bahut ho gaya yaar’. You can’t do anything else while working on the film—all the conversations and people are centred on one thing. But that’s Aamir for you. And we’ve loved him for that.”
It’s not that I say this because Kareena is before us. The fact is, my favourite Khan for a star-actor is, in fact, her husband, Saif. He’s defined urbane cool in unmatched ways, over a career as long as his Khan
contemporaries.
Also, taking creative risks with subjects that were so OTT, before there were streamers—take the English film, Being Cyrus (2005), for instance. She obviously agrees, “He’s the finest artiste, doing his own thing, a Laal Kaptaan (2019)…”
It must be mildly upsetting, though, that their own pairing wasn’t to the mainstream delight—whether that be Kurbaan (2009): “Hey, Tashan [2008] was a cool flick! It’s got the songs, and characters, and a cult value! So was Agent Vinod [2012], with a cool yet desi intelligent kinda James Bond.” Fair enough.
While Kareena would love to pair opposite Saif, he tells her something rather keenly observant: “Saif says that he wants to be the best in a film. But he loves me so much that he would want me to be the best.” This is a conflict of interest, alright!
Kareena’s own filmic story actually begins with her sister, Karisma, who got into the movies, first. Also, the first female from the Kapoor family to show up on screen. She’s a fourth generation actor, from what’s widely considered the first family in Bollywood—her great grandfather Prithviraj Kapoor, onwards.
Still, the fact is, it’s actually her mother, Babita, who raised her, almost single-handedly—the reason she’s in the movies!
Kareena says, “I’ve got my confidence and an independent streak from watching my mom. She’s the lioness, who raised the cubs, that is my sister and I. The fire in me comes from her, and she has the same fire for her children even now, when we discuss work. Three women under one roof can do anything! That’s how she took on the world and pushed Karisma’s career. She personally took her down South, to meet Rama Naidu.”
Ah, that’s how Prem Qaidi (1991) happened! Remember, Harish? Also, Anari (1993)! With Telugu superstar, Venkatesh, who’s also found a new audience, you would’ve noticed, with the recent Netflix series, Rana Naidu.
Babita was the ‘Bollywood mom’, as was the prevalent practice in the ’90s: “She would always be with my sister. By the time, I made my debut, times had changed. She wouldn’t come on the set with me. She adapted with the new generation. Also, cinema changed from the ’90s.”
Kinda crappy decade the ’90s were, for mainstream female actors, no? I prod Kareena. She says, “Well, everybody still dances to Lolo’s songs at parties!”
Either way, it’s worth noting that up until the end of that decade, while producers and stars in Bollywood were only too happy to introduce their male children into films, they resolutely chose to keep their female progeny at a safe distance.
Clearly, something was amiss? That they didn’t think the film industry was a great place to work for women? Kareena is decidedly non-committal: “I think these were personal decisions. [With the Kapoor family], it could well be that light-eyed actresses don’t make it! In the ’60s and ’70s, it was simply a choice they made. My mom-in-law [Sharmila Tagore], for instance, continued to work after marriage, and even after Saif was born. She was a game changer of sorts.”
Even with Karisma, Kareena recalls her father, Randhir, “an open-minded cosmopolitan”, was clear: “Lolo would have to find her own way, and that he can’t help her [vis-à-vis a debut/launch vehicle].”
Lolo, being Karisma’s popular nickname. It’s derived from Italian actor-model, Gina Lollobrigida, Kareena confirms: “Now, I don’t know where Bebo [Kareena’s own nickname] comes from!”
She’s however named after Leo Tolstoy’s Anna Karenina, the novel Babita was reading, when she was pregnant with Kareena. Okay, another legend confirmed then. Has she read the book she’s named after?
“Have you seen the size of the book? Mere baal safed ho jayenge [I’ll grey, before I finish it!]. It’s lying at home. Guess who’s obviously read it!” Meaning, her husband, Saif, who’s more of a reader.
“Well, I may give off the vibe that I’m not a reader, which is not true. I do read, but more [in the crime fiction space] Scady [Scandivanian] stuff, like Joe Nesbo. Saif has a different taste, having been an art history student.”
Speaking of names, her new title, Jaane Jaan, is actually named after a film, starring her father, Randhir—who, I tell her, and not because she’s around, that he’s one of my favourite Kapoors, definitely underrated. Her own favourite Randhir films are the same as mine—on top, the crazy comedy, Biwi-o-Biwi (1981), then Chacha Bhatija (1977), which is before Kareena was born.
And that would be true for Randhir’s own stardom, that was quite something in the ’70s, and but it faded by the ’80s: “I was too young, when my dad had stopped working, as such. That’s why my mom had to step in to bring us up, and figure out the odds and ends, until Lolo started working. He did direct two-three films [Heena was one of them]. But he’s had a sporadic kinda career.
“He’s actually loved living life, a lot more—he’s a funny and warm man, with a large social circle, meeting close friends... There are a hundred of them. And they would have not one thing wrong to say about him. He gave more time to that side of his life. It’s something I’ve learnt to do with my circle as well. He’s given us a lot of love.”
The other thing that’s seeped into her personality is a middle-class upbringing, therefore: “My mother came from a humble background. Her father was a character actor, Hari Shivdasani. My grandmother was British. They met on a tour in the 1940s. Growing up, it was clear, that we would be provided the bare necessities. I could buy [expensive] clothes and other stuff, once I got a job.”
Karisma debuted at 15; Kareena, at 20: “My 20s weren’t about partying, shots, nightclubs... They got spent at Mehboob Studios. And I loved that! And it’s been my life since—early to bed, by 9.30 pm, up early. You’ll hardly find me at film parties, although I can have a late-night, once in a while.”
Once you start checking boxes, you realize, Kareena actually has a new-age doppelgänger. An actor who met and clicked with her husband (later), similarly, on a film set, having known him for years before that.
With a maternal grandmother, who’s British, while her paternal family is from the films. She broke out with a Karan Johar film. As did Kareena, in many ways. And now, they’re also related. That’s Alia Bhatt, who confesses to being Kareena’s biggest fan. It may appear she has modelled herself on her as well.
Kareena smiles, “She’s tried to keep that artistic balance. I’m a huge admirer of her choices. And that’s what ultimately makes an actor. I didn’t know her as a child. But of course, now Alia’s part of the family [married to Kareena’s cousin, Ranbir]. Recently we had a picture together that got everyone talking about how we must work together. And then Karan [Johar] started getting the same messages. The onus is on him to cast us then!”
Easily, the role that got Kareena pop-culture cred was as Poo, short for Pooja (as all Sidharths are Sids, and Adityas, Adys). It’s the snobbish fashionista’s role from Karan Johar’s Kabhi Khushi Kabhie Gham (2001) that got her all the teenage love: “I think the lingo and the language of the character is even more relevant today! The reason it worked was because I had so much fun playing the part—a rare mainstream, female role [that stands out] in a film full of [male] stars.”
As you can tell, it was inspired by Alicia Silverstone from Clueless (1995). Kareena had obviously seen that teen-com: “But, no, I was totally inspired by Karan. He just knew the part really well.” Looping back to the Alia-Kareena potential casting by Karan—if that does happen, I joke, it’ll fire up online trolls screaming, nepotism all over again!
Kareena sighs, “Now, what nepotism, yaar! I’ve been around for 23 years. People have seen my fair share of debacles. And I’ve proven myself. I keep coming back.”
What can’t be denied, however, is the edge, in any profession, for that matter, that one enjoys, by observing it from a close distance, being raised around it. As with films too.
She agrees, “For me, that happened with being on Karisma’s sets, growing up. I was lucky, yes. But the first time you face the camera is still the first time. And there is an X factor that you can’t take that away from someone. So, what you’re referring to is just a one percent advantage.”
Kareena debuted with a relatively broody/artsy, Refugee (2000), with Abhishek Bachchan, after dropping out of Hrithik Roshan’s debut, Kaho Naa Pyaar Hai (2000). K3G cemented her stardom of sorts. Refugee was a fair starting point for her displaying her chops as a sensitive/sensible lead.
What followed was a series of films that would baffle the moviegoer—take the forgettable Yaadein (2001), or Main Prem Ki Diwani Hoon (2003), among many that you rightly can’t recall.
Both the movies mentioned, she points out, were by the star-filmmakers of the time—Subhash Ghai, Sooraj Barjatya. Was she picking directors over scripts? “I was too young then. You can’t say no [to such big films]!”
An actor, of course, only acts. There is much else at play for her to take full responsibility for a role, let alone an entire film. At some point, given the offers, she had decided on a sabbatical, refusing to sign up any: “I was saying no to some of the biggest movies.” She’s quite well-known for that too. Take Queen (2014), I remember. She’d passed on that as well.
“Oh, no, that’s much later,” Kareena says, talking of the late noughties. How did she plan on reviving her career then? “With a ripped, six-pack, planning to blow up with the world, walking on high speed [shot], on to the big screen! I hadn’t worked for a year and half.”
The film? Tashan! The goal? Size zero! As goes the old John Lennon cliché (which like all clichés, being true)—life is what happens, when you’re busy making other plans.
Actor Shahid Kapoor sent over director Imtiaz Ali for a script narration. Imtiaz had only debuted with Socha Na Tha (2005). She hadn’t seen that film. Shahid had. She was happy with his script. Jab We Met was born. Rest is history, and chemistry, of course. But all through the making of Jab We Met, Kareena says, she wouldn’t stop talking about Tashan!
“Imtiaz just kept saying, ‘I don’t think you’re getting it!’” In terms of the impact her character is likely to have. It did. Kareena as Geeta remains her most prized picture yet.
Although my personal favourite, in terms of performance alone, is Kareena as Aaliya, in Govind Nihalani’s Dev, based on the 2002 Gujarat riots. It’s the role with immeasurable depth you wouldn’t expect Kareena (or any other commercial/mainstream star) to pull off, so effortlessly. That’s the visceral, surprise element she brings to the screen, that’s hard to decode about her, least of all in a press interview.
Beyond movies, her hugest production is obviously her son, Taimur, a media blockbuster ever since he was born. And which also explains nepotism more realistically—it starts with intense public interest in star-children, in general.
Something that social media and paparazzi feed on. Taimur’s been India’s most famous child, way before he’s likely to even contemplate his profession.
There’s little Kareena could do about it: “If he’s with me, he will be photographed.” I wonder how other celebrity couples manage their child’s privacy. Nobody, for instance, knows what Rani Mukerji and Aditya Chopra’s kid looks like. There must some method to it.
It can backfire too, Kareena reasons, “I could cover his face. That would be more scarring.” Infant Taimur even had a weekly column with his name for a pseudonym in a popular Mumbai daily. I wonder if he’s seen it?
“He hasn’t. But I’m sure he will, if he googles himself.” His growing up could be a curious case study on fame, while his mother claims he’s been totally unaffected by the unwanted attention: “He’s a smart boy. He knows that he has famous parents. And that’s what this is about.”
None of which Kareena had to face, through school/college (Jamnabai, Welhams, Mithibai), while being a celebrity child herself. And she’s been a Bollywood star since teenage. All through which she’s seen the media landscape evolve, equally. Back in the noughties, the reporting around film stars were inevitably about catfights in fanzines and gossip rags!
She was then in her 20s, a decade she regrets a little for “saying and doing foolish things, in order to prove oneself.” These would make it to the press, covering movies, that was still aimed at a niche readership—“Kareena, Priyanka in a catfight in Antwerp!” Okay, that’s not a true story, apparently.
The smart phone and social media turned everyone into a semi-paparazzi and gossip writer. It gets to Kareena, at times: “Everyone wants your time, and a piece of you, which wasn’t there before. It’s tough to balance this out—to not have a bad day, or be tired, being under the spotlight 36 out of the 24 hours of your day!”
An old, 2019 video, featuring N Narayanmurthy, for instance, randomly went viral recently. Wherein the Infosys founder talks about Kareena as his co-passenger on a flight once. And that he wasn’t pleased with her fobbing off unnecessary attention from the public around her. Narayanmurthy’s wife, Sudha Murthy, is a voice of reason in that video. She tries to explain Kareena’s POV. Something Kareena does well herself.
Only, that since everything becomes controversial for a day, online—I can see Kareena’s entourage dancing behind her to cut short the interview, while I wonder if she’s opened up enough?
They’re unhappy with the questions, they complain to my colleague, during the interview. Which is strange, and it’s never happened during our conversation series, Sit with Hitlist, over five years.
The same thing occurred during Kareena’s The Guardian profile, more recently (as noted in the piece). She is actually eloquent enough to take her questions, with absolute ease, and reasonable charm. It’s hard to figure why her own/personal team would unusually attempt bad press towards the employer/client!
Happy Birthday Kareena Kapoor: In her first 2 years as an actress, she had appeared in 6 films, 3 of which were record openers!
3:45 PM
The Hindi film industry has seen several actors and actresses ruling the roost and breaking and setting new records. However, Kareena Kapoor, who celebrates her 41st birthday today, stands out when it comes to giving record openings. Believe it or not, in her first 2 years as an actress, she ended up giving as many as 3 record openers!
Kareena debuted with Refugee on June 30, 2000. It starred another debutant, Abhishek Bachchan. It was J P Dutta’s next after the monstrous blockbuster, Border (1997). The pairing of debutants and star kids Abhishek Bachchan and Kareena enhanced curiosity. Anu Malik’s music too was a rage. The film collected Rs. 1.56 crore and it was the biggest opening day ever till then, bigger than the films of the Khans and any other ruling stars! Even its weekend collections of Rs. 4.52 crore were the highest ever! Refugee’s record of first-day remained for four months and it was then broken by Hrithik Roshan-Preity Zinta starrer Mission Kashmir (2000). This Vidhu Vinod Chopra action thriller collected Rs. 1.64 crore on its opening day.
Kareena Kapoor’s second film, Mujhe Kucch Kehna Hai (2001), opened well, at Rs. 81 lakhs. It sustained very well and ended up collecting nearly Rs. 17 crore, that is, as much as Refugee. Thus, it got the Super-Hit verdict. This was followed by Yaadein (2001). This film had generated hype as it was directed by Subhash Ghai and because of the electrifying chemistry of Hrithik and Kareena, both of whom had given record openers a year before. Yaadein opened at Rs. 1.59 crore, that is, more than Refugee’s and less than Mission Kahsmir’s day 1 earnings.
And then came Ajnabee (2001). Along with Kareena Kapoor, it also starred Akshay Kumar, Bobby Deol and Bipasha Basu. The film was well packaged and marketed. The bold subject, the impressive posters and trailers and hit music enhanced curiosity. Yet, no one was prepared when this Abbas-Mustan suspense thriller took an earth-shattering opening. It collected Rs. 1.65 crore, a lakh more than what Mission Kashmir earned on release day. Ajnabee managed this feat despite releasing in non-holiday, adult-certification and despite releasing in lesser screens (325) than Mission Kashmir (400). Ajnabee was also Akshay Kumar’s first record opener.
Sadly, Ajnabee held the record for only a month. On October 26, 2001, the Sunny Deol-starrer Indian released and collected Rs. 1.80 crore on day 1. It clashed with Asoka, starring Kareena Kapoor and Shah Rukh Khan and it had a decent opening of Rs. 1 crore.
Finally, Kareena’s fifth and final film of 2001 was Kabhi Khushi Kabhie Gham. This was Karan Johar’s second film after the much loved Kuch Kuch Hota Hai (1998). It starred as many as six big actors – Shah Rukh Khan, Amitabh Bachchan, Kajol, Jaya Bachchan, Hrithik Roshan and Kareena Kapoor. It was released on December 14 and broke records by a huge margin. It’s opening day collections were Rs. 2.38 crore and weekend collections amounted to a huge Rs. 7 crore. It ended up making Rs. 55.65 crore at the box office and thus became a blockbuster.
In short, by the time 2001 ended, Kareena Kapoor had appeared in 6 films, 3 of which were record openers, and 2 of them had record weekends. Kareena probably holds this record of giving the maximum record openers in the beginning of her career.
Lastly, there’s another feat of Kareena Kapoor, worth mentioning. Ajnabee was also released today, on Kareena’s 21st birthday. In fact, she is the only actress or a rare actress who has had not 1 but 2 releases on her birthday – Ajnabee and Heroine (on September 21, 2012).
It's only now that writers, producers and directors finally see me as capable of shouldering a film-Vikrant Massey
7:55 AM
Champion of indie movies, Vikrant Massey on breaking into the league of mainstream B-Town heroes with Ginny Weds Sunny
Mohar Basu (MID-DAY; October 8, 2020)
Despite a long day of virtual promotions for Ginny Weds Sunny, Vikrant Massey sounds upbeat when we get on a call with him. The feel-good energy of the Netflix film is presumably rubbing off on him. Known for intense dramas like Chhapaak or the more recent sci-fi Cargo, the actor is now aiming for a shift in his image with the rom-com.
"I am doing this for the first time, and it feels as if I'm starting off all over again. Finally, people are realising I can dance too. Ginny Weds Sunny is the kind of movie that takes your troubles away, even if it's for a few hours. With the advent of streaming platforms, the content consumption landscape has changed. But deep down, romance, heartbreaks, shaadi sequences and naach-gaana are too rooted in our movie-viewing culture to go out of style. Each of us looks for our happy ending in rom-coms," says Massey, who features opposite Yami Gautam in the film.
As he shoulders his first mainstream movie, the actor doesn't deny that the Puneet Khanna-directed venture is a litmus test. "It will be premature to say I have made the shift. I am venturing into uncharted territory with the movie. If it works, there will be more of these, over and above the independent movies that tug at my heartstrings. When I started off as a TV actor, I wanted to be a Hindi film hero. I focussed on giving my best shot, but it's only now that writers, producers and directors finally see me as capable of shouldering a film. I am often told that I broke out with A Death In The Gunj (2017), but the credit for helping me break into the 'leading man' space goes to the producers who have risked taking me in their films as the lead."
It won't be wrong to say that the leading parts are coming his way more frequently now. Even as he has Haseen Dillruba and 14 Phere in the pipeline, Massey was announced as the leading man of Santosh Sivan's remake of the Tamil hit, Maanagaram (2017), last week. For the actor, collaborating with Sivan is a dream come true. "When I got the first call, for a day, I didn't believe it was happening at all. I had a wide smile on my face for a week because Asoka [2001] is one of those films that I watch every time it airs on the television. Shouldering his dream project evokes so much excitement in me. Now, it's my responsibility to deliver; an actor's job today is to be worth his audience's time and money, regardless of the screen size they are watching him on. The budgets of my films have changed and so, the stakes have risen. But I won't change my approach of surrendering completely to my character and director."
Kareena Kapoor revisits her iconic character Pooja on Dance India Dance
8:02 AM
MUMBAI MIRROR (September 6, 2019)
Kareena Kapoor, who is one of the judges on the dance-based reality show Dance India Dance, recently got a chance to revisit her iconic character Pooja aka ‘Poo’ from Karan Johar’s 2003 film, Kabhi Khushi Kabhie Gham. With guest judge, choreographer Geeta Kapur, with whom she has collaborated several times, Kareena also reminisced about the song “Bole Chudiyaan” from the film, as well as Asoka’s “Roshni Se”. As part of Geeta’s grand introduction on the episode, the actress and her co-judge, Bosco Martis, showered flowers and performed a traditional ‘aarti’.
“Geeta’s choreography is sensual, she makes her heroine look feminine. ‘Roshini Se Bhare Bhare’ is the most sensual song in my career. It’s just the way she moves, I think it’s inherent… I don’t think many choreographers tend to bring it out in us,” Kareena said.
When Mukesh proved his detractors wrong with Sardar Malik’s Saranga
7:40 AM
Anu with father Sardar Malik
Roshmila Bhattacharya (MUMBAI MIRROR; February 1, 2019)
Not many will recall a 1961 film titled Saranga but its song, “Saranga teri yaad mein”, filled with the pathos of a broken heart, ranks amongst Mukesh’s best. Anu Malik, son of its composer Sardar Malik, recalls his dad telling him that after bowling Mukesh over with Bharat Vyas’s poetry and his melody, he confided in the singer that some of his detractors were calling him “kansura” and he wanted to shut them up with this song. “But I’ll need to rehearse it with you every day,” Malik Saab insisted.
Mukesh ji would dash down to his Juhu residence every day and despite the summer heat, they’d switch off the fan and he’d rehearse in his vest. “By the end of the session, both would be drenched in sweat,” recalls Anu. By the time of the recording, Mukesh ji knew every word and note. “Like me, he sang with the harmonium and the song flowed in perfect sur,” says Anu believing that if it had been picturised on Raj Kapoor rather than Sudesh Kumar (right), it might have been a bigger hit. “Stars carry forward your songs, that’s why I’ve fought for an Aamir, Shah Rukh and Salman Khan for my songs,” he reasons.Salman’s father, Salim Khan played the lead in Bachpan. A Sardar Malik composition, sung by Mohd. Rafi, “Mujhe tumse mohabbat hai magar main keh nahin sakta” was filmed on him.“My first song for Poonam, 'Mohabbat rang layegi janaab ahista ahista', at the age of 17, was also sung by Rafi Saab. After the recording, he called me, ‘True son of a true father,’” Anu beams proudly.
He also remembers approaching Shammi Kapoor (left) for his blessing only to be told he didn’t need to introduce himself. “You are Sardar Malik’s son,” Shammi ji smiled and when Anu wondered how he knew his father so well, he informed him, “I was launched with Sardar Malik’s music in the 1953 film Laila Majnu .” Despite several screen adaptations and Malik saab sharing the credits with another composer, Ghulam Mohammed, he left his imprint on the film with songs like “Baharon Ki Duniya” and “Dekh Li Aye Ishq Teri Meherbani.”Malik saab also scored for Shammi Kapoor’s Chor Bazar which boasts of Lata Mangeshkar’s “Hui Yeh Humse Nadaani”and Shammi’s favourite “Tere Dar Pe Aaya Hoon Fariyad Lekar”. Then, there was Thokar unforgettable for Talat Mehmood’s ghazal “Ae-gham-e-dil kya karoon”with lyrics by Javed Akhtar uncle’s Majaz. It also had a female version by Asha Bhosle. “Asha ma adored daddy’s compositions as did her late husband Bhosle Saab. He loved and trusted daddy and told her this was one family she could stay with for as long as she wanted. I grew up playing in her arms,” Anu smiles, humming “Hum Apne Gham Ko Saja Ke” from Madan Manjari. Other Asha-Sardar Malik gems include “Tum Salamat Raho Hazar Baras” (Aulad).
Sardar Malik was a musician ahead of his times as reiterated by Saranga’s “Haan Deewana Hoon Main” composed on a minor key much before Bobby’s “Main Shayar To Nahi” was born. But despite this and songs like “Main Garibon Ka Dil Hoon Watan Ki Zubaan” (Abe-Hayat) he disappeared in a string of B-grade films with lesser known actors much before his demise on January 27, 2006. “Yes, his films didn’t do well and makers stopped coming,” admits Anu, pointing out that his simple, quiet father was too proud to ask for work. “He’d say they know the work I’m doing and if they need me they know where I live. With three children—Anu, Daboo and Abu—to bring up, he accepted what he got.” In these difficult times, Anu, at 12, picked up his harmonium and went looking for work. “People made fun of me saying I’d make songs on car bonnets and in the bathroom. They didn’t see the insecurity that made me run after people humming tunes, begging for a chance,” he says.
His dad smiled at Judwaa’s funky “Tan Tana Tan” and kissed him for Border’s “Aye Jaate Hue Lamhon”. “He was upset Asoka’s 'Roshni Se Bhare Bhare', 'Raat Ka Nasha Abhi' didn’t win me a National Award. When I won for Refugee , he raved, ‘Anu, you have combined Raag Yaman with Shudh Bihar.’” Anu had done it unknowingly but Malik Saab had studied music under Ustad Allauddin Khan and dance under Uday Shankar. “I told him his one 'Haan Deewana Hoon Main' was equal to my 200 films and he reiterated that he was proud I was a fighter who wouldn’t let go.”
Given a chance, I want to make Asoka again-Shah Rukh Khan
8:18 AM
Nayandeep Rakshit (DNA; November 2, 2017)
Shah Rukh Khan turns 52 today. The actor, who has been part of over 60 films (without the special appearances), has managed to maintain his superstardom over the last 25 years. Through the course of his career, he has attempted different things — some worked, some didn’t and some set new benchmarks in filmmaking.
Ask him about his plans and he tells us, “We have decided to produce almost nine-10 films in the next two years. I won’t be acting in all the films, we are always willing to do new things regardless of its outcome. Today, our films are doing the business, tomorrow I might lose everything but that thought will never stop me from attempting.”
The actor wants a revolutionary change in terms of special effects in India. “I understand we don’t have the budgets that a Hollywood film does. Today, I have a dedicated team, who is working endlessly to create VFX for films like Fan and Aanand L Rai’s film, which people couldn’t even think of doing, a few years ago. We tried introducing a technology in India with Fan and although the film didn’t work, it cannot take away the accomplishment of my team. When people come and talk to me about it, I consider all this fluff — that my career is ending and I’m going to be finished. That’s what you think but without being pompous, I can say that I’m at a position where I can decide to take on things which come with a huge chance of failure. But if we don’t do it, things won’t progress.”
He also expresses another wish he’s nurtured for quite some time now. “I had loved doing Asoka. Given a chance, I want to make Asoka again. But this time, it will be much bigger and grander. Maybe with some great VFX work which has so far not been seen in Hindi cinema.” He further explains, “We made Asoka in a budget of Rs 8 crores. We didn’t know much about VFX because special effects were still not a rage then. Today, imagine how much more we can do with a bigger budget and better VFX. I’m fascinated by such powerful war stories and someday, I would definitely like to revisit Asoka again.”
Why Shah Rukh Khan has agreed to act in Nikhil Dwivedi’s production
8:14 AM
Upala KBR (DNA; December 19, 2016)
Shah Rukh Khan has agreed to act in Nikhil Dwivedi’s co-production with Videocon’s Anirudh Dhoot. Shares a source, “SRK is very close to Videocon owner Venugopal Dhoot and his family and has also been their brand ambassador for years. It was even reported that Videocon had partly financed Asoka. He is almost like family to them. Naturally, he would be part of their first production which is being handled by Venugopal’s son Anirudh.”
Meanwhile, Nikhil and SRK have been friends for almost two decades and naturally he has approached the star to act in his production. Nikhil, who has worked in Dhoot’s company in the past, took the action-thriller-drama, to the star and he agreed to come on board. The source adds that Nikhil has been told not to talk about the project till everything is finalised. “Nikhil is leaving it to Videocon to handle everything including the announcement. The project is expected to begin next year.”
Farhan Akhtar's need for order is borderline OCD-Saket Chaudhary
7:57 AM
Priya Gupta (BOMBAY TIMES; February 22, 2014)
Saket Chaudhary, 39, is curious, sensitive and structure-oriented. He is little closed and creates a space around him, making it difficult for others to get in. To him, competence matters more than financial success and he needs to be convinced that what he is doing, he is doing well. His parents have only asked one thing from him — to do in life whatever makes him happy and independent and that has emotionally made him secure and freed him from the burden of having to explain to others what makes him happy. It took seven years to make his second film but he sailed through the tough emotional period, thanks to his co-writer Zeenat Lakhani. Over an hour-long conversation ahead of his romantic comedy Shaadi Ke Side Effects, he spoke to Bombay Times about Farhan’s need for order, Vidya’s comfort with chaos and why sessions of whisky with Aziz Mirza were invaluable. Excerpts:
How did you become a filmmaker?
I am a Punjabi, born and brought up in Delhi. My father was into marketing of pharmaceuticals and is now retired. After graduating in Physics, I had more or less decided that I would not do that even though I sat for the JEE and wanted to do something related to writing, be it in journalism or advertising. So then I went to Pune and did a masters in Mass Communication, post which I came to Mumbai when I was 21. I started assisting ad commercial makers for a year and then started writing Movers And Shakers and became the head writer for the show. I then started assisting Aziz Mirza and that is the first time, I started helping out with writing in a feature film. I met Santosh Sivan, who was the cinematographer, who asked me if I wanted to write Asoka and that’s how I wrote my first film and decided that I wanted to be a filmmaker.
Who are the people who have encouraged you in your career?
I wrote my first script for Pyaar Ke Side Effects, but no producer was willing to make it till I met Rahul Bose, who liked the script and took me to meet Rangita Nandy, who then decided to produce it. When I came to Mumbai, my parents supported me financially for the first year, after which I took care of myself. Despite being the seventh assistant to Aziz Mirza, he allowed me to participate in writing and he allowed me to speak in front of himself as also in front of a giant star like Shah Rukh Khan, which gave you confidence. Aziz sahab is this grandfatherly figure, who is extremely accepting and open and he has his durbar, where everyone contributes and gets to share his whisky, that is his pride and joy. His way of working was very fluid, but I learnt how to think on my feet. Then there was Santosh Sivan. I was just 25, but he gave me the confidence to go write a film like Asoka and that was a massive learning curve. He understood the camera and is a genius and one of the most fearless people I know who can do anything. I am neither fearless nor fluid like Aziz sahab or Santosh and may be that is why I liked them so much. I studied at Springdales School in Delhi and I remember telling my teachers in fifth standard that I wanted to be a writer, but they not only didn’t mock at that, which could easily have been the case in Delhi, but they were very encouraging. I would finish my English paper in half hour as I wanted to spend the balance one-and-half hours in writing my essay. And lastly, but most importantly, I never had to worry about my parents’ support. Even in fifth standard when I wrote stories, they would read them out to me and always encourage.
What is Shah Rukh Khan like?
He was a massive star but he was very friendly and did not have an attitude that a star his stature could have had. Santosh Sivan being a South Indian would be on the floor by 9am wanting to start the shoot but Shah Rukh would not show up till 12.30. But once Shah Rukh came on the set, he just switched on and was extremely spontaneous and organic.
What is Farhan Akhtar like?
Farhan is also very invested in the script. For him, your evaluation comes from the script and if that is good, he has full confidence. He is very precise in taking up things in the script. He does not let go of something he is uncomfortable with and even though he will make his point in a polite manner, he will make his point. Either you have to convince him or he will convince you. He likes to concentrate a lot, so the set needs to be in a certain organised manner for him. He likes quietness. Even if I do my best, the fact is that our sets are very noisy, but due to him I learnt how to cut the chaos on the set to give actors their space. He likes order. In fact, his order is borderline OCD. Farhan will not shout but he makes his point well enough.
How about Vidya Balan?
Vidya read the script four times and took two narrations before she said a yes. But once she is sure, she invests herself completely. I remember once the house in which she and Farhan live in the film was ready, she went there a day in advance to make the space her own and in fact, changed some things there that she felt would go with her character. She will keep a constant conversation about the script going with you to take references of your life and use her own life references for acting. The film is about what happens to a couple after they have given birth to a child. So she drew references from her sister Priya as she was a mother. As much as Farhan operates with order, she does not mind working with chaos. Both Farhan and Vidya come from directorial backgrounds (Vidya was an assistant director on TV). I love and respect when actors read the script as that is the only tangible thing you have before the film. You'd believe that everyone does it, but there are a lot of people who don't read scripts and just take a narration. Both Vidya and Farhan read the script thoroughly to the extent that they would come back with notes on it.
What makes you a part of the executive council of the Film Writers Association?
I am extremely passionate about the Film Writers Association and feel that writers should get their due recognition and return. If we need to make better films in this business, then it may be the most clichéd thing that story is the most important thing, but that does not reflect in a way. A storywriter gets paid from 10 lakhs to 80 lakhs if it’s a senior writer compared to a senior director, who could get paid upto 7-8 crores. I am a director and a writer and can safely tell you that as much as come parts of a director’s work may be bigger and larger, but it is not that much larger what a writer creates. Why should a writer be paid just 10% of a what a director is paid as the writer generates employment for everybody else. Tell me which director can go to work if a writer doesn’t write a script? A producer will tell you it is his money driving the film but had there not been a story, he would not make more than his bank interest on that money. A certain recognition and royalty is an aspect in any civilised society today. Why should there be so much resistance to it over here?
How do you safeguard a script?
When I was in the Film Writers Association, I was in the dispute committee and would see how people’s work was stolen and advised them on what to do. I learnt from there. I am fairly precise on the legal process, have lawyers and register my script before I give a narration to anyone.
There was a gap of seven years between your two films. Was that period tough for you?
After Pyaar Ke Side Effects, I wrote another script that was not as good. But I had wasted a year-and -a-half writing it. Then I wrote Shaadi Ke Side Effects which I had resisted to write earlier as I did not want this to be my second film. Getting up and just sitting in front of your computer for that many years is an incredibly difficult process. It’s one of the loneliest things to do. Of course you have to enjoy loneliness to write. But a blank page is damn scary. I lived in a bare minimum manner during this time as I did not know the future. You see your friends acquire things you have not acquired. But it made me reach a conclusion that you have to believe that writing is your calling and that life is not going to pan out for you like it has for other people and therefore you lower the expectation from the things you want from life. My co-writer Zeenat was a personal and professional anchor as we have been in this journey for so many years together. It was even more difficult for her as this was her first film and she had to wait for so many years. But we were a constant support to each other. I could see that my parents were concerned about me, but they never said it. To grow up with the emotional freedom in your head that you can do whatever makes you happy and independent is the best thing your parents can give you. You land up internalising that whatever I am doing has to satisfy me and I don't have to explain that to other people.
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