Showing posts with label Bala. Show all posts
Showing posts with label Bala. Show all posts
The way award functions have been functioning, it’s like they are saying ‘Don’t take us seriously’-Yami Gautam
10:16 AM
Neha Sharma (HINDUSTAN TIMES; November 13, 2025)
Ever since her latest film Haq hit theatres, actor Yami Gautam Dhar has been experiencing an emotional outpouring from her fans like never before.
Many women have come up to her, sharing how relatable her character felt, some even kissed her hand, teary-eyed, telling her how empowered they felt after watching her in the film based on the famous Shah Bano case in which a muslim woman fought a legal battle for maintenance from her husband.
For Yami, who has delivered power packed performances in recent years, this recognition feels long due.
“I think everyone has their own interpretation of validation. For me, true validation is when your audience accepts you. When they watch a film and write something, be it a comment or when they tell an artiste something, that purity reflects in their eyes and words. You can feel how much they mean the compliment. It’s very heartening and overwhelming for me as an artiste,” she says.
It’s double celebration in the family these days. Success of her film apart, her husband, filmmaker Aditya Dhar is winning praise for his latest production, Baramulla. “We are very happy,” she smiles. “Aditya’s had his own journey, which has been full of challenges, but staying true to yourself, ethical and honest, that’s a rarity, and I really respect him for that. Of course, I love him; he’s my husband. But with love, that respect is equally important. As a wife, as an artiste, as someone who’s part of the same industry, I respect him. He’s taken the harder way, done what he believes is right, and what gives him peaceful sleep.”
So, has she felt inspired to step behind the camera herself? “No, no, no!” she laughs. “I still feel there’s so much more to explore in acting. I need to figure out what’s next, what more I can do, how differently I can be part of something so that I don’t have to say what kind of films I like. My filmography should speak for me, that I like versatility.”
And her career trajectory spells versatility all the way. Ever since her debut with Vicky Donor in 2012, Yami has built a solid filmography, choosing scripts that stand out. Her process, she says, is entirely instinctive. “Right from Haq, Article 370 ( 2024), OMG 2 (2023) to A Thursday (2022), Chor Nikal Ke Bhaga (2023) or Bala (2019), if I felt the script was good and the choice was right, yes, I chose them. But because someone wrote it, I cannot take that credit. It has to go to the writers, and that’s what we, as an industry, need to value even more now. When I’m done reading a script, my decision is absolutely based on instinct. I don’t overthink. I read it both as an artiste and as an audience.”
As appreciation continues to pour in, Yami has already signed four new films. “It’s the producer’s prerogative to announce,” she smiles when we prod for details. But she’s more than willing to talk about being the audience’s darling and how staying away from trends and formulas has worked for her.
Your fans are betting on a National award for Haq. Are you expecting one, and how much do awards mean to you?
I’m only imagining the headlines out of this because I have no idea how to answer this question. I’m really trying to be so careful and measured. I don’t want to sound like anything that I’m not.
But I’m sure you’ve read the social media posts...
I have, and it’s my audience saying it. So, I think that in itself is a really big thing for me. I’m here because of them and, of course, the belief of certain directors in me when probably not many believed. I don’t go to any award functions, with all due respect to them.
Yes, you are not seen at parties and award functions as such, but it’s said that the film industry is all about networking at such events...
That must be true. There is no denial about it. But if I don’t connect with that, then how do I work? How do I tell someone that I want this opportunity? I’ll work really hard, identify the right scripts and wait for that opportunity from certain directors to take that chance with me, which is what happened in 2019 with Uri, with Aditya (Dhar, filmmaker and her husband). But socially or in terms of going against my personality, something that doesn’t make me happy, or I feel I’m being asked to do something or fit in a system, if that is the system, that’s not me. That was never me. The only way out was work, slowly and steadily. Then yes, awards. There’s a certain section that may believe (in them), so whatever works for you. But the way award functions have been functioning of late, it’s like they themselves are saying ‘Don’t take us seriously’. And I’m not saying it. The audience is saying it now. That means tomorrow, if someone’s there in my position, they will know that both can coexist.
Your son Vedavid is just 1.5 years old. But do you think about which films of yours you’d like to show him later?
I think we’ll come to that when he reaches that age. He’s too young right now, as you said, and I really haven’t thought about it. But my mother said something very sweet to me when I was expecting him, I was shooting for Article 370 (2024) and of course, the mind of a first-time mother or just any mother... It’s your first baby, you’re working in a film like this, and the gazillion questions! The one thing she said was, ‘If you’re fit to work, don’t worry. Your son inherently will value the importance of being a hard worker, like his mum. So you’ll be very proud. You go for it, you give your best. We’re here to take care of you.’ So I used to literally feel the two of us working in every scene. I think that is going to be really special because I’d be like, ‘You are part of that film, you know?’
One of the reasons I did Bala was because the other girl’s part was written so well-Bhumi Pednekar
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Bhumi Pednekar enjoys doing movies with another strong female character, as she feels girls ‘understand and root for each other’
Akash Bhatnagar (HINDUSTAN TIMES; March 15, 2025)
Bhumi Pednekar’s latest film, Mere Husband Ki Biwi, released last month and it failed to rake in the moolah at the box office. However, the actor is satisfied with the project, as she says, “As long as somebody finds something to connect with the film, I am okay with it. We wanted to make a fun popcorn watcher, so if it is successful in doing that, it’s enough. I really hope that the time of word-of-mouth films doesn’t go away. If that didn’t exist, I wouldn’t have been here.”
Like Bala (2019), Saand Ki Aankh (2019), Pati Patni Aur Woh (2019) and Govinda Naam Mera (2022), Mere Husband Ki Biwi, too, is a two-heroine film, co-starring Rakul Preet Singhs.
Sharing how she enjoys being a part of such projects rather than feeling insecure, Bhumi says, “I am a very secure actor. A lot of times, the length of a female actor’s role takes a hit due to a male actor’s part, so it’s unfair to do the same to another female actor in a two-heroine film. Ultimately, these are all characters. I had so much fun working on films with another strong female character, because as girls, we understand and always root for each other. I have done a Saand Ki Aankh with Taapsee (Pannu, actor), which is one of my most cherished works.”
Bhumi insists that for her, a good story is all that matters. “I will never leave a film because the other female part is better. Aap mujhe chaar scene bhi doge toh I will do my best. In that story, if there are 10 protagonists or just me, it doesn’t make a difference. Like in Bala, I feel Yami (Gautam Dhar, actor) killed it, and a very good reason why I did Bala was because the other girl’s part was written so well,” she ends.
If one female actor’s film stands out, it makes space for more-Yami Gautam
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Madhureeta Mukherjee (BOMBAY TIMES; December 28, 2023)
It won’t be wrong to say that Yami Gautam Dhar is probably in the best phase of her career right now. Her recent spate of films has made filmmakers more aware of what lies untapped and how they can mould her for a variety of characters. She admits, “It took a lot of time for everyone to turn around and say, ‘We didn’t think of her in the same light’.” Now the arc lights are shining bright on her, the floor is all set, and Yami is here, bringing on her A-game. Excerpts from a conversation.
You have had an interesting few years, with back-to-back releases on OTT. Do you think the medium has opened doors for you and tapped your potential like never before?
I see this whole phase as a process of evolving, and fortunately, before the pandemic struck, I had two important theatrical releases, Uri – The Surgical Strike and Bala. To get a role like the one in Bala was so different. I don’t think we have enough well-written comedy parts for actresses. These films opened up the box office, and for me, they opened avenues and gave other directors ideas on what more they could explore with me as an actor. After that, I did A Thursday, Dasvi, Chor Nikal Ke Bhaga, Lost and OMG 2. For me, the whole idea of choosing films is not about filling in some dates in my calendar and doing one film after the other. I need to feel that the work I am choosing is taking me ahead, not just from the box office point of view, though I understand that is critical, too. I need to know that the work I choose has something new to offer and the potential to connect with the audience.
So, films like Uri – The Surgical Strike and Bala were the gamechangers?
Yes, Uri and Bala were turning points in my career. Those films allowed everyone to see my potential from a new lens.
You started your journey in the movies on a very different note, with an unconventional film like Vicky Donor. Was that your way of setting the tone for your career?
If I chose to be part of a film like that at the beginning of my career, what does that tell the audience? That you are here to do something with substance, and not just be a part of what is trending. What follows is not in your hand, and in my case, it took a lot of time for everyone to turn around and say, ‘We didn’t think of her in the same light’. There was a period when I was trying to find my ground. I had clarity, but that had to be expressed through my work. And there comes a point when you don’t fear saying no and let go of films that you don’t think you should be a part of, because you want to create equity for yourself and be a pivotal part of stories. For me, this realization happened around 2019. So, I, too, had to shift gears, evolve, and change my perspective.
Do you see a change in the way the industry views women in cinema – the kind of roles they can do and what they can bring to the table with their talent?
There has been a change, and I do sense an awareness among actresses and respect for them among writers, directors and producers who back good films. We want well-written roles, and we want to be pivotal to the story irrespective of the genre. The change will not happen in one day; years ago, it took one woman to muster the courage to go home and say she wanted to become an actress. Since then, we have had a series of great actresses because of whom we are here. Today, we are doing better work, expecting better roles, and making a place for ourselves, and if one female actor’s film stands out and does well, it makes space for more.
You have been married to filmmaker Aditya Dhar (director of Uri: The Surgical Strike) for over two years now. Tell us how this phase in your life has been so far.
It’s the best feeling to come back home to someone who loves you, respects you and is always on your team, no matter what. We talk about everything – from what we ate to discussing the scenes I shot. We like to keep it light and happy. Both of us like talking about films, and not just the films we are working on, but different kinds of movies. It is so refreshing for the actor in me to hear a director’s perspective on a certain scene. I love his perspective and observations on my work, too.
Today, things like the length of your role in a film and how many scenes you have doesn’t matter. It is about the bigger picture, right?
Internationally, we see some of the biggest stars coming together for a film and if we want to take our cinema ahead, we have to let go of these things (like the length of your role) and create a sense of new culture where these factors are not a hindrance. We (the industry) and the media should change their lens. For so many of my films, including Kaabil, I have been written about for the length of my role, instead of what I added to the film or what I held as an actor on my own. We all need to evolve if we wish to make the change.
On social media perceptions
I don’t believe there is anything like ‘couple goals’. I find it very interesting to read these terms, and people get excited by them because they see them (couples) in a certain way. You will never know about anyone’s life, every marriage is different and every picture you see is very different. So, you don’t need to engineer that thought in people”
Makers opt for revisited versions of newer non-film songs
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Recreation of old classics for films is passé. Of late, makers are opting for revisited versions of newer non-film songs
Rishabh Suri (HINDUSTAN TIMES; July 28, 2023)
While recreations of old hit songs for Hindi films isn’t a new trend, of late, filmmakers are opting for recreations of relatively newer songs. In the recent times, a number of movies saw hit singles that released barely a couple of years ago get recreated. Singer Ali Sethi’s cult song Pasoori was revisited for Satyaprem Ki Katha recently. Earlier, Manike Mage Hithe, a hit single by Sri Lankan singer Yohani, was used in the Sidharth Malhotra-starrer Thank God (2022). Jehda Nasha, a viral song composed by the indie band Faridkot, was used in the 2022 film An Action Hero.
While the singles are still fresh in listeners’ minds, we wonder what makes filmmakers opt for their recreations. Varun Gupta, the man behind the marketing of big films, including Adipurush and Saaho (2019), says, “Recreations, if done with a bit of thought, make sense. The call lies with the producer, director and actors. For films that don’t have much music, such recreations help in promotions. But when a movie has original music, it’s not required.”
Earlier, the 2018 song Coca Cola Tu by singer Tony Kakkar was recreated for actor Kartik Aaryan’s Luka Chuppi (2019). Musician Harrdy Sandhu’s 2018 chartbuster Naah Goriye was used in 2020 for the Ayushmann Khurrana-starrer Bala.
Gupta feels that promotional songs that don’t feature in the film are a good marketing tool. “Coming up with a recreation just before a film’s release to get attention works at times. But is it a foolproof way of marketing a film? Not at all,” shares Gupta.
Pasoori’s recreation for Satyaprem Ki Katha was discussed widely. The announcement came barely a few days before the release and the film’s director, Sameer Vidwans, admits that they were prepared for the polarizing feedback. “Pasoori is a cult song. So if we recreated it, people were bound to react. We really wanted the song in our film’s soundtrack. Yes, it could have led to a negative impact on the movie, but we were sure that the song’s intensity will only add [value] to our film. I am glad it worked,” he says.
Focus on original music
Trade analyst Taran Adarsh doesn’t feel remakes help a film. “There’s so much original stuff we can do. Recreation has become a norm today. The makers feel if a song is already out, why not encash on its popularity? A really popular recent song, if recreated, will always draw comparisons with the original that’s still fresh in people’s minds,” he says.
Echoing the same sentiment, filmmaker Aanand L Rai, who produced An Action Hero, adds, “As a maker, I have accepted this and feel sorry. Recreations show our bankruptcy on the music front. It shows that we are unable to create something that is soulful or what people enjoy listening to. These things show that it is time for us to gear up and work a little more on our films’ music. It is a very important ingredient and we cannot borrow it every time. It is important to come up with originals.”
In my early days in Mumbai, I stayed in a medical college hostel-Ayushmann Khurrana
8:11 AM
The actor, who is headlining Doctor G, talks about the time he secretly shared a room with his doctor buddy
Rachana Dubey (BOMBAY TIMES; October 13, 2022)
Somehow, over the last decade, films on tricky, taboo and risky subjects – ranging from sperm donation and erectile dysfunction to same sex relationships and premature balding have been headlined by Ayushmann Khurrana, who turns them all into believable narratives. Keeping up with the trend he has set for himself, the actor once again chose to pick a role that has not been portrayed in Hindi cinema before. Junglee Pictures’ Doctor G, which releases in theatres tomorrow, will see Ayushmann step into the shoes of a reluctant gynaecologist — and the only male doctor in an all-women department.
Interestingly, before he became an actor, Ayushmann aspired to be a doctor, but then he followed his heart and pursued his passion to become an actor. Also, interestingly, during his struggling days, he stayed with a friend on a medical college campus.
Recounting that phase of his life, Ayushmann shares, “I had opted for physics, chemistry, biology in my 11-12th grade and aspired to be a doctor. I got one seat in some remote college in dentistry, but eventually, I decided that I always wanted to be an actor. I am still in touch with a lot of my batchmates who went on to become doctors.”
Ayushmann says, “During my struggling days, when I came to Mumbai, I had no place to stay. I had a friend who did his MBBS from KEM Hospital, and he told me, ‘Tu hostel me reh le.’ At first, I was unsure how that would happen, but then I ended up staying there for a month. I shared the room with two guys, and I remember it was so humid that we would sleep in our chaddis. I would even wear a lab coat when I entered and exited the premise. During that time, I would go out to give auditions for roles. It was so bizarre, and now it feels so surreal that I am a part of Doctor G.”
When asked what his medical fraternity friends feel about him playing this role in Doctor G, he says, “My doctor friends say that this is the first time the medical fraternity has been taken seriously in a film. Generally, waise hi dikhaate hain…ke hamne injection de diya hai, ab sab kuch theek ho jaayega. And the character in the film asks, 'Doctor saab, main dekh toh payunga na?' So this film is nothing like that, and the medical community is very excited about watching the film.”
Doctor G also features Rakul Preet Singh, Shefali Shah and Sheeba Chadhain pivotal roles.
Director Anubhuti Kashyap explains how Ayushmann got into the zone for the medical campus comedy. She says, “Ayushmann doesn’t shy away from bold topics, evident from his choices so far. I still remember we had narrated the film to him the day after Bala’s success party. Although he had allocated a limited window to us, he started enjoying the narration so much that he just decided to call off everything else. Right after the narration, he expressed that he liked it and wanted to make it work. Ayushmann likes films that are conversation starters, and he’s a feminist deep down. So, it didn’t need any extra coaxing on our part.”
Given that the film was shot during one phase of the pandemic, the actors had to prep for their parts through video calls. Anubhuti shares, “Though Ayushmann couldn’t train physically, he prepared himself really well through the video calls. And the fact that he had spent time on a medical college campus during his early days as an actor gave him an edge. He was familiar with the kind of life people lead in hostels of medical colleges. He got a sense of how to step into the character much faster.”
Main marr gaya tha kya? Bala should have had a Sahil Khattar (instead of Ayushmann Khurrana)-Sahil Khattar
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The actor says it’s time for makers to be more realistic and make the right choices for characters in their films
Vinay MR Mishra (HINDUSTAN TIMES; February 11, 2022)
Ever since the trailer of filmmaker Sanjay Leela Bhansali’s next released, there are conversations around whether a real-life transgender should have played the part essayed by actor Vijay Raaz. Sharing his two cents on the debate, actor Sahil Khattar says it’s time for Hindi films to be realistic and “uplift the minorities”.
“If transgenders are looking for an opportunity and there is an actor, then why not give them a chance? The same goes for somebody short, fat or bald,” he says, adding, “If you really want an authentic character, then why not go for these actors first? If they don’t act well, then that’s a different point. But at least consider them. If we don’t uplift the minorities in Bollywood, who else will?”
Ask him if he feels a film like Bala (2019), where the protagonist was bald, should have been offered to him and pat comes his reply: “Main marr gaya tha kya? Bala should have had a Sahil Khattar (instead of actor Ayushmann Khurrana). And not just Bala, even other films such as Haider (2014) and Pushpa: The Rise - Part 01 (2021; actor Fahadh Fassil played a bald character). If (actor) Shahid Kapoor had to copy my look (in Haider), they should have taken me instead,” he jests and adds, “I hope (filmmaker) Rohit Shetty makes a film on a bald cop. India will get it’s Rock (referring to Hollywood actor Dwayne Johnson).”
Talking about the industry, Khattar, who was last seen in director Kabir Khan’s 83, feels no actor from the OTT space has got a bigger film debut than him. “Nobody has got as big a debut (as me) from digital to the movies and I’m proud of that. I think I deserve that seat at the table,” he says.
Khattar also mentions that currently, he is trying to figure out if he really wants to pursue acting. “I’m wondering if I really want to be a Bollywood star or I should just do a few acting gigs and produce projects,” he ends.
My parents were upset with my choice, but today people recognize me for Johnny Gaddaar-Neil Nitin Mukesh
8:11 AM
Tanvi Trivedi (BOMBAY TIMES; September 7, 2021)
Neil Nitin Mukesh has always opted to do things out of his comfort zone. The actor admits he never chose to do a typical Bollywood masala film at the start of his career and has now interestingly, created a space for himself in the thriller-action genre. Being in the industry for more than two decades, Neil who recently turned producer shares his thoughts on BO success and why he had to choose a different path in Bollywood. Excerpts:
You turned producer and screenplay writer with Bypass Road (2019). After acting for almost two decades, how does it feel to wear the producer’s hat?
I feel there are many factors that contribute to the success of a film. Individually, I can’t take credit or discredit for the success of a film. Before my film, there were two films clashing at the BO — Ujda Chaman (which released on November 1, 2019) and Bala (which released along with Bypass Road on November 8). We were juggling dates for the release of our film. The distributors decided to push our dates between these two films. Somehow our film got between two big films, and we were not prepared for that. It was an inevitable situation and we had to accept the fate of the film and move on. I put two years into the film. My job is to work hard and make a good film, but distribution is not my forte. When you are clashing with titans, you have to be somewhat prepared for the fall. But, I am happy that the film was received well.
You started your career with Johnny Gaddaar and have continued to play hard-hitting roles in New York, Jail, Lafangey Parindey, Tera Kya Hoga Johny, 7 Khoon Maaf, Players and more recently, Saaho. It seems that thriller is your favourite genre as an actor.
Seventy per cent of my career is filled with thriller films, I must have done more than 30 films in that genre. And now, when I write a film, naturally I like to write in the same genre. I have grown up watching fiction, make-believe cinema and I like to venture into a larger-than-life space.
When I was younger, I used to get influenced by people’s opinions and never understood my forte or passion, but after facing many rejections at auditions, I realised that I have to do something different. Many people did not want to accept a singer’s grandson or son as an actor, and they treated me politely because of my legacy. They even felt I should sing and give up on acting. That was not encouraging. But, thanks to the late Jhamu ji (Sugandh, producer) who offered me two films — Johnny Gaddaar and Jaane Tu... Ya Jaane Na. I had seen Sriram Raghvan’s films and loved Ek Hasina Thi. So, even though Jaane Tu… was a love story, I decided to opt for Johnny Gaddaar and the gamble paid off. I opted for this film because it was a hard-hitting role, and it would consolidate my position as a good actor from my first film. My parents were upset with my choice, but today people recognize me for Johnny Gaddaar.
And soon after that, I deliberately started choosing films like 7 Khoon Maaf, New York, Players, Jail and Wazir, which were hard-hitting roles. I wanted people to sit up and notice me because many felt a singer’s son cannot act. So, in that context, I am not in the rat race. I also feel that we need to bring back strong characters in our cinema.
Do you feel that even after doing some of the toughest roles in your career, your best films did not meet with the kind of success expected from them?
There were many factors that contributed to some of my films not working at the BO, in spite of them being critically acclaimed. Like I said, sometimes distributors might not do justice to it. Johnny Gaddaar was stuck for two years, Jhamu ji passed away and then it was released after it got a new producer. On the other hand, New York was padded well, and it got the success it deserved. But, having said that, I have a Saaho which was a big success, Prem Ratan Dhan Payo, Tamil film Kaththi and Telugu film Kavacham — all these films made good money. In Wazir, I had a five-minute scene, but it was so crucial to the film that Vidhu Vinod Chopra named the film after my character. Every time I worked hard for a film and it didn’t work, people said, ‘Arre aapka role toh itna accha tha, what happened?’ My role in Jail was the toughest ever, I went into depression because of it. I don’t want to blame the audience, they are intelligent and the rest is the fate of the film.
You come from a film background, yet one has not seen you socialise as much with the movie fraternity or align with any camps in the film industry?
No, I don’t think going to parties or being part of popular camps helps actors land roles. It is unfair to say that just because you are part of popular camps you will find a role. Today, if I am comfortable working with someone, obviously I will choose to work with him or her in my future projects. I am blessed that many big production houses have given me many good opportunities and they have shown willingness to work with me in future projects. To say that groupism or partying helps, it is unfair to all those big production houses. They have been making good films and giving opportunities to many talented people in the industry.
Finally, one sees a lot of your videos with your daughter Nurvi on social media. How has fatherhood changed you?
Suddenly, I realise that I have become very selfless as a father. The world is not about what I want, it is all about Nurvi and her mother’s happiness. She is a great stressbuster. I enjoy doing her hair, reading poems to her and following a certain discipline. She is also growing up around her grandparents because we have all moved into a new home recently. I am happy that she does riyaaz with dad (singer Nitin Mukesh) and puja with my mother. I am enjoying this time with her.
I have waited for these chances, says Yami Gautam as as she signs eight films
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Kavita Awaasthi (HINDUSTAN TIMES; February 5, 2021)
With eight films in her kitty, actor Yami Gautam is on a roll. This year started for her with a bang as she recently wrapped up the shoot of her upcoming film, Bhoot Police. Next, she starts prep for Dasvi, a social drama, which will be shot in Agra (Uttar Pradesh) in mid-February, alongside Abhishek Bachchan.
“I am looking forward to playing a cop in this film, it will be fun to learn Haryanvi. Another film that I am excited about is, A Thursday, which is a sequel of A Wednesday (2008). It is one of the best scripts I have read in a long time. Apart from headlining this film, I am also the lead in director Aniruddha Roy Chowdhury’s next, which is a take on crime journalism. I didn’t want to headline a movie just because it is female led. These are really good scripts and roles with some amazing directors,” says Gautam, adding that the other four films will be announced soon.
The actor admits that in nine years of her career, she has had phases where she would have just one film in hand. “People would say, why are you so choosy? One can be choosy only when you have many options. If you don’t, then you do one film at a time, like I did. But things changed after I did films like Kaabil (2017), Uri: The Surgical Strike and Bala (both 2019). These films changed people’s perspective about me, and things started rolling,” she says.
Gautam adds that she waited for these opportunities as she wanted to focus on strong subjects. “The idea was to select films and be a part of scripts which also help me portray and become a versatile actor. I want to be who I am as a person but on screen, I want to surprise myself and the audience and see what more can I explore. That’s what makes it fun,” she says.
Amar Kaushik always saw the actor in me-Abhishek Banerjee
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After Stree and Bala, casting director-turned-actor Abhishek Banerjee reunites with director Amar Kaushik for Varun Dhawan-led Bhediya
Uma Ramasubramanian (MID-DAY; January 5, 2021)
From his spine-chilling act as Hathoda Tyagi in Paatal Lok to his moving performance in Unpaused, Abhishek Banerjee had a brilliant run in 2020. Now, the casting director-turned-actor is set to reunite with Bala (2019) director Amar Kaushik for his horror satire, tentatively titled Bhediya. The project, fronted by Varun Dhawan and Kriti Sanon, is expected to go on floors next month.
"I knew Amar bhai when he was an associate director, and I, a casting associate. We met on the sets of No One Killed Jessica [2011]," recounts Banerjee, thrilled to team up with the filmmaker for the third time. It was, after all, in Kaushik's Stree (2018) that Banerjee caught everyone's attention with "Vicky, please" — a dialogue that spawned numerous memes and jokes. "He always saw the actor in me. In fact, he would always ask me, 'Tu yeh role kyun nahin kar leta?' I used to tell him that I will act when the time is right. Then, he offered me a scene in Go Goa Gone [2013], promising me Rs 5000 for an hour's work. I did the cameo only because I trusted him. Eventually, when I saw Aaba [Kaushik's first short film], I realised that Amar bhai is a supremely talented director."
The actor reveals that he chased Kaushik when the latter began mounting his first feature film. "I chased him till I got the role of Jaana in Stree. The day I watched the movie on screen, I confessed to him that I am willing to be even a prop in his films," laughs the actor, who has Rashmi Rocket, Aankh Micholi and Helmet in the pipeline.
All time top satellite premieres - 5 films enter the league in 2020
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Box Office India Trade Network
This year there have five films which are among the top 25 television
premieres of all time. WAR, TANHAJI: THE UNSUNG WARRIOR, BAAGHI 3, SAAHO (Hindi) and DARBAR (Hindi) are the five films from this year and
they all topped the 1 crore mark for their premieres while WAR crossed 2
crore.
WAR had the best premiere but was the weakest one of the lot in subsequent screenings. The dubbed films SAAHO and DARBAR have had great results and for SAAHO, this is coming after a very good box office run of 150 crore nett. The other film to get good numbers on television this year was PATI PATNI AUR WOH which hit 88 lakh plus and STREET DANCER which got over 70 lakh despite releasing on satellite six months after digital release.
The films which were not upto the mark were DABANGG 3 (repeats are steady but a very low premiere), GOOD NEWWZ and BALA. HOUSEFULL 4 and TOTAL DHAMAAL released last year have had extraordinary runs through the Covid-19 period.
Below are the top 25 premeires of all time. The
numbers are impressions which are the number of television sets viewing
the film.
1. Baahubali 2: The Conclusion - 2,60,54,00,000 (Sony)
2. Prem Ratan Dhan Payo - 2,51,19,00,000 (Star)
3. Bajrangi Bhaijaan - 2,37,45,000 (Star)
4. Housefull 4 - 2,15,42,000 (Star)
5. War - 2,25,00,000 (Star)
6. Baahubali: The Beginning - 2,07,77,000 (Sony)
7. Dhadak - 1,83,16,000 (Zee)
8. Total Dhamaal - 1,67,93,000 (Star)
9. 2.0 (Hindi) - 1,65,13,000 (Zee)
10. Golmaal Again - 1,63,52,000 (Star)
11. Dangal - 1,62,64,000 (Zee)
12. Baaghi 2 - 1,61,45,000 (Star)
13. Kesari - 1,56,66,000 (Zee)
14. Judwaa 2 - 1,52,66,000 (Star)
15. Tanhaji: The Unsung Warrior - 1,38,40,000 (Star)
16. Tiger Zinda Hai - 1,37,04,000 (Sony)
17. Baaghi 3 - 1,29,06,000 (Star)
18. Saaho - 1,28,20,000 (Zee)
19. Darbar - 1,27,31,000 (Star)
20. Luka Chuppi - 1,25,00,000 (Star)
21. Stree - 1,23,29,000 (Star)
22. Junglee - 1,11,77,000 (Star)
23. Simbaa - 1,11,02,000 (Zee)
24. Toilet - Ek Prem Katha - 1,09,25,000 (Zee)
25. Jolly LLB 2 - 1,08,51,000 (Star)
2. Prem Ratan Dhan Payo - 2,51,19,00,000 (Star)
3. Bajrangi Bhaijaan - 2,37,45,000 (Star)
4. Housefull 4 - 2,15,42,000 (Star)
5. War - 2,25,00,000 (Star)
6. Baahubali: The Beginning - 2,07,77,000 (Sony)
7. Dhadak - 1,83,16,000 (Zee)
8. Total Dhamaal - 1,67,93,000 (Star)
9. 2.0 (Hindi) - 1,65,13,000 (Zee)
10. Golmaal Again - 1,63,52,000 (Star)
11. Dangal - 1,62,64,000 (Zee)
12. Baaghi 2 - 1,61,45,000 (Star)
13. Kesari - 1,56,66,000 (Zee)
14. Judwaa 2 - 1,52,66,000 (Star)
15. Tanhaji: The Unsung Warrior - 1,38,40,000 (Star)
16. Tiger Zinda Hai - 1,37,04,000 (Sony)
17. Baaghi 3 - 1,29,06,000 (Star)
18. Saaho - 1,28,20,000 (Zee)
19. Darbar - 1,27,31,000 (Star)
20. Luka Chuppi - 1,25,00,000 (Star)
21. Stree - 1,23,29,000 (Star)
22. Junglee - 1,11,77,000 (Star)
23. Simbaa - 1,11,02,000 (Zee)
24. Toilet - Ek Prem Katha - 1,09,25,000 (Zee)
25. Jolly LLB 2 - 1,08,51,000 (Star)
I guess the year 2020 will be a skip, and blur in our calendars-Kriti Sanon
8:21 AM
Kriti Sanon is missing work, but feels she is ‘extremely privileged’ to ‘have the basics sorted’
Prashant Singh (HINDUSTAN TIMES; April 29, 2020)
For someone who starred in four back-to-back films (and two special appearances) last year, it’s anything but natural to miss work during this lockdown due to the Coronavirus pandemic. And actor Kriti Sanon readily admits the same. “For the first few days, I was chilling, but now, I’m missing work badly. It feels like time is just passing by but people aren’t living their lives,” she says.
The actor admits she “had a lot of hopes”, and was “very excited” about 2020 in terms of doing “some fab work”. “But I guess this year will be a skip, and blur in our calendars,” she says, adding that “none of us were prepared for this”. “But when I see/hear about what so many people are going through, I feel really privileged and thankful to have a house and my family around,” she says.
Still, for the 29-year-old, the “panic mode” is constantly on since her mother has asthma, and she worries even when her father and sister (Nupur Sanon) go out to buy groceries. “But the idea is to keep clam and tell yourself that, ‘it’ll all be over soon’. I’m utilising this time by spending it with my family. Work-wise, I had finished work on Mimi, so nothing was incomplete,” she says, adding that she has been busy baking and cooking”. “All of us [in our family] take turns to cook different cuisines,” she says.
Sanon, who is “not much of a reader”, has also started to read. “I’ve read Ikigai, and now, I’m reading The Kite Runner. I’m also watching shows/films which I missed out on earlier, such as How To Get Away with Murder, The Stranger, Money Heist, Shutter Island and Bala (2019),” she says.
Does the actor feel like there a silver lining in all of it? “For starters, the city is much calmer and clearer. So, it’s like nature has pressed the pause button and is rejuvenating itself. Sadly, it’s resulting in loss of lives,” she says, adding that the first thing she’ll do when things get ‘normal’ is “go out on a long drive with friends or just chill at a friend’s place”. “As for film-related work, it’ll be a while before things become normal,” she concludes.
---------------------------
No domestic violence!
On Tuesday, Kriti posted a video and a poem titled Abused, highlighting the domestic violence. “I was shocked to read online that there has been a 35-40% rise in domestic violence cases during lockdown,” she says, adding that it reminded her of a poem that she wrote in standard 11. “I remember our house-help cried in front of mum and said that her husband would beat her. So, I wrote a poem imagining what she must be feeling. No one has the right to hit you, and women should be brave to take the right step. It needs to be spoken about. Even if this poem encourages one person, I will be happy,” she says.
Final classifications 2019: Kabir Singh tops the list
8:50 AM
Box Office India Trade Network
There final classifications of 2019 were as follows as the year delivered 19 HIT films and nine of them of being major HITS. There were further six successful films and then two Below Average films. The year was dominated by Akshay Kumar with three of the top six hits belonging to him.
There was an ALL TIME BLOCKBUSTER film in 2019 also but that came from Hollywood with AVENGERS: ENDGAME. However, despite doing 363 crore nett business, the footfalls of KABIR SINGH were still more than AVENGERS: ENDGAME. KABIR SINGH and WAR were the only films to go over 2 crore footfalls and no film even came close to 3 crore.
The final classifications of films released in 2019 with distributor shares in brackets are as follows.
All Time Blockbuster
-
Super Blockbuster
1. Kabir Singh (135 crore)
Blockbuster
2. War (151 crore)
3. Uri: The Surgical Strike (101 crore)
Super Hit
4. Housefull 4 (104 crore)
5. Good Newwz (96 crore)
6. Mission Mangal (94 crore)
7. Chhichhore (66.50 crore)
8. Dream Girl (65 crore)
9. Bala (50.50 crore)
Hit
10. Saaho (Hindi) (77 crore)
11. Total Dhamaal (75 crore)
12. Kesari (74 crore)
13. Super 30 (70 crore)
14. Gully Boy (66 crore)
15. Batla House (41.75 crore)
16. Luka Chuppi (41.50 crore)
17. Badla (39.50 crore)
18. Pati Patni Aur Woh (37 crore)
19. Article 15 (28.50 crore)
Semi Hit
20. Bharat (102 crore)
21. De De Pyaar De (44 crore)
22. Mardaani 2 (21.75 crore)
Average
23. Manikarnka - The Queen Of Jhansi (43 crore)
24. The Accidental Prime Minister (11.25 crore)
25. The Tashkent Files (5.50 crore)
Below Average
26. Student Of The Year 2 (32 crore)
27. Marjaavaan (22 crore)
Box Office India releases its final list of top 25 grossers of 2019
8:08 AM
Box Office India Trade Network
The year 2019 turned out to be pretty decent with the top twenty five films collecting 3600 crore nett plus as compared to 3000 crore nett last year. But a lot is to do with lower GST in 2019 as the GROSS numbers are 4250 crore compared to 3850 crore in 2018. There is a 20% difference in NETT numbers which would be a good result if all things were equal but in actual terms the difference is 10% as in GROSS numbers, all is equal. The 10% growth is roughly how much ticket rates grew in 2019.
The biggest grosser of the year was WAR (Hindi) grossing 292 crore nett but the biggest HIT was KABIR SINGH. It was the universal blockbuster of the year which did equally well in all parts of India. It also had the highest footfalls of the year as it was released outside holiday periods on normal ticket rates. WAR and URI were also BLOCKBUSTERS but could have done better in the Central India markets where there performance was lower as compared to other areas. The other film to top 200 crore nett HOUSEFULL 4 could have done better in North.
No film got close to 3 crore footfalls which tells there was no really huge BLOCKBUSTER. In fact the last 3 crore footfall film was TIGER ZINDA HAI in 2017 though PADMAAVAT may have got there if it had released all over. Only two Hindi films - KABIR SINGH and WAR - managed to get more than 2 crore footfalls and the third film was AVENGERS: ENDGAME from Hollywood. SAAHO also manged it in all formats and if we take all formats into consideration then this film had the most footfalls of any film in India last year at 2.60 crore.
The ranking of the top films in terms of NETT collections are as follows and these twenty stand above the rest as the 26th film is under 50 crore nett. The GROSS collections may change the positions a little as there is state levy and higher service charges in some states and if films have a higher ratio coming from these areas then it changes the NETT to GROSS ratio.
1. War (Hindi) - 2,92,71,50,000
2 Kabir Singh - 2,76,34,00,000
3. Uri: The Surgical Strike - 2,44,00,50,000
4. Housefull 4 - 2,05,60,50,000
5 Bharat - 1,97,34,50,000
6. Good Newwz - 1,95,78,00,000 (35 days)
7. Mission Mangal - 1,92,67,00,000
8. Kesari - 1,51,87,50,000
9. Total Dhamaal - 1,50,07,50,000
10. Saaho (Hindi) - 1,48,84,00,000
11. Chhichhore - 1,47,32,50,000
12. Super 30 - 1,47,00,00,000
13. Dream Girl - 1,39,37,00,000
14. Dabangg 3 (Hindi) - 1,34,79,00,000
15. Gully Boy - 1,34,21,50,000
16, Bala -1,10,97,50,000
17. De De Pyaar De - 94,50,00,000
18. Manikarnika - The Queen Of Jhansi (Hindi) - 90,81,00,000
19. Luka Chuppi - 88,50,50,000
20. Badla - 87,56,00,000
21. Batla House - 84,99,50,000
22. Pati Patni Aur Woh - 80,41,00,000
23. Kalank - 80,03,50,000
24. Student Of The Year 2 - 65,70,50,000
25. Article 15 - 65,17,50,000
NOTE - Good Newwz is still running in week six but will not change the rankings as it has only 25-50 lakh more to come
Ranveer Singh and Ayushmann Khurrana have reinvented the male lead in Hindi cinema
8:09 AM
Jitesh Pillai (MUMBAI MIRROR; December 29, 2019)
It will be difficult to identify a theme that has dominated Hindi cinema in 2019. From biopics that revisited historical events and celebrated chest-thumping national pride to fictional accounts of underdogs who rose above their circumstances, this year’s blockbusters have broken many moulds. They have also brought to the fore actors who couldn’t be more unlike the typical Bollywood hero — beefy, bombastic and superheroesque in their abilities. Here are two actors who took the sensitive, everyman approach to their roles, and still came out on top:
Ayushman Khurrana
His onscreen avatars have endured sexual dysfunction, celebrated human foibles and shattered gender conventions. And this year, with back-to-back hits such as Article 15, Bala and Dream Girl, Khurrana is, without a doubt, Bollywood’s man du jour. So what exactly makes him tick?
Khurrana has proven — with unfailing regularity — his ability to slip into, and completely immerse himself in, characters based in both metros and mofussil towns. His honest and impactful portrayals have given the Hindi film hero of 2019 a vulnerable, self-deprecating, even endearing edge. He may not be a pioneer in channeling a male lead riddled with flaws or grappling with sticky situations, but he is certainly the most convincing. And this is perhaps what makes him more relatable and accessible to a larger audience. The fact that his real life story is also the stuff of dreams — Khurrana was plucked from a reality show that he later went on to host, and then moved onto Bollywood — makes him the person every front-bencher aspires to become.
Ranveer Singh
His recent films have shown that Singh can morph as seamlessly into a diverse set of characters, as he can, in real life, evolve from being the boy next door to an audacious clotheshorse. From Khilji in Padmaavat to Murad in Gully Boy, Singh internalises his roles to an extent that one can barely distinguish him from the part he’s playing. We first got a glimpse of his thaharaav in Lootera, a beautifully-underplayed performance that slipped through the cracks. Then, as Murad, a freestyle rapper from a Mumbai slum, Singh imbues his role with the same heartbreaking quality that also wins hearts.
Singh’s recent, elaborately-experimental red carpet turns have evoked both shock and surprise — besides generating unending clickbait-worthy material. He can sometimes appear as a stylist’s worst nightmare. You may roll your eyes or shrug in bewilderment at his bizarre off-screen looks, but you just can’t ignore Ranveer Singh. He’s made sure of that. It’s this devil-may-care attitude that has made Singh an irreverent yet definitive youth icon. And going by his immaculate portrayal of former Indian skipper Kapil Dev in his next '83, we’re sure Singh’s going to knock it out of the park in 2020 as well.
The best part is I’ve a buffet of choices now-Ayushmann Khurrana
8:15 AM
Ayushmann Khurrana, who continued his box-office juggernaut this year too, says out-of-the-box films — also called ‘the Ayushmann genre’ by many now – will always be his staple
Prashant Singh (HINDUSTAN TIMES; December 28, 2019)
It won’t be wrong at all to say that he has been on a dream run since 2017. When Bala became actor Ayushmann Khurrana’s seventh consecutive hit, it was clear that he has gone beyond box office numbers and endeared himself to the audience enough to create a genre of his own. As the juggernaut continued in 2019 with Article 15, Dream Girl and Bala, talk of a new ‘Ayushmann genre’ became commonplace. “This year, I had a very wholesome experience [as an actor]. For me, the biggest takeaway is the audience’s love, which is only getting bigger,” says the actor, who has Shubh Mangal Zyada Saavdhan and Gulabo Sitabo lined up next year. Excerpts:
Since 2017, your dream run seems to be getting better...
The year 2017 was good, 2018 was better and 2019 has been the best so far. And I am really glad as it means I’ve created a certain kind of trust in the audience’s mind, which helps me with better openings for my films, and at the same time they expect something unique out of me. I feel this year saw three films of distinct textures – Bala was middle-of-the-road kind of cinema, Dream Girl had more of a single-screen appeal, Article 15 was a bit ‘multiplex-y’, though we wanted it to reach as many people as possible.
What was the top highlight for you this year?
It started with Article 15, which is the most difficult film – and my most fearless move – of my life, till now. While we were expecting critical acclaim, I’m very glad with its commercial success. I was also surprised with Dream Girl’s acceptance among the multiplex audience since that was the first time I tried to be slapstick and a bit front-footed with my performance. Both were two ends of a spectrum, and that’s why difficult too.
Do you feel more confident now as an actor?
Yes, I do. The best part is I’ve a buffet of choices now. So, I can pick movies and genres. Earlier, I took a lot of risks with first-time directors-producers, which paid off. Now, I’m getting to work with ‘big producers and directors’. I remember after Dum Laga Ke Haisha (2014), I didn’t do anything for a year and waited for the right scripts/directors. Now I’m getting lot of great scripts, and the idea is to get the best of the lot. So, good doesn’t excite me anymore — it has to be great.
How do you view the ‘out-of-the-box’ tag, now also called ‘the Ayushmann genre’ by many?
I am very happy with it. It is overwhelming and flattering. This is my zone and my staple. While people look out for those films, I enjoy doing them. I feel it’s pertinent to attempt the ‘taboo, socially-relevant’ subjects. At the same time, I’ll also make an effort that my ‘other kind of films’ do equally well too. And I’m sure they will also make ₹100 crore and more, maybe next year itself. So, let’s see.
A few days back, you mentioned in an interview that 2019 was an ‘eye opening year’ for you...
It’s been an eye-opener in the sense that I’ve realised people will accept good stories, regardless of the genre. When I said yes to Article 15, I was thinking about the commercial aspect of it, but the kind of acceptance the film got from the audience was unparalleled. Even vis-à-vis Dream Girl, since I have a loyal multiplex audience, I was thinking, ‘I don’t know whether they will accept me doing a commercial song-and-dance laden slapstick comedy’. But they did. So, I guess it’s an eye-opener for me that you just have to give people something unique, entertaining and, at the same time, engaging.
Did you realise that Bala was your seventh hit in a row? Were you keeping track?
Now, you are telling me about it, or else, my PR team updates me about such things but I never thought about it. I am very bad with numbers. Main khud puchta hoon, sometimes, ‘arrey, 6 hai yaa 7 hai (laughs)’. Aise top of mind nahi pata chalta. See, the idea is to just give unique content, which is also value-creating. I feel it can’t just be entertainment; there has to be something deeper which people should think about after getting out of the theatres. For me, it shows that thanks to the content I do, people have built a certain trust around me, and now, the numbers are also showing. Also, it’s not a meteoric, sudden rise. It started in 2017, and I am glad that I am taking baby steps towards success.
In terms of workload, do you, sometimes, feel like you are stretching yourself a bit too much?
That’s why I have taken a four-month break. Also, at this point, I can afford to take this break from films since two of my films are ready for release in 2020. Also, I think, ideally, I should have breaks in between. At the end of the day, we are artistes, and not machines. So, you need to recalibrate, re-energise yourself. So, the idea is to recharge your batteries, live more life, meet people, read books, and work on your different passions so that you are always excited about your core passion — which is, of course acting. That’s what I am doing right now. For four months, I will just travel, meet new people, spend time with family, jam with my band and write poetry. I think that’s very important.
In 2020, you have two upcoming releases. Will there be a third one?
There could be a third film later on in the year. But we are still contemplating [which one it can be]. Ideally, there should be a third film as well next year, maybe towards the end of the year. There is no plan [to have a certain number of films] till the time I’m getting great scripts. I’m okay with three films in a year as well, but not more than that maybe. At the same time, if I am not getting great scripts, I’m fine with doing nothing. In such a case, I won’t do anything and just do my musical events with my band. So, there is no desperation in that sense.
This year, you and your wife Tahira Kashyap also fought through her illness [breast cancer]...
Tahira isn’t just my life partner but a life coach as well. The way she dealt with the illness – with a happy mindset – is commendable. I feel it’s just a mind game. If you take that challenge head on and are excited about living, you can combat any challenge, that’s what she has taught me. I’ve learnt a lot from her and she is an inspiration. She introduced me to Buddhism, which I started to follow right before Bareilly Ki Barfi (2017), and things began to change. So, I think I owe it to Tahira as well as Buddhism.
Due to a busy, packed schedule, the musician in you isn’t getting much time and attention. Right?
Unfortunately, my live musical performances have taken a back-seat because, of late, I have been busy with my films. I sang two beautiful, love ballads in Article 15 and Dream Girl. But I didn’t get a chance to perform them in concerts as I’ve not gigged in a while now. But that will happen soon, maybe in January, I will go out with my band. In these four months, [during the break], I will be gigging for sure. As for my singles, last year, there was Chan Kitthan. I am singing in my films, but whenever I get time, I will come out with a new single, maybe, if there is a gap between my two films.
Train rides, concerts — actors did all this and more to make their films are sure-shot hits
8:01 AM
Rishabh Suri (HINDUSTAN TIMES; December 23, 2019)
Merely making and releasing a movie is no longer enough today. Whether actors love it or loathe it, each film needs to be promoted extensively, to make it stand out, more so because the number of films being churned out has also grown massively.And apart from innovations such as teasers and twin trailers, there are numerous gimmicks that makers and actors resort to. Many Bollywood films in 2019, take War, for instance, came up with out-of-the-box ideas. Throughout the promotions, the film’s lead actors — Hrithik Roshan and Tiger Shroff — didn’t share the stage together, reflecting the on-screen rivalry they shared in the film. Even for his earlier release, Super 30, Hrithik especially visited Anand Kumar in Patna, the mathematician on whose life the film is based upon, on the occasion of Guru Purnima.
The team of Housefull 4, comprising a huge cast of Akshay Kumar, Riteish Deshmukh, and Kriti Sanon, among others, travelled in a train to Delhi from Mumbai, all to create buzz around the film.To promote Gully Boy, Ranveer Singh along with the rest of the cast performed at a concert which was organised keeping in mind the theme of the film, revolving around the life of underground rappers in Mumbai. Ritesh Sidhwani, co-producer, reveals, “Concerts had been done before, too. We did it for Rock On 2 (2017). Here, it was important to make people understand that Ranveer is the guy who has actually done the hip-hopping in the film. And then, for the music launch, we thought what better way to do it among a crowd? We wanted people to relate and identify with the actual experience.”
Ayushmann Khurrana’s Bala revolved around a guy dealing with premature balding. Talk of actors going the extra mile to create a buzz, Ayushmann himself sold tickets for the film, at a Delhi theatre on the release day.
Director Amar Kaushik, on whether such large-scale promotions are the need of the hour, says, “We live in the era of smart technology, tougher competition and reducing attention span. Marketing strategies are developed keeping in mind all these and the changing consumer behaviour — the same goes for films as well. Movies have a limited time frame and every Friday is a fresh test. So, suitable and sometimes, even quirky marketing becomes critical for filmmakers to grab eyeballs.”
On their part, round the clock promotions could get exhausting for the actors, too. Boman Irani, who has had multiple film releases in the last few years, says, “There are [bigger] budgets that are allocated for the media spendings. I don’t remember doing such promotions for more than a day or two earlier, an interview here or there. Now you have magazines, TV, social media, digital, etc. You put out stuff on YouTube, create content, and do gags, so they put out little snippets.”Trade expert Atul Mohan explains, “We need to understand where to draw the line. The promotion should convert the anticipation for the film. You can’t do without promotions either. Today, the budget for promotions is equal to making a small film. You've to spend as much money. Say, if you were making a ₹3 crore film earlier, ₹3.5 crore would be the recovery amount. Now, if you are making such a film, ₹3 crores is the promotion amount, too, apart from the budget. It totals to ₹6 crores! It is similar for big-budget films. Otherwise (makers think) they won’t get visibility.”
Let’s not forget that there simply aren’t enough meaty roles written for women-Bhumi Pednekar
8:19 AM
Bhumi Pednekar, adding she is here for the long run
Suktara Ghosh (MUMBAI MIRROR; November 29, 2019)
Not many leading men and women of Bollywood can rival Bhumi Pednekar’s resume. The actor, armed with a kitty of six films, has proven her craft as well as her mettle in only four years. From piling on nearly 30 kilos—quite unheard of in this part of the world—for her debut Dum Laga Ke Haisha (DLKH), to playing a 60-year-old in Saand Ki Aankh, and soon a 19-year-old in the upcoming Dolly Kitty Aur Woh Chamakte Sitare, Bhumi seems to have already done it all.2019 indeed, has been a special year. She’s had three releases, of which two are hits, and a fourth film, Pati Patni Aur Woh, is set to release on December 6. “I’m still processing it, but I’m more confident about my choices as an actor now,” says the 30-year-old.
Bhumi, in fact, oozes confidence. “I’m very ambitious, I want it all,” she says. And when she opens up on her craft, one doesn’t need to make much of an effort to spot the clear eye and steady head at work. Quiz her on the recent flak she received for playing a shooter double her age and using makeup to play a dark skinned lawyer in Saand Ki Aankh and Bala respectively, and she retorts: “By that logic, a naturally fuller woman should have played Sandhya in DLKH.”
“I’m an actor. It’s my job to transform into different characters,” she points out. “I respect people’s opinion, and I did take a step back to think about what they were saying. But I think I will continue to pick such roles because I like challenging myself. And let’s not forget that there simply aren’t enough meaty roles written for women.”
Bhumi though, seems to find her way to those that are. She almost hops with excitement while talking about Dolly Kitty…, Alankrita Shrivastava’s upcoming film co-starring Konkona Sensharma. “It’s a celebration of womanhood and I had a blast filming it,” she says. She’s also consciously looking to impart some of her real-life glam to her onscreen avatars. While she’s tight-lipped about how she’s prepping for Karan Johar’s magnum opus Takht, she has thoroughly enjoyed playing Vedika in Pati, Patni Aur Woh. “She is a strong woman who’s very aware of her beauty and the power she has over the opposite sex. I want to do these glam roles too. I have grown up on ’90s Bollywood… I love all the dancing and nakhras!” she laughs.
But it’s in her rooted-in-life roles that the actor undoubtedly finds her mojo. “My life has become infinitely more enriched since I began acting, and it’s because of these roles,” Bhumi says. “I realised I am so privileged that I can’t even imagine not having access to a toilet. Or take what Chandro and Prakashi Dadi have achieved—that is real feminism.”
Working with directors such as Abhishek Chaubey (for the hard-hitting Sonchiriya; incidentally, her only film that failed at the box office) too adds to her actor’s arsenal. The avant-garde filmmaker asked her not to emote through her eyes while playing a rape survivor in brutal Chambal. “It was very tough but it taught me a new tool,” she says, adding that she facetimes with the child actor, Khushi and 500 other kids, who are cared for by a Madhya Pradesh NGO, every Sunday. “They have become a huge part of my life.”
Given that most of her characters are from heartland India, Bhumi works hard to ensure their authenticity. “I read, do workshops, watch videos, try spending time in that region, talk to locals, read their literature, try learning songs,” she shares. “It’s a lot of homework. But the moment you start thinking like the character, a lot of things automatically fall into place.”
Her biggest school, however, was her time behind the camera—she began working as a casting director at 17 with one of B-town’s leading studios before switching sides. “The first thing you learn is that every person on the set contributes to your work. Actors are usually full of themselves, and think they are the fulcrum of a film. That’s not true,” she says. Those six years also taught her to be a professional. “I absolutely hate being late for work commitments. I’d get up at 2.30 am to get ready for the long makeup schedules of Saand Ki Aankh and Bala because I didn’t want to be late,” says the self-confessed workaholic, who feels guilty about not working one Sunday.
She also credits her parents and her growing up years between Juhu and Jaipur—where she spent idyllic holidays with her grandparents—for her intuitive understanding of people and characters. “My sister and I have been brought up in a secular, empathising environment. I’m a people’s person too. I used to chat with the didis and bhaiyas in school. I talk to my staff or people I meet along the way—it’s who I am,” she shares.
And does her empathy ever collide with her privacy? Bhumi says she enjoys her stardom and knows what comes with the territory. But she did find herself floundering when a fan began clicking selfies without asking her as she sat crying outside her grandfather’s hospital room in Chandigarh. “I was a mess. My nose was running, I couldn’t breathe. I didn’t know how to react. I simply walked off,” she says.
Bhumi has, by and large, managed to steer clear off the other bane of a celeb’s life these days—trolls. That is, till she started an online campaign to raise environmental awareness. “People tell me some very nasty things,” she laughs, adding that it’s her way to do a little bit for the world. She has brought in small changes in her personal life as well. “I used to be a shopaholic and loved hoarding makeup, for instance. Now, I know how much of our resources go into making these, and I’m really ashamed,” she says.
The actor also feels she has become a better person. “I’ve matured a lot, I take responsibilities and have de-cluttered my life. The people I have met have widened my horizons.” And what does the ‘future leader’ in her Twitter bio signify? “I want to be someone who has enough sensibility and brains to be emulated.” This girl’s sure got places to go.
I was stereotyped as a dainty pretty girl, and it’s finally changing-Yami Gautam
7:48 AM
Earning glowing reviews for her act in Bala, Yami says film has helped her break image of being just a pretty face
Mohar Basu (MID-DAY; November 19, 2019)
In a standout scene in Bala — after she has walked out of her marriage upon discovering that her husband is bald — Yami Gautam’s character explains to Ayushmann Khurrana’s protagonist why looks are of utmost importance to her. Shallow, you’d assume, but the actor infuses such vulnerability in her part that you deeply empathise with her. “The film was an amalgamation of so many factors — a novel genre, a comic heroine and the relevance of my role,” begins Gautam. While the Khurrana-led comedy is steadily heading towards the Rs 100-crore mark at the box office, Gautam has been the surprise package of the film.
It is not easy to play a character, who is all-consumed with her beauty, without alienating the audience. But Gautam credits director Amar Kaushik and writer Niren Bhatt for making her character Pari endearing. “Pari is ditsy and dramatic, but not slapstick. She is obsessed with good looks. She represents that part of society, which thrives on the attention they’ve got all their lives. Amar and Niren have put so much heart in the writing.”
It may have taken the industry seven years to wake up to her talent, but she is glad that things have changed with Uri: The Surgical Strike and Bala. “I know what I am capable of as an actor. I am aware of my talent, but I can’t showcase it to the world unless I’m offered parts that do justice to my potential. I was stereotyped as a dainty pretty girl, and it’s finally changing.”
I can’t do a film where the hero is smacking a girl’s bu** and the nation is celebrating-Bhumi Pednekar
8:05 AM
Actor Bhumi Pednekar says she’s not against item numbers but won’t do roles outside her ‘moral comfort’
Sangeeta Yadav (HINDUSTAN TIMES; November 15, 2019)
She calls herself the “queen of heartland cinema”, and in a short span of four years, actor Bhumi Pednekar has carved a niche for herself in the industry. An overweight girl in Dum Laga Ke Haisha (2015), a woman fighting for her rights in Toilet - Ek Prem Katha (2017), a 65-year-old in this year’s Saand Ki Aankh or a girl with dark skin in Bala, Bhumi hasn’t shied away from off-beat and unconventional roles.
Her career, Bhumi says, is only getting better with time. “Every character that I play is only getting more challenging and making me a better actor. Every time I think about what’s next, some amazing writers and directors come with path-breaking parts for me. It’s only the start and I keep telling people that Saand Ki Aankh and Bala are only my fifth and sixth films (respectively). My journey has been very short and beautiful, and I have a long way to go,” the 30-year-old says.
Bhumi believes she has always pushed the envelope with roles outside her comfort zone. She explains, “Be it playing a fat person or an aged person. I don’t think it has anything to do with the way you look on screen, but how honestly you are telling the story.”
She goes on to explain that she has no reservations about item numbers. “I love dancing and I’m not against item songs,” she says, adding “I don’t have a problem with women wearing bikinis on screen. In fact, I’ll be wearing one on screen someday. But when women are made into objects of glamour, that is something I don’t want to do. Today, a hero or a heroine is a person that inspires anyone to be or do better. I don’t think it has anything to do with the way you look.”
And when it comes to not playing a particular kind of role, Bhumi sets the record straight once and for all. She says, “I’m not comfortable doing a film where the hero is smacking a girl’s bu** and the nation is celebrating it. I can’t be a part of a film that is anti-feminist or women bashing, or something that is out of my moral comfort.”
Bhumi also believes that her work should not only entertain but also contribute to the society. “If the audience takes back something good after stepping out of the theatre, I will be happy,” she signs off.
This phase has told me that I should push the envelope and back edgy stories-Ayushmann Khurrana
8:00 AM
With Bala marking his seventh consecutive hit, Ayushmann Khurrana on changing the definition of commercial movies with his choice of films
Mohar Basu (MID-DAY; November 15, 2019)
It won't be wrong to call him the man with the golden touch. With Bala recording his highest opening day collections and subsequently, racing past the Rs 50-crore mark, Ayushmann Khurrana has delivered seven back-to-back hits. Box-office success aside, the actor is thrilled that his films have proven that entertainment and social commentary can co-exist. "As an entertainer, I have had to strive hard to stick to my beliefs of what makes for good content. This result is a huge validation that my choices are a perfect match to what audiences want to see," enthuses Khurrana.
Some may argue that he has fallen into the rhythm of backing small-town stories with a social message at their core. However, the actor has tackled myriad subjects with his outings — if Bala highlights the importance of self-love, Dream Girl seamlessly wove in the message of gender fluidity in a masala film. As he cherry-picked his films in the months gone by, Khurrana says it also helped him understand the kind of cinema he wants to be associated with. "You learn a lot from your successes. This phase has told me that I should push the envelope and back edgy stories. Somehow, my brand of cinema has become synonymous with something that's a little left of centre."
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