The film has inspired a live musical, with Pandit Birju Maharaj as creative director and seven songs from the original
Himesh Mankad (MUMBAI MIRROR; June 13, 2020)

Sanjay Leela Bhansali’s 2015 period romance, Bajirao Mastani, fronted by Ranveer Singh, Deepika Padukone and Priyanka Chopra, is gearing up for a comeback as a live musical on stage. Directed by Maitreyee Pahari, with Kathak maestro Pandit Birju Maharaj as the creative director, it has Rajniesh Duggall stepping into the shoes of the Peshwa. Two renowned Kathak dancers, Shailja Nalawade and Anusua Majumdar, play his wives, Mastani and Kashibai respectively.

“The musical is based on the film,” informs the actor, adding that it features nine-10 musical sequences with 50 dancers and 12 actors from all over the country. “We have retained seven original tracks from Bajirao Mastani, including “Malhari”.

Rajniesh admits that he has watched SLB’s film multiple times to understand the nuances of the character. “Ranveer as Bajirao set a benchmark, but since this is a live performance, it will have its own flavour,” says the actor, who has trained in the semi-classical dance form, Chhao, with Pandit Birju Maharaj for 40 days. “I have eight days of practice remaining. I was a non-dancer, but naach-gaana came naturally to me once I started rehearsing. There are two major fights, too, which will be a mix of Chhao and sword-fighting.”

They were supposed to perform in Delhi in mid-April, then, travel with the play to Mumbai, Dubai and London. Rajniesh points out that they have different versions keeping the live audience in mind. For instance, there won’t be too many Marathi dialogues when performing in Delhi. In the current scenario, with films and plays taking the virtual route, will that be the way forward for them, too? Rajniesh says they are still debating on the subject. Meanwhile, the Coronavirus lockdown gave him the time to brush up on his cooking and Chhao dancing skills. “There are certain poses for which it’s imperative that your muscles don’t tighten up. I’ve been doing a lot of basic stretching. I have also been attending a few master classes on direction,” he says. Is direction on the cards, then? “Yes, I definitely want to direct a film, but I will start with a couple of shorts,” he shares, adding that he hopes someday Ranveer, SLB, Deepika and Priyanka will get to experience their musical live. “We had planned to invite them for a show,” the actor admits.

Glad to finally feature in a film that doesn't involve the death of her or hubby Ranveer Singh's characters, Deepika Padukone traces working on Kabir Khan's 83
Shaheen Parkar (MID-DAY; March 1, 2020)

In Homi Adajania's comic caper Finding Fanny (2014), which starred Deepika Padukone, Ranveer Singh had made a special appearance. Now, it's her turn to do the same. She features in a cameo in his upcoming film, 83. "I have about five to six scenes," says Padukone, who plays Romi, wife of cricketer Kapil Dev, in Kabir Khan's film based on India's 1983 cricket World Cup victory.

After Padmaavat (2018), Bajirao Mastani (2015) and Goliyon Ki Raasleela Ram-Leela (2013), Padukone is glad that she is teaming up with Singh for a movie with a different subject. "All these three films were costume dramas and emotionally heavy. Also, we ended up dying at the end of all!" So, she's glad to be alive in this one. "In that sense, it was relatively emotionally lighter," says Padukone.

Singh had to put in a lot of prep, including learning how to get his cricket on point. "I just went with the flow," says Padukone, who shot for her scenes during the UK schedule last year. She adds, "The way we approach our characters are distinct. Our processes are different. It was also novel as we have not done something like this before."

Though on the set they may prefer to dive into the characters in their own ways, off-screen they influence each other greatly. "His personality has rubbed off on me, and mine, on him. I have learnt a lot from him, and he, from me."

Renuka Vyavahare (BOMBAY TIMES; December 3, 2019)

Arjun Kapoor has a big release lined up — Ashutosh Gowariker’s period epic Panipat — in which he plays Sadashivrao Bhau, the valiant sardar senapati (commander-in-chief) who led the Marathas in the Third Battle of Panipat, which took place in 1761. In a chat with BT, the actor spoke about the challenges that came along with this role, comparisons with Ranveer Singh of Bajirao Mastani, facing Sanjay Dutt on screen and more. Excerpts:

In your last interview with BT, you said you might not be as good looking as Hrithik Roshan or have a body like Tiger Shroff, but you are here to stay as there’s room for everyone, which is great. Are you happy with the space you have carved for yourself?
I am an unlikely hero; not one of the pack. Comparative studies bahut hoti hai, but individuality is rarely accepted. Uniqueness is what made people accept me in the first place, because I was not like the other boys when I made a debut with a film like Ishaqzaade (2012). I did a role that a debutant actor is unlikely to play and have worked hard for my place in the industry. Even though acting happened by chance, I love being an actor and have never been disrespectful towards my profession. Hits and flops are part and parcel of every actor’s life. I can either try to fit in and fail or be myself and succeed eventually. I’d rather be myself. Yeh profession aisa hai ke log kho jaate hai. Maine dekha hai logon ko badalte huey. I am happy that I have survived eight years in the industry. I want to survive for 80 more years.

After Panipat’s trailer was launched, many wondered if you were an unconventional choice to play a Maharashtrian warrior. When Ashutosh Gowariker approached you, did you have any apprehensions?
I never doubted my ability to play the character, but Ashu sir wanted me to go bald for this role, and I was apprehensive about that. I asked him if he was sure as it was a big risk. Ek baar baal nikaldiye toh vapas jaldi ugney nahi wale (laughs!). He suggested we do a look test to ease my discomfort. Actors are insecure; we constantly seek validation. Once we get that, we forget about the negativity and it helps us do better. Ashu sir gave me that validation. Performance emotions se banta hai, and I knew I could deliver that, but a period film is also look-based. It has to look authentic. Looking like a Maharashtrian is one aspect but looking like a Peshwa quite another. They looked and dressed a certain way and had a certain demeanour. I wasn’t worried about getting the language right as I am from Mumbai and school mein main Marathi padh chuka hoon. The heavy costumes didn’t concern me either, but then Ashu sir told me, ‘You have to go bald for this one.’ I was like, ‘Oh! So, you are convinced that I can look like a Peshwa?’ He had done enough research and was convinced that I could play Sadashivrao Bhau. I was thrilled to play this part.

Was it intimidating to face Sanjay Dutt in the film? He has this larger-than-life persona on screen...
Yes, the thought of facing Sanjay Dutt in the film was intimidating. I was nervous and excited. Sanju sir disarms you with his charm and normalcy. He has a larger-than-life personality, but he is a chilled-out guy. He is a man and a child at the same time. We spoke about so many things during the shoot. He called me home once to have a meal and told me he was happy that I was doing action films. Both Sanju sir and I lost our mothers before the release of our first film. Tragedy connects you in a unique way. We never spoke about it, but I have seen his biopic, Sanju, and I cried while watching it. When Kar Har Maidaan Fateh was playing, I realised that I am not the only one in this world who has had to deal with things. There is someone who has gone through worse.

Portraying a historical figure can be a difficult task for various reasons. What challenged you the most?
The armour I wore in the action sequences weighed around 18-20 kgs. It took four people to help me wear it and I had to ride a horse wearing that. In the film, I actually rode a horse and I was trained by professionals for two months at the Mahalaxmi Racecourse. I even learnt sword fighting. My expertise in the film is sphere throwing, so I learnt javelin throw for it. I used to wake up at 5.30 in the morning and ride a horse at Mahalaxmi Racecourse at 6 am. That was the most beautiful time in my life. I have never felt so calm with an animal before to the extent that I could connect and be comfortable with them. I started enjoying horse riding and we have used that extensively in the film.

Comparison with Bajirao Mastani (2015) is inevitable as that too revolved around the Maratha Empire and the Peshwas. People have drawn parallels between the two films even before the release of Panipat. Were you anticipating this?
Aap apney kaam ko rok nahi sakte kyunki log compare karenge. Both the films are about the Maratha Empire and Peshwas, so what are we supposed to do? We thought about the comparison, but how else will you retain authenticity? Should we not tell this story because Bajirao Mastani has already been made? It’s unfair, right? Ranveer has done Bajirao Mastani, so I shouldn’t do Panipat? It’s like saying if Ranveer has played a cop in Simmba (2018), I shouldn’t play one in another film. Bajirao Mastani was a very well made film, but Panipat is a different story, and it deserves to be told.

Ranveer set the benchmark high after Bajirao Mastani with the way he pulled off that role. Did that play on your mind somewhere?
Ranveer playing Bajirao had no bearing on Ashu sir casting me for this film. In fact, after seeing the trailer, Ranveer sent me a voice note saying, ‘Sadashivrao bhauuuuuu’ (imitates Ranveer). He came and jumped on me the other day when I was dubbing; that’s our camaraderie as friends. We are happy for each other. We don’t compare ke isney yeh kiya toh main woh karunga. It’s not like if I have played a student in 2 States (2014), he can’t do that later. That’s our choice. We had a biopic on Dhoni. Now, if we want to make a film on Yuvraj Singh, it will be set in the same time period, right? Dono ki story alag hai, but Yuvraj bhi ussi samay cricket khel raha tha. We can’t do anything about it. If the cast of Yuvraj’s film is dressed in the same way, you can’t say woh Dhoni ke picture ko copy kar rahe hai.

There were memes about how in Panipat, Arjun plays Ranveer from Bajirao Mastani and Sanjay Dutt plays Ranveer of Padmaavat. Since you are active on social media, do you find these things amusing?
We all crack jokes, but let’s not forget the bigger picture. I am the first one to laugh at myself. I have done a roast, so nothing can beat that. But in Panipat, we are paying a tribute to those who sacrificed their lives for our country. It’s fine to laugh as long as you don’t disrespect the sentiment behind the movie. While pitting one actor against the other, or to be the first one to crack a joke on a film, we tend to forget why a story is being told. It’s important that we smile, but not make a mockery of the people this film is dedicated to.

A historical is bound to be closely scrutinized as it is based on real events. We have witnessed in the past, too, where the controversy around a period drama hit the headlines and became national news. Did you have any fears on those grounds?
Ashu sir goes by the book. So far, no questions on authenticity have been raised. As far as the finer details are concerned, I trust my director and his research completely. Should the film hurt anyone’s sentiments, we would be the first ones to raise our hands and say that’s not our intention. In Panipat, we have depicted history as it was. Even if you see the song Mard Maratha, I am not dancing in it. Ashu sir has even measured the ghera shendi that I have sported in the film. He was in the van when I shaved my head and the ghera shendi was marked by him. The intent behind this film is honest.

Ashutosh Gowariker discusses the upcoming historical, Panipat, and the obvious comparisons between Ranveer Singh and his male leads
Abhishek Mande Bhot (MID-DAY; December 1, 2019)

The last time Ashutosh Gowariker made a historical epic, the world was a very different place. Facebook was far from being the government-toppling behemoth it is today, YouTube was three years old and Instagram wasn't even an embryo. Netflix had delivered its billionth DVD the previous year and Barack Obama's biggest concern was that he wasn't going to be able to keep his BlackBerry after he became President. Let's take a moment to review that. Netflix. was. a. DVD. rental. company. So when Jodhaa Akbar released in 2008, it released... it didn't drop.

It had been eight years since Gowariker was nominated for the Academy Awards but somehow, at the time, it seemed like it was just the previous year. He had since made just one movie, Swades (2004) and Jodhaa Akbar was a hotly anticipated film from an Oscar-nominated director. The sheen of accolades seemed to last longer back then, somehow. Even if Jodhaa Akbar had been a mediocre film, the Oscar-nominated tag suspended between two olive branches, would've been sufficient to carry it through. It gave Gowariker the liberty to indulge himself. Jodhaa Akbar ran for three hours and 20 minutes. He'd justified it back then saying the genre and the scale required that kind of runtime. Gowariker's next, Panipat, that marks his return to the genre runs at two hours and 45 minutes.

And so it is that on what passes off as winter morning in Mumbai, sun filtering through the tree canopies in a quiet Khar lane we find ourselves waiting for the man who's about to have yet another go at the box office. If the dismal performances of his last three films, What's Your Raashee? (2009), Khelein Hum Jee Jaan Sey (2010) and Mohenjo Daro (2016), have affected him, Gowariker doesn't show it. He has the calm of a boxer before a bout, having shut out anything that could potentially distract him from his game.

But that hasn't meant he isn't aware of the changing world around him. "The fact is that audience viewing habits have evolved," he says, "And your approach to storytelling has to undergo a change too. The narrative pace has to be quicker and the script tighter. You can't insist on showing someone offering three salaams in an emperor's court, even though that was the prevailing norm, because the audience doesn't necessarily want to get that deeply involved in the tale. Skip cinematic manners to keep your audience engaged."

As a result, much of Gowariker's scripting process has undergone a change, especially with Panipat. He says, "At the script stage, how all the incidents are interwoven becomes important. There are so many characters involved in the story; you have to take a conscious decision, which ones to show and who to drop."

You would've thought that this kind of environment would be detrimental to historical epics. Yet, India has seen more movies in the genre than ever before. This year alone saw the release of Manikarnika and Kesari. The last year opened with Padmavat. Even though it wasn't rooted in history, 2017 was the year of the epic film Baahubali 2, while 2015 saw the release of its precursor, Baahubali: The Beginning. The year 2015 was also the last time that the Maratha pride was on full display in Sanjay Leela Bhansali's Bajirao Mastani. Next year will see the release of the Ajay Devgn-starrer Tanaji and Akshay Kumar-starrer Prithviraj. There's a lot of period drama going around. For perspective, when Jodhaa Akbar hit the screens in 2008, comparisons were made to Mughal-e-Azam, a movie that released almost 50 years ago.

"The reason why we're getting to see more historical epics is because producers are willing to back these projects and actors are willing to act in them. Without these two, there's no way a movie can be made," Gowariker says matter-of-factly. It also helps that actors are now more open to experimenting. Panipat stars Arjun Kapoor as Sadashiv Rao, a nephew of Bajirao Peshwa and the commander-in-chief of the Maratha army. Sanjay Dutt plays Ahmad Shah Abdali, the Afghan emperor who invades the Maratha empire. Neither has a period film in their filmography. With Panipat, both the actors step into some very big shoes—that of Ranveer Singh. The maverick superstar has played both, a Peshwa (Bajirao) and a Muslim invader (Khilji), and comparisons between him, Kapoor and Dutt are bound to be drawn. "I can't let the fear of comparisons keep me from making my film," Gowariker says. "Even Arjun, when he was offered the role, didn't say, 'Oh, Ranveer has done something similar so let me avoid it'. He was inspired by the story, the character, and agreed immediately." As for Dutt, "When I asked him why he'd never done a period film, he said no one had asked him," Gowariker says doing a little Dutt impersonation.

There's no denying that even in the three-minute trailer Dutt's Abdali is reminiscent of Singh's Khilji, a portrayal that is considered by some as being problematic in the way it reduced the ruler to a meat-eating, sex-crazed, philistine. Some have called the portrayal Islamophobic. A reviewer called it a movie that "puts together every single stereotype of Muslims in India". Gowariker says that there was a conscious effort to make sure Dutt's Abdali didn't come across as being that. "I had kept that in mind while scripting. Panipat is about Maratha valour; it is about a protector and an invader and not about religion."

The battle of Panipat ended with a crushing Maratha defeat. According to Trimbak Shejwalkar's authoritative book on the subject, that also served as the bedrock of Gowariker's research, about one lakh Maratha soldiers and non-combatants were killed during and after the battle. But what sets it apart from movies such as Manikarnika, Kesari or even Padmavat is that this wasn't a last stand situation. At the time of the battle, the Marathas were a dominant force and, if anything, the battle was a clashing of two extremely powerful empires. It's also something should free the film from the toxic machismo of Akshay Kumar in Kesari and Ajay Devgn in the upcoming Tanhaji. In that, the casting of the easy-going Arjun Kapoor doesn't seem altogether off, despite the many memes.

It's also perfectly likely that Dutt's scowl and Kapoor's narrow range of expressions would be the movie's, how shall we put it, Waterloo, but something in the trailer suggests that Panipat is a dignified tale that celebrates valour and not victory. In this chest-beating moment of our country's history, Panipat could come as a welcome relief.

As we walk out of the building, we learn that the half dozen policemen guarding the entrance have been deployed to protect Gowariker from a fringe Maratha group threatening stir against the film. Gowariker isn't fazed. The right-wing tin-pot Karni Sena had threatened a similar stir during the release of Jodhaa Akbar. Eleven years have passed. Some things don't change.

1 lakh
Number of Maratha soldiers and non-combatants killed during and after the Third Battle of Panipat

Onkar Kulkarni (BOMBAY TIMES; November 30, 2019)

She began 2019 with a romcom (Luka Chuppi) and then followed it up with an action comedy (Arjun Patiala) and a reincarnation comedy (Housefull4). And now, Kriti Sanon is all set for her next outing — the historical war drama, Panipat — in which she plays the role of Parvatibai, the wife of Maratha warrior Sadashivrao Bhau. In an interview ahead of the film’s release, the actress talks to BT about director Ashutosh Gowarikar’s penchant for perfection, her memories of shooting with yesteryear diva Zeenat Aman, and her bond with Akshay Kumar. Excerpts...

Do you get fascinated by the world of period cinema? What was your first reaction when you were approached for the role of Parvatibai in Panipat?
My all-time favourite period films are Mughal-E-Azam (1960), Jodhaa Akbar (2008) and Bajirao Mastani (2015). The genre does fascinate me. I am not good with history and so, when I was approached for this film, I wasn’t well aware about the war of Panipat. The thing with history is that all of us read it, but we don’t remember it for too long. When you see it on the big screen, it gets inscribed in your mind, as the visual medium is way too powerful. When the script was narrated to me, I was mesmerised as I didn’t know what the Marathas had gone through in this journey. I didn’t know much about Parvatibai either. So, after the narration, I tried researching about my character, but there wasn’t much information available on her. I realised that my history book for this project was going to be Ashutosh Gowarikar. I am a director’s actor.

This is the first time Arjun Kapoor and you are doing a film together, and given that it is such an intense film, did you get time to get to know each other during the course of its making?
Arjun and I were supposed to do many films together, but they didn’t happen. I can’t name them, but two-three movies came to us, and either they didn’t happen at all or I did the film with someone else, or he did the film with someone else. Arjun and I have met at parties and bumped into each other at events. He is someone with a dry sense of humour. He is funny and I enjoy his company. He is very well brought up, and respects the people around him. It made me feel that we could be very good friends. Even though this was our first film together, we were very comfortable with each other. We loved our outfits and he was competing with me in the jewellery department. I would count my jewellery pieces and compare it with how much he was wearing. He is someone who can crack you up, no matter what your mood is.

You are working with Ashutosh for the first time. What sets him apart from the other directors that you have worked with?
It is his knowledge about the subject that he is working on, and the way he shapes up his characters. His female characters, even in a period film, are so aspirational. He is extremely calm as a director. It needs a calm man to handle the set of a period film, which is buzzing with a huge number of people. He never screams at his cast and crew and is never in a hurry and says, ‘Jaldi karo karo, jaldi ready ho jao, late ho raha hai.’ I remember, after taking a lot of time to get ready for a scene, I arrived on the set as Parvatibai. He looked at me and said, ‘I don’t think this sari is going with this scene’. He asked the team to show him other options and then he picked one and asked me to change.

That took another 45 minutes. For him, everything needs to be perfect, he is never in a rush. I personally feel that you perform well when everyone is calm on the set. He is open to suggestions. He told me, ‘You love comedy and like to introduce fun elements in your characters, so do it wherever you can’. In the first half of the film, Parvatibai will put a smile on your face because I added a few such nuances.

The film also stars yesteryear diva Zeenat Aman. Did you get to share screen space with her?
Zeenat ma’am plays Sakina Begum, and I have a lot of scenes with her. She is very graceful. I remember this one big scene, which is crucial to the film. It is a conversation between the two of us and very dialogue-heavy. I was excited, thrilled and nervous at the same time. We did the reading session in the vanity van, right before going on the set. She kept asking Ashu sir if she was doing it right. It was just the way a newcomer would ask a director. She had the same passion and hunger that the new actors have. On a lighter note, my parents were very upset with me, because they were in town and I completely forgot to tell them that I was shooting with Zeenat Aman. She chatted with me about her son, told me that she had seen my work and appreciated it. I could relate to her when she told me that during her times, not too many actresses were tall. She is very tall. I am slightly taller than her. I was very excited to see a tall woman in front of me (laughs!).

You met Priyanka Chopra recently and the picture went viral as it was captioned ‘When Parvatibai meets Kashibai’. What did Priyanka say about your portrayal as Parvatibai since she played Kashibai in Bajirao Mastani?
I didn’t ask her if she’s seen the trailer of my film. We bonded well and got busy talking about the Parvatibai-Kashibai connect. So, Sadashivrao Bhau is Bajirao's nephew, and Kashibai is Bajirao’s wife. I am Sadashivrao’s wife, hence, Kashibai would be my taisa. She told me that she enjoyed watching my video where I am dancing to the Coca Cola track (Luka Chuppi), while I was dressed in my period attire from Panipat inside my vanity van. She told me that it reminded her of the Bajirao Mastani days, when she would step out of her character and have fun on the sets (dressed as Kashibai) and Sanjay sir (Leela Bhansali, director) would get upset seeing that.

There’s a lot of buzz about your forthcoming film Bachchan Pandey. You are reuniting with Akshay Kumar for the film...
I am very excited about the project. Farhad (Samji, director) said in an interview, ‘Main chaati thok ke bolta hoon ki unka (Kriti’s) role bahut achcha hai and parallel hero se bhi bada hai’. I read his statement and it put a smile on my face, because I know the role and the way he has written it. I shared a great comfort level while working with Akshay sir during our last venture together. There, it was an ensemble cast and there was not much scope to explore our chemistry as a couple, this film might give us a lot more scope for that.

Akshay was seen opposite your sister Nupur in her debut music video. Is he helping her get a foothold in Bollywood? Did you have any role to play in the process?
He is definitely a friend, and a humble person. It is a huge coincidence that my sister did a music video (Filhall) with him. Actually, she was in talks with the makers of the music video for something else when they suggested the idea of doing this music video. Nupur didn’t even know who her co-star would be. On the day she was called to sign on, they revealed that Akshay would be a part of it. Frankly, I am not someone who is born and brought up in the industry that I can pick up the phone and ask anyone to cast my sister. She will have to do it on her own merit, just the way I did.

Attempting his first-period drama in Panipat, Arjun Kapoor explains why he didn't seek Ranveer Singh aka Bajirao's advice for his Maratha warrior act
Mohar Basu (MID-DAY; November 29, 2019)

"I was surprised by the love the trailer received. I always keep my expectations modest," chuckles Arjun Kapoor as he discusses his first-period drama, Panipat. Known to have a deep understanding of market realities, the actor asserts that he greenlit the project to explore the forgotten Maratha history.

"This film starts off at the point where Marathas were ruling India. No one knew that they controlled the Mughals, who paid taxes to them. I loved that I knew so little about this story," says Kapoor, alluding that he walked into the universe created by Ashutosh Gowariker as a novice. Shaving his head was only the first step towards becoming Sadashivrao Bhau. "I worked with a diction coach, and looked the part. But it was harder to perfect the character's vulnerabilities. [What was] his personality like? Was he in love with Parvati Bai? I discovered him through this movie."

His peer and close friend Ranveer Singh had won acclaim for his portrayal of Maratha general Bajirao Peshwa in Bajirao Mastani (2015). Did he exchange notes with Singh before slipping into the part of Bajirao's nephew? "Ashu sir and Sanjay sir [Leela Bhansali] make magnum opuses, but they have different temperaments. Here, I respected my director's temperament. I wanted to remain loyal to my story. Ranveer would have given me his point of view [that would be derived from] Sanjay sir's understanding. I have tremendous respect for Ranveer's work. But this film didn't require me [to seek his advice] because Bajirao and Sadashiv are from different eras."

In the years that they have known each other, Singh has risen to become one of the biggest stars. What effect does stardom have on their friendship? "He still gatecrashes my dubbing, sends long voice messages after watching my songs and kisses me on the cheeks. Our connection remains unaffected. I tell Deepika [Padukone, Singh's wife] that I am her souten. We have been consistently warm."

As netizens argue her Panipat character is reminiscent of Priyanka Chopra's part in Bajirao Mastani, Kriti Sanon reveals how two actors exchanged notes at a recent party
Sonil Dedhia (MID-DAY; November 26, 2019)

When the trailer of Panipat released earlier this month, it inspired a host of memes, with a section of Twitterati pointing out that the Ashutosh Gowariker-directed venture seemed to be influenced by Sanjay Leela Bhansali's Bajirao Mastani. Many felt that Kriti Sanon's character Parvatibai reminded them of Priyanka Chopra Jonas' character Kashibai from the 2015 magnum opus. Not surprisingly, when the two actors met at a party over the weekend, history of the Maratha empire was all they could talk about.

"We were trying to figure the exact relation between Kashibai and Parvatibai," laughs Sanon, adding that the comparisons don't bother them. "Priyanka had seen my video where I was dancing on Coca Cola [Luka Chuppi song] in my vanity van, dressed as Parvatibai. It resonated with her. She said, 'It reminded me of myself because whenever I would be off the set, I was no longer Kashibai. I would slip into my character again when I was on the set.' We had a fun, informal conversation."

The comparisons between the two period dramas can't deter her enthusiasm — Sanon is only too happy to add a war drama to her résumé. "I was expecting comparisons when I signed the film. Padmaavat too was compared to Baahubali. The period of Panipat and Bajirao is similar. The setting is similar because the Peshwas lived in Shaniwar Wada, and they dressed in a certain way. But the characters are different. I hope the audience doesn't [jump to] conclusions by watching only the trailer."

Ashutosh Gowariker on his plans to explore the story of Prince Siddhartha’s journey to becoming Buddha, where he erred with Mohenjo Daro and why he felt the need to go to battle with Panipat
Roshmila Bhattacharya (MUMBAI MIRROR; November 19, 2019)

Just three weeks before he unveils his next period extravaganza, Panipat , Ashutosh Gowariker looks amazingly calm and not battle weary as you’d imagine. The voice is soft as he takes you into the war zone. Excerpts:

You choose subjects that challenge you as a filmmaker, from Lagaan and Jodhaa Akbar to Mohenjo Daro and now Panipat. What makes you want to create big screen spectacles?
I love history, and within that, the theme is important, be it religious tolerance (Jodhaa Akbar) or the concept of unity (Lagaan). I also love to create different worlds and learn what were the smallest sparks that fired these big events.

And just how difficult is it creating these worlds?
It’s very difficult and is all in the prep, which is why I make one film in three years. The research doesn’t end with the script, but blossoms through different departments—from art to action, from costumes to hair and make-up. And since every department needs time, the key is patience and singular focus. In this, I’m not alone. Along with my crew of like-minded people, I need committed actors who’ll shave their head and stay in that look for six-eight months. Building that commitment is like building an army in itself.

We’ve read about the battle of Panipat in history books but in modern times, how do you plan to whip up interest and bring people to the theatres?
Yes, we have read about the battle but how many know that there were three battles of Panipat, and the third, which we are bringing to the screen, was the most inspiring? For the first time in history, anywhere in the world, an army travelled 1,000 kilometres to stop an invader. Since film is an audio-visual medium, it’ll take you beyond textbooks. And while I like to be authentic in my depiction, I also like to tell a story in an entertaining way. I can’t think of making a film without songs; elements like music keep the audience engaged.

You’ve always cast against type but what made you opt for Sanjay Dutt, Arjun Kapoor and Kriti Sanon who had never done a historical film before Panipat?
According to descriptions, Sadashiv Rao Bhau was a large man, a warrior with brute strength. Arjun fitted the bill. Also, he was free then to give me the commitment I wanted. And having seen his Ishaqzaade, 2 States and Finding Fanny, I knew him as a natural, understated performer. Kriti is beautiful, and having played the girl-next-door in all films, I thought it would be nice to see her in regality as Parvati Bai.

Sanjay and I go back a long way, having been co-actors on Naam. When I asked him why he’d never done a historical before, he said simply that no one had asked him. So, I did. He’s my Afghan invader, Ahmad Shah Abdali. All three were my first choices. Along with them, I have an interesting ensemble cast in Mohnish Bahl (Nana Saheb Peshwa), Padmini Kolhapure (Gopika Bai) and Zeenat Aman ji (Sakina Begum).

In India we’re quick to compare, pass judgements. So, as soon as your trailer came out, similarities between Arjun’s Sadashiv Rao Bhau and Ranveer’s Bajirao and Sanjay’s Abdali and Ranveer’s Khilji from Padmaavat were noted.
That’s understandable because the last film that comes out, stays in our recent memory. So, Jodhaa Akbar was immediately compared to Mughal-E-Azam, Bajirao Mastani to Jodhaa Akbar and Padmaavat to Baahubali. That’s nothing to be worried about.

Also, we are still in the era of the Peshwas in Panipat, which revolves around Bajirao’s next generation—his son, Nana Saheb Peshwa, his brother Chimaji Appa’s son Sadashiv Rao Bhau and his second son with Mastani, Shamsher Bahadur. So, the costumes and their palace, remain the same but the story is very different.

You give three years to a film like Mohenjo Daro (below), then, it’s torn apart. Where do you get the strength to enter another battlefield?
The norm of this business is that failure is singularly yours while success is to be shared. So, I never blame anyone. I analyse what went wrong, make mental notes and try not to repeat the mistakes in the next film.

What mistakes did you make with Mohenjo Daro? Was it the special effects?
Mohenjo Daro was pre-history, there were no references, so we wrote a story and built a world around it, from scratch, hoping the audience would identify with it. They didn’t, despite all our Herculean efforts. I’ve noted that the audience forgives bad performances and VFX if the script connects with them. That did not happen in this case. Maybe I could have done it a little differently in terms of emotions.

During Mohenjo Daro you were also dragged to court on plagiarism charges.
I’d never copy anyone’s script, in fact, I’d never take anything from anyone that doesn’t belong to me. I am very straight so when such court cases happen, I feel sad, but I have to still fight them.

Would you want to revisit Mohenjo Daro?
Not at the moment, and even if I did, I’d want to go to Harappa this time, as it became a bigger trading centre after Mohenjo Daro. A civilisation was named after it. But after Mohenjo Daro, Jodhaa Akbar and Lagaan, I’m done with pre-history, medieval, Mughal India and the British era. I haven’t explored Ancient India yet. I’d want to make a film on Buddha, on how Prince Siddhartha became Buddha. What happened to bring the change, the answers he found…

Do you see any changes in you from when you were an actor?
As a person, my knowledge about our country and its neighbours since our histories are connected, has been enriched by my own films. But as a maker, I start on a zero when I start a new project. The challenges are so different each time that I’m scared on the first day of shoot, and for every day after that, worried if I’m doing the scene right.

Lagaan was the turning point for both Aamir Khan and you. What do you recall of the film?
When I moved to direction, the attempt was to do something new and different. That’s what led to Pehla Nasha with Deepak Tijori, followed by Baazi, which was an attempt to change Aamir’s image from a chocolate hero to an action hero. Lagaan was a step further, on a bigger scale.

Back then, no one believed a cricket film, revolving around villagers who spoke in Avadhi, set in British India, would work. But both of us were excited about entering this world. Lagaan was a period drama and a sports film, it made a social statement, had songs and was a love story. Even I have not made a multi-genre film like this since. It went to the Oscars, the Olympics of cinema. We made it to the last five, after which it’s unfair to choose. But a choice had to be made, that doesn’t devalue the rest. We lost the cherry, but we ate the cake.

It was a brave step for Aamir too, not just to act in it but to also produce the film.
Oh yes, it was. But Aamir was always trying to do different things while remaining mainstream. Even when he had started, Raakh came on the heels of Qayamat Se Qayamat Tak and Lagaan with Dil Chahta Hai. But yes, Lagaan gave us the confidence and the eyeballs to take more leaps. I went on to make the nationalistic Swades, followed by Jodhaa Akbar. And along with the audience, the trade was interested in my next.

After Mohenjo Daro, it couldn’t have been easy finding backers for Panipat?
For a project to be greenlit, you need actors willing to work with you and funders who’ll back you. I was fortunate to get both. Also, I have a pillar in Sunita. She’d also come out of Mohenjo Daro and had she told me not to make Panipat, I wouldn’t have. My wife has a natural business acumen, she understands numbers and finds solutions to problems which are huge. We also found a collaborative partner in Rohit Shelatkar, who has been harvesting this dream for a while.

Panipat will be followed by Tanhaji: The Unsung Warrior. Our audience seems to be more amiable to this genre...
Jodhaa Akbar changed things.

So, would you say our audience has evolved?
I don’t think the audience has changed. I, too, grew up watching Amar Akbar Anthony and Rajnigandha, Don, Gol Maal with films of Mrinal Sen and Satyajit Ray, as also Hollywood flicks. What has changed is access. Earlier, Rajnigandha would play in three theatres, today, it would play in multiplexes, do Rs 100 crore business. What has evolved is the distribution and exhibition, which is the bridge between filmmakers and the audience.

We have digital platforms...
Yes, but web writing is difficult as you have to engage an audience and get them to binge through 10 episodes of an hour each. I don’t have that skill, I’ve to perfect cinema first.

Are you open to more acting roles after Ventilator (left)?
Acting is a difficult job, but it was calming and liberating for me to stand in front of a camera and not have to worry about the colour of the curtains behind me. I’d love to do roles which interest me. But right now, I’m in the battlefield.

And yet you seem so calm…
Oh no, I’m very nervous. Soon I will have no nails left.