A yellow Ambassador glides onto the red carpet. Flashbulbs erupt as Shanti Priya (Deepika Padukone) steps out in blush pink silk, her wave choreographed for stardom. Moments later, the fabric catches Om’s sleeve, setting in motion one of Hindi cinema’s most cherished meet-cutes. Years earlier, audiences had travelled to an altogether different world, where Helen danced to Mehbooba Mehbooba inside a cave lit by flickering torches. One film recreated the glamour of 1970s Bombay. The other conjured a ravine that never existed. Both persuaded millions that these worlds were real.

If you’ve ever visited the Harry Potter studio outside London, wandered through Warner Bros’ archives in Hollywood or admired K-pop exhibitions in Seoul, you know some entertainment industries preserve their history behind glass. Bollywood, for some reason, has never done so. Here, the cave comes apart plank by plank, the palace becomes plywood again, costumes disappear into garment bags and props are counted, labelled and packed into trucks. Still almost nothing is truly discarded.

“Most costumes and many props are hired,” says veteran filmmaker Prahlad Kakkar. “You use them for the shoot, return them afterwards and pay the rental.” Furniture, crockery, chandeliers, doors, windows and architectural fragments all begin another journey once the cameras stop rolling. Every item is checked against an inventory, packed away and stored until another script calls it back into service.

Ad filmmaker and photographer Sunhil Sippy says production designers often become collectors by default. “Many own prop houses themselves, or they’ve spent years building collections from Chor Bazaar and antique markets.” It’s not unusual for things from their own homes and studios to even find a way into frames. “For close-ups, I’d often bring something from my own house, an object I lived with every day because I knew I wouldn’t find it in a rental house. The right object gives a frame its truth.”

Not every prop returns to a rental house. Some end up at Many Many Things, a Versova prop studio run by production designers Shaira Kapoor and Dhara Jain, whose work covers Gully Boy, Bombay Velvet and The Archies. Over the years, productions have left behind what many would see as a museum-worthy collection of collectibles: a miniature red vintage car sourced for a Lays commercial featuring Ranbir Kapoor, gold bricks made for a smuggling sequence in Bombay Velvet, even two cement brains created as paperweights for a radio station set in Tumhari Sulu.

“We never planned to start a prop house,” says Kapoor. “Some pieces stayed back after productions, others came from family, and many were simply too special to let go.” Every object is catalogued, barcoded and tracked before heading out to its next assignment.

That, they insist, is how Bollywood has always worked. Doors, windows, plywood, lights, furniture and fabrics are dismantled, stored and reinvented. “We pride ourselves on making the same object look completely different,” Kapoor says.

“A new lampshade, fresh upholstery or different artwork can transform it.” Nothing illustrates that better than Zoya Akhtar’s The Archies. The pair sourced nearly 10,000 vintage books, along with vintage cookware and utensils, for Betty’s (Khushi Kapoor) home from Mumbai, Bengaluru, Ooty, Bangkok, and international Etsy sellers. Once filming ended, most were sold on. “We don’t know exactly where they went,” Jain says. “But they’re still in the ecosystem. They’ve simply moved to another shelf.”

While a handful of props are preserved, Kakkar says that remains the exception. “Commercials work on rentals. Keeping elaborate sets after a shoot isn’t practical. The economics just don’t support preserving every unique creation.”

Costumes have had an even more uncertain fate. Academy Award-winning costume designer Bhanu Athaiya treated preservation as second nature, says her daughter, Radhika Gupta. “She never folded old saris or fabrics. She rolled them, wrapped them in mulmul cloth and stored them in steel trunks.”

Even that could not protect them from the weather and termites that infested them. Athaiya began designing in 1953, long before climate-controlled storage. Studio lights generated intense heat, makeup stained fabrics and colours faded under harsh lamps. “The costumes didn’t survive very well,” Gupta says, “More importantly, they belonged to the production houses, not to her.”

Until the 1970s, few studios archived costumes. Raj Kapoor was among the exceptions, though many garments, including costumes from Mera Naam Joker, were later lost in the RK Studios fire. Gupta still remembers actors arriving at their home to try on costumes as tailors and embroiderers worked around them. “My mother was a director’s designer,” she says. Directors described the character and mood of a scene, and Athaiya translated them into attire, even using colours in the black-and-white era to create tonal contrasts on screen.

Looking back, Gupta believes preserving costumes is about far more than saving clothes. “As Indians, we don’t really have a strong culture of preservation,” she says. “We tend to discard things and take them for granted.” Conservation, she adds, requires time, expertise and sustained funding.

Some of Athaiya’s surviving work has reached the public through the People of Mumbai exhibition at CSMVS, where costumes, sketches and archival material traced both her career and the city’s cinematic journey. “Bhanu Athaiya became a natural choice because her journey from the Sir JJ School of Art to costume design reflects that evolution,” says the exhibition’s architect, Nandini Somaya.

Displaying the collection required a careful process. Costumes were protected under acrylic sheets, while larger garments—including the landmark sari worn in Gandhi—were mounted on custom plastic supports and enclosed in protective cases to prevent stress on the fragile fabric. But such examples remain rare.

Madhav Agasti, who tailored costumes for more than 350 films, including Mr India and Andaz Apna Apna, says costumes usually remained with producers once filming ended. Mogambo’s military-inspired uniform, he believes, is still with Boney Kapoor. Lead costumes are never really reused, Kakkar explains. Designed for one actor and one character, they often end up with producers, collectors or members of the crew. Sometimes they become personal keepsakes. Shivam Hingorani, an assistant director on Yeh Jawaani Hai Deewani, still treasures the brown AllSaints jacket worn by Ranbir Kapoor. “The moment I saw it, I knew I wanted it.” And once production wrapped up director Ayan Mukerji handed it to him.

And, thus, Bollywood’s best stories survive in fragments: a sari wrapped in mulmul, a villain’s uniform in a producer’s cupboard, or a prop on someone’s shelf. They may never draw museum crowds, but for the person who recognizes one from the screen, those ordinary objects still possess the power to collapse time, carrying them back to the moment the story first came alive.

The wedding of Anshula Kapoor and Rohan Thakkar was among the most talked-about celebrations of the week. Boney Kapoor has spent decades creating some of Hindi cinema’s biggest spectacles, but nothing, he says, compares to watching his daughter begin a new chapter with the man she loves.

Talking to us about what it felt witnessing his daughter’s wedding, Boney says, “It is difficult to put into words what I felt watching Anshula get married. Her decision to have her mom’s (Mona Kapoor) photo by the mandap and to wear her dupatta, made the moment even more special because it would have been incomplete without her blessings. I’m sure this is exactly how Mona would have wanted to see her daughter celebrated.”

Boney adds, “Anshula is a piece of my heart and seeing her so happy makes me feel fulfilled. Looking back at the celebrations, I think what has stayed with me the most are the smiling faces, the love that surrounded us, and the happiness everyone shared with us. Your daughter teaches you to be the best version of yourself. Seeing her begin this new chapter with Rohan was an emotional moment for all of us. As a father, you prepare yourself for this day, but when it finally arrives, you realize how special and overwhelming it truly is. As a family, we feel incredibly fortunate to have witnessed this beautiful beginning with the love and blessings of everyone around us. Watching Anshula begin this new chapter of her life was one of the most emotional moments I have experienced as a father.”

The celebrations began with intimate family rituals before culminating in a grand reception. Over three days, family and friends came together to celebrate the couple, with blessings pouring in from every corner.

“My heart swells with love and gratitude for my brothers and their families and extended families, my sister and brother-in-law with their family, my son Arjun, and daughters Janhvi and Khushi, who all stood behind me and witnessed this beautiful milestone moment. Having all my children by my side made the moment complete,” he shares.

For someone who has spent decades bringing stories to the screen, he says this was one occasion where life itself felt like the most beautiful story. “People often ask me what success means after all these years. For me, these three days were the answer. The greatest thing you can earn in life isn’t fame or success, it’s goodwill. Seeing Anshula so happy, surrounded by people who have been part of our lives for so many years, is an unforgettable memory. Watching her grow from holding my hand to holding the hand of the person she loves the most, is one of my life’s cherished moments. She will always be my little girl, no matter how empowered or old she gets. Today, I see her not just as my daughter, but a kind-hearted, super confident and compassionate woman.”

Overwhelmed with emotion, Boney concludes, “I want to say this to my lovely daughter Anshula... A big thank you, for filling my life with your laughter, lessons and unconditional love. You will always have a sweet home in my heart.”

Producer Boney Kapoor has acquired the remake rights of the Tamil political satire Thalaivar Thambi Thalaimaiyil (TTT) for Hindi and other North Indian languages.

A source close to the development tells Mirror, "Boney Kapoor saw the film in a theatre in Coimbatore while he was there for a Celebrity Cricket League. TTT was a Pongal release. He loved the film and approached the producers."

The talks are said to have progressed in Chennai last Friday, where the team of Thalaivar Thambi Thalaimaiyil hosted a success party following the film’s positive response. "Last Friday success party of the film happened in Chennai, boney ji was invited for that. This discussion happened there," the source adds.

The deal was subsequently closed with Mr Kannan Ravi. When contacted, Kapoor confirmed the acquisition but stayed guarded about his plans. “Yes, I have acquired the rights of the film, but I cannot comment more than that,” he told Mumbai Mirror.

Thalaivar Thambi Thalaimaiyil is a rooted Tamil political satire about a village panchayat leader who must navigate a chaotic clash between a wedding and a funeral happening on the same day, forcing him to mediate family feuds, ego clashes and community tensions while trying to keep peace. The original Tamil film Thalaivar Thambi Thalaimaiyil was directed by Nithish Sahadev, a filmmaker celebrated for his work on the Malayalam hit Falimy and making a notable mark with his Tamil debut in this satire. 

Sahadev also co-wrote the script, bringing a sharp yet humorous perspective to everyday village politics. The film stars Jiiva in the lead role, whose performance as the village panchayat leader has been widely praised for its charm and emotional depth. He is supported by veteran actors Thambi Ramaiah, Ilavarasu, and rising talent Prathana Nathan, among others, whose ensemble brings the quirky story to life with strong chemistry and memorable character work.

Actor Arjun Kapoor’s Instagram post made fans and trolls alike sit up and take notice on Tuesday. The 40-year-old wrote an emotional birthday message for his late mother, Mona Kapoor. But the lines that caught social media users’ eyes are: “Life’s been kinda cruel to me lately... We will ride it out together. I’ll see u again soon.”

A 2017 video of Arjun’s ‘blank stare’ at a press conference resurfaced. What started as harmless fun around a funny video soon turned nasty. Arjun’s Instagram posts and Reels were flooded by comments that blurred the line between criticism and bullying, often rage baiting responses and farming engagement. Messages included: ‘God blast you’, ‘You are the reason I believe in failure’, ‘Aap bahut peeche jaaoge’, ‘Arjun the superzero’, and ‘Always give up’, among others. But now, the commenters have changed their tune.

Arjun’s new post saw an outpouring of love. Actor Genelia Deshmukh commented, “All will be good, Arjun. You have your own special angel always looking after you.” Others shared strings of heart emojis.

Bhumi Pednekar, Arjun’s co-star in his last screen outing Mere Husband Ki Biwi (2025), says trolling is synonymous with bullying: “What’s frightening is how easily we’ve begun to accept trolling as normal behaviour. The internet forgets that there is a human being they are referring to and not a bot.”

His father Boney Kapoor says, “All the trolling will make Arjun stronger in his resolve. Nothing of this sort will deter him. He’s a brave and sensible boy.”

We reached out to Arjun about his post, but received no response till the time of going to press.

The Right Angle with Sonal Kalra was the first to question the behaviour of trolls, urging commenters to show more empathy, compassion and respect towards the actor. The Reel clocked 2 million views, nearly 94k likes and over 5k comments, including reactions from celebrities Varun Dhawan, Rakul Preet Singh, Vaani Kapoor and Neil Nitin Mukesh, to name a few

At FICCI’s Young Leaders Summit, Arjun Kapoor gave a glimpse into his personal battles — with grief, body image and mental health — and how he is healing. Excerpts...

Talking about his early exposure to films, the actor shared, “My father (Boney Kapoor) was making films since I remember, and my uncle (Anil Kapoor) was one of the biggest stars in the country. I grew up around cinema. My love for films was very pure. I never wanted to be an actor. I wanted to make films. I still do. I want to produce and direct films.”

Arjun said, “Acting just happened. I went for an workshop with Varun Dhawan to see how it feels to live vicariously through another character. I started enjoying being other people except myself.”

The actor also opened up about how his parents’ separation affected him. “I was not an obese kid, but then my parents split up, and I obviously looked at food for solutions. A lot of us have gone through that. I think it doesn’t matter what age you are; it depends on your emotions and mental wellbeing. I understand how obesity affects people in various ways. You can wake up and have a thin day and a fat day. I still have that,” he said.

Arjun shared, “My mother understood what I was going through. My sister and I both suffered where obesity was concerned. Mentally, I was a strong kid. I understood what my parents had been through at that point. So, I took life as it came, but the journey to lose weight took me four years. I had a solid foundation in my mother, she allowed me to take those three-and-a-half years to drop 50 kgs, also, I had professional aspirations.”

He further added, “My mental health actually was not triggered by obesity. I have a lot of self-confidence. But where mental health was concerned, it was my sister who started talking about it. I didn’t realize that the obstacles I had faced — obesity, making my career the way I did, my parents’ separation, and of course, the attention and eyeballs — had affected me. You become a star overnight, and suddenly you are scrutinized — the way you look, the way you talk, the way you express, the way you behave off camera, on camera, everything,” he recalled.

Arjun shared that therapy has helped him find a balance. “The pandemic gave me a moment of realization, and I started therapy after that because I realized I’m the big brother who’s always been there — taking care of my friends, my family, but he needs help, too. I’m a big advocate for help because I have realized its value. It’s like you declutter your mind. A lot of people don’t have that outlet and suffocate. Once you let things out of your mind and express them, you realize how smart and sensible you are. The biggest problem is that vulnerable people are looked upon as weak. I think the strongest people in this world are those who are emotional and vulnerable.”

Anshula Kapoor and her fiancé Rohan Thakkar (middle) pose with Janhvi, Boney, Khushi and Arjun Kapoor

Just days after we broke the news of social media personality and producer Boney Kapoor’s daughter Anshula getting engaged to beau, screenwriter, Rohan Thakkar, the couple dropped heartwarming photos from the event. They were surrounded by close friends and family for their gor dhana ceremony, a Gujarati version of an engagement ceremony.

The 34-year-old tells us why they chose to have their gor dhana, at home in Mumbai, and that it was her father’s wish too. She says, “Rohan and I always imagined our gor dhana to be a close-knit celebration with family. We wanted it to be cosy, warm, and intimate, and we are glad that’s exactly how it turned out to be.”

Anshula adds that the decor and vibe of the celebration took inspiration from a mix of their ‘favourite things, people and memories’, with nostalgic touches from their relationship and childhood.

As she steps into a new phase, Anshula opens up about feeling the absence of her mother (the late Mona Shourie Kapoor) more deeply than ever. “Since the day Rohan proposed, I’ve been missing mum even more. The grief has resurfaced so strongly, and I knew I needed her close to me. That’s why I had her words, ‘Rab Raakha’, embroidered on the back of my outfit. She was always my wings, my biggest support system, and I knew I needed to feel her with me while I’m at the cusp of starting a new chapter in my life,” she tells us.

Grand birthday celebrations are admittedly not Shabana Azmi’s style. But when it’s your milestone birthday, your family and friends will certainly make it an affair to remember.

mid-day has learnt that producer and close family friend Boney Kapoor is hosting a big bash to mark Azmi’s 75th birthday on September 18. On the guest list are the veteran actor’s family — Javed Akhtar, Zoya and Farhan Akhtar, Baba and Tanvi Azmi — as well as her friends Vidya Balan, Urmila Matondkar, Richa Chadha, Tannishtha Chatterjee, Anil Kapoor, Karan Johar, and more.

Many don’t know that Boney and Azmi go back a long way. The two collaborated on his first production, Hum Paanch (1980).

A source shares, “They struck up a friendship then, and over the years, have become almost family. So, when the discussion about celebrating Shabana’s birthday came up, Boney said he would host it. The bash will be held at his Pali Hill address on September 18, and will see Azmi’s friends from films and theatre in attendance.”

Before that, her group of friends — which calls itself Dher Saara Pyaar and comprises Tanvi, Balan, Matondkar, Chatterjee, Chadha, Divya Dutta, Dia Mirza, and Konkona Sen Sharma — has a girls’ day chalked out.

The source says, “On September 17, they will have a spa day, pampering themselves. Their celebration already started over the weekend as Sandhya Mridul launched her book of poems, Untamed. That was followed by dinner.”

The group is excited to meet Azmi’s other girl gang, Carpe Diem — with whom the actor recently took a trip to Iceland — at the birthday bash (Zindagi na milegi dobara, Shabana style, Aug 21).

Diljit Dosanjh has officially exited No Entry 2. Confirming the news, producer Boney Kapoor told Bombay Times, “We parted ways mutually. We need about 90 to 100 days of each actor because all three of them are playing double roles. His dates were not aligning with our requirements. Instead of waiting endlessly, we parted ways mutually. He tried his best to work it out. There are many actors in the film, so we had no choice but to part as friends and hopefully, we'll do a Punjabi film together in the future.”

No Entry 2 stars Arjun Kapoor and Varun Dhawan and now, the hunt for the third male lead is on. Kapoor said it won’t be easy to find a replacement for the singer-actor.

“Finding Diljit’s replacement won’t be easy. We are discussing all possibilities and maybe, in the next 10-12 days we will be able to figure it out. But our plan remains the same. The film will be slated for a Christmas 2026 release. It can go on the floors anytime because the script is ready. We may have to reshuffle a few days, but we are absolutely raring to go," Boney shared.

The sequel, which comes almost two decades after the 2005 cult comedy No Entry, is among the most anticipated projects from Kapoor’s banner. The film promises to carry forward the quirky humor and entertaining confusion that made the original a blockbuster. With a massive ensemble and a double-role twist for the leading men, expectations are sky-high.

While fans may be disappointed with Diljit’s exit, the makers are confident of locking in a strong name soon. Kapoor emphasized that the vision remains ambitious, with an aim to deliver a family entertainer that resonates with both the youth and audiences who loved the first part.

Rumour mills were abuzz with stories of Diljit Dosanjh’s ouster — first from Nidhi Dutta’s Border 2, and then from Boney Kapoor’s No Entry 2. However, the actor has already wrapped up the war drama, and sources now confirm that he will soon begin shooting for the sequel of the 2005 film, titled No Entry Mein Entry.

Initially, it was alleged that he walked out of the sequel due to creative differences, then due to date issues, and finally, it was said that working with Pakistani actor Hania Amir in Sardaar Ji 3 compelled producer Boney Kapoor and director Anees Bazmee to reconsider Dosanjh.

Refuting the rumours, a source from the creative team confirms that Dosanjh is definitely on board and will, in fact, begin shooting with co-stars Arjun Kapoor and Varun Dhawan post October this year.

“As of now, the film is on track. The unit will begin with a month-long schedule after October. It will be shot across Greece, Italy, and India. While the story is different from the first one, it will [still] revolve around three men, their marriages, and extra-marital affairs. It is a spiritual sequel to [the first] No Entry. While Boney has been busy sorting out the dates of his male and female leads, Anees has completed the script. An announcement will be made shortly,” informs the source.

The date issue with Dosanjh was finally resolved in July when Boney and Bazmee met the actor on the set of Border 2 for the final narration.

The insider adds, “They met Diljit at National Defence Academy, Pune in the first week of July when he was shooting for Border 2 with Ahan [Shetty], Varun, and Sunny [Deol]. There was talk about some creative differences, but that is not true. Diljit is very excited to collaborate with the team, especially with Anees. [In fact], Boney and Anees are committed to having him on board and only he can play this character.”

The producer has also locked Tamannaah Bhatia for the ensemble comedy.

A few days ago, Anshula got engaged to screenwriter Rohan Thakkar in New York. She shared the news on her Instagram with dreamy photos of the proposal that happened at NYC's Central Park, in front of the famous Belvedere Castle. In her post, Anshula, who met Rohan on a dating app in 2022, wrote, “’I’ve never been the girl who believed in fairytales, but what @rohanthakkar1511 gave me that day was better. Because it was intentional. Thoughtful. Real. Us. I said yes (sic).”

Anshula's father, producer Boney Kapoor is over the moon about the daughter's engagement. Reacting to the happy news, he told us, “I am really happy and elated. This was the best day. I wish this had happened when my mother was alive. When I heard it, I was absolutely delighted. It’s the best news I've heard in some time.”

Boney shared that the family is now looking forward to discussing the wedding. “Everybody is excited. We are waiting for them to come back so we can decide the wedding date. We need to talk to them”. 

Overwhelmed with emotion, he added, “I am grateful to my mother (Nirmal Kapoor, who passed away in May), she couldn’t manage it when she was alive, but as soon as she went up, she managed it.”

Producers Boney Kapoor and Naga Vamsi recently got into a heated exchange over the debate around Bollywood versus South films.

Now, following backlash from a number of Hindi filmmakers for “disrespecting” Kapoor, the Telugu producer has clarified his arguments on X. He wrote: “We respect Boney ji more than u guys do and there was no disrespect towards Boney ji in that conversation it was a healthy discussion, [we] had a nice laugh and hugged each other after the interview… So please don’t come to your conclusions with just what you saw (sic).”

During a roundtable discussion for Galatta Plus, Vamsi had noted that regional films such as the Baahubali franchise and RRR (2022) had reshaped Hindi cinema’s approach to mass entertainment. “It might sound really harsh,” he told Kapoor, adding, “We, South Indians, have changed the way [Bollywood] look at cinema. Because you guys were stuck in making films for Bandra and Juhu.”

Several Hindi filmmakers then slammed Vamsi for his tone. Filmmaker Sanjay Gupta wrote on X, “Who is this obnoxious guy sitting next to a senior producer like Boney Ji and deriding him with his fake vanity? 4/5 hits dene se yeh Bollywood ke baap nahin bane na banenge.”

Filmmaker Hansal Mehta echoed the sentiment: “Since this person Mr Naga Vamsi was being so arrogant and now that I know who he is : His latest hit as a producer Lucky Bhaskar (2024) has borrowed liberally from the Scam series.”

Actors Arjun Kapoor and Malaika Arora’s breakup earlier this year made headlines, with Arora remaining mostly silent on the matter while Kapoor occasionally confirmed their separation. So, it came as a surprise when he was spotted by her side following the death of her father, Anil Arora, in September (see right).

In a recent appearance on Raj Shamani’s podcast, Kapoor explained why he chose to be there for his ex during such a difficult time, despite the common belief that exes usually avoid one another. “Without going into one instance... when what happened with dad (filmmaker Boney Kapoor’s wife, Sridevi, died suddenly in 2018) and Khushi-Janhvi (Kapoor, actors-sisters), there was an impulse. And in this case, also, there was an instinct and impulse,” he shared.

“If I’ve formed an emotional bond with somebody, I would always like to believe that I will be there, regardless of the good or the bad. If I’m invited for the good, I’ll be there. And if I’m needed for the bad, I’ll be there. I’m not somebody who has a lot of friends; I’m not doing this for all and sundry. If that person doesn’t want me there, I’ll maintain a distance, as I have in the past with other relationships.”

Kapoor, 39, also reflected on how the media and the industry have evolved over time. “When I made my debut, and when I was growing up, there were a lot of things that were clandestine, and for the right reasons. It’s one thing to have gossip, but the moment you confirm things now, there’s a culture of wanting to know everything. Nowadays, you can’t just go to a restaurant without being ‘spotted’. Everyone has a phone, forget the paps.”

Losing his mother, Mona, at a young age has also shaped his perspective on life and relationships. “There’s a fear of loss,” he said and added: “My mom left me, my father made a choice. So, there’s a feeling that eventually, everyone will leave.”

We haven’t seen much of Junaid Khan since his Bollywood debut in June with Maharaj, but it looks like we might get a double dose of him in February 2025. Trade insiders suggest that his yet-untitled next, produced by superstar-father Aamir Khan and co-starring Sai Pallavi, is eyeing a Valentine’s week release. As luck would have it, his romantic drama with Khushi Kapoor, co-produced by Boney Kapoor, is already lined up for a February 7 outing. Two Junaid-starrers releasing back-to-back will only eat into each other’s business, but insiders say that the producers of both are keen to cash in on the Valentine’s Day hype.

A source told us, “Aamir has been eyeing February 14 for months. They have planned promotions and distribution channels around this date. So, changing it now is difficult.”

Meanwhile, a source associated with the Boney and Phantom Studios’ production, said, “In September, the makers had announced the release date. Keeping the film’s theme of young romance in mind, they want to stick to the February window.” The Junaid-Khushi starrer, directed by Advait Chandan, is an official remake of the Tamil hit, Love Today (2022).

It is now heard that the producers will meet soon to discuss the possibility of moving dates. The source adds, “Right now, Aamir is busy with Laapataa Ladies’ promotions in the US for Oscars. But he is planning to meet the producers of Love Today remake later this month, before the two parties lock their dates. An announcement of the new dates is expected by December.”

The Yamuna Expressway Industrial Development Authority (YEIDA) has signed a concession agreement with Bayview Bhutani Film City Pvt Ltd, a special purpose vehicle (SPV) which will develop the Film City project in Noida.

In January, Bayview Projects LLP, a joint venture between filmmaker Boney Kapoor and Noida-based real estate developer Bhutani Group, emerged as the highest bidder for the development of the first phase of the proposed 1,000-acre film city near the upcoming Jewar airport in Uttar Pradesh.

According to the plan, Rs 1,510 crore will be invested in the first phase.

The project is part of efforts to promote the film industry in UP, said YEIDA chief executive Arun Vir Singh.

Apart from filming facilities, the film city project includes serviced apartments on 57 acres, a 200-key luxury hotel, another 172-key super luxury hotel, a food and beverages-focused retail development on 5.15 acres, and a commercial office on 2.37 acres.

“Our project will incorporate cutting-edge technology, premier studios, shopping centres, and tourist attractions, setting a new global benchmark,” Bhutani Group CEO Ashish Bhutani said.

In the JV, the Bhutani Group will be responsible for the real estate part, while Kapoor’s firm will look after the operational aspect of the film city.

The first phase is about 230 acres, and the company will have a first right of refusal for subsequent phases.

"This film city is a visionary project that will elevate Uttar Pradesh's position on the global film industry map. We have meticulously analysed film cities worldwide and integrated the best practices to ensure our film city is unparalleled,” said Kapoor.

T Series, K C Bokadia's Lions Films Pvt Ltd, Supersonic Technobuild Pvt Ltd of Maddock Films, and Cape of Good Films LLP were the other companies that had submitted bids for the first phase of the project.

YEIDA estimates total investments of Rs 10,000 crore in the film city project.

Real estate consultants CBRE, which had prepared a detailed project report, had proposed that the project be completed in three phases. The entire project should be completed by 2028–29.

The objective of the project is to provide an integrated media infrastructure for the movie business value chain. The concession period will be for 40 years, which will be extendable for 30 years.

The selected company will pay an annual premium or a revenue share, whichever is higher, to the authorities.

The proposed 1,000-acre site includes 740 acres for filming, 40 acres for film institutes, 120 acres for an amusement park and retail, and the remaining 100 acres for commercial use.

The proposed land is located at Sector 21 on the Yamuna Expressway, four kilometres from the under-construction Jewar airport.

There is little that Kajol hasn’t done in her three-decade-plus career, from headlining blockbusters to playing grey roles and recently foraying into digital entertainment. Interestingly though, a horror movie was sorely missing from her filmography. Not anymore. The actor is attempting the genre with Chhorii (2021) director Vishal Furia’s next Maa.

Saiwyn Quadras, who has penned the horror fare, says that the movie has its origins in the making of Maidaan. It turns out the conversation began unexpectedly on the sports drama’s set when leading man Ajay Devgn enquired about Quadras’ other projects.

The Maidaan writer recounts, “Ajay sir and I started discussing a few ideas, which we could develop for his banner. He asked me if I had a story in the supernatural space for Kajol. Maa is a purely original horror fare, with a heavy dose of emotions that you wouldn’t expect in a supernatural film. After he liked the concept, he asked me to make Kajol ma’am listen to it. She loved it. It’s the first time that Kajol ma’am is working on a supernatural emotional drama. She keeps saying that she might not watch Maa as horror films scare her.”

Maa, with screenplay by Amil Keeyan Khan of Shaitaan fame, went on floors in Mumbai in February-end, followed by a schedule in Kolkata and parts of West Bengal in March. As Furia conducts the third leg in Mumbai, Quadras says that having seen Kajol in action, he can’t imagine anyone else in the role of a Bengali mom.

“We are making a supernatural movie, but with her around, we are always laughing. Kajol ma’am is a natural in front of the camera. If there is an emotionally intense scene, she [is fully in that moment], and as soon as she hears cut, she is back to cracking jokes and singing songs. The gravitas she brings to the mother’s role is fantastic,” he shares.

Even as he looks forward to Maa, Quadras holds his last work Maidaan close to his heart. “While the expectations from the film were high, the emotional resonance has been rewarding. As writers, we need to be mentioned when films are announced like Amit R Sharma and Boney Kapoor did during Maidaan’s trailer launch. Ajay too announced my name when they launched Maa. Few filmmakers are secure enough to do that.”

The alleged rift between brothers, filmmaker Boney Kapoor and actor Anil Kapoor, has been creating headlines lately. It started when the producer of No Entry franchise, Boney, revealed that Anil is no longer talking to him. The reason? No Entry 2 has been confirmed with a fresh cast — Varun Dhawan, Diljit Dosanjh and Arjun Kapoor — although Anil had been one of the leads in the first instalment.  

Meanwhile, filmmaker Anees Bazmee, who is helming the sequel, is surprised to hear about the soured relations between the Kapoor brothers. “This is news to me. Thodi bahut naraazgi hogi,” he shares, adding, “I haven’t been able to speak to Boney ji as I was busy shooting Bhool Bhulaiyaa 3.”

Bazmee, who has also worked with Anil many films, including No Problem (2010), Pagalpanti (2019) feels: “No Entry (2005) was an important film. Agar uske sequel mein nahin hain toh naturally aadmi ko hurt hoga,” reasons the 61-year-old, adding, “Boney ji must have had his reasons, too.” 

However, Bazmee is optimistic about their reconciliation. “They are brothers... Tomorrow they will meet and hug each other. They both love each other,” he ends.

Twenty years is a long gap between a movie and its sequel. But we’re not complaining as director Anees Bazmee has put No Entry Mein Entry, the sequel to his 2005 laugh riot No Entry, back on the table and plans to roll it next year. Last month, it was reported that it would star Varun Dhawan, Arjun Kapoor and Diljit Dosanjh instead of original cast Salman Khan, Anil Kapoor and Fardeen Khan. Now, we hear the second part will be a case of double trouble—Dhawan, Arjun and Dosanjh will be seen in double roles, which will be the source of confusion and comedy in the narrative.

Producer Boney Kapoor and the director had finalised No Entry Mein Entry’s script as early as 2019. However, over the past five years, the two were unable to get the comedy off the ground due to casting and date issues.

A source close to the project reveals, “Earlier, there was talk of Salman, Fardeen and Anil doing the sequel. While that did not materialize, they have now been replaced by Arjun, Varun and Diljit. The trio will step into the roles played by the original stars in the 2005 film that revolved around three philandering men, but it will be an entirely new setting and fresh dynamics. The double roles and mix-ups will add to the film’s humour. Varun, Arjun and Diljit loved the script, and are eager to explore their on-screen camaraderie.”

The next obvious question is: who will be the leading ladies? That will have to wait as Bazmee is currently busy shooting Bhool Bhulaiyaa 3, and will begin casting for the female leads only after the horror comedy’s release.

The source adds, “A few months ago, rumours were rife that the second part would feature 10 actresses, including Kriti Sanon, Kiara Advani, Disha Patani and Rashmika Mandanna. But the script has been tweaked since then. Anees will zero in on the leading ladies by the year-end and take the film on floors by early 2025.”

Apparently, producer Boney, who is busy with Maidaan, is keen to release No Entry Mein Entry in 2025 to mark 20 years of the original.

A commercial suit has been filed against renowned Bollywood film producer Boney Kapoor and his team over the non-payment of an outstanding bill of nearly Rs 1 crore with interest to a vendor, who facilitated camera-related equipment for shooting the upcoming flick of Ajay Devgn-starrer Maidaan. The suit, filed by Meherafrin Investments Private Limited at the city civil court in Dindoshi against Kapoor and other co-producers, has sought an injunction of the screening of the football-themed film, which is set to be released on Eid (either April 9 or 10).

When contacted, Kapoor said that it was an arm-twisting tactic to blackmail him when he had already promised to clear the outstanding amount to the vendor. However, the director of Meherafrin Investments Private Limited, Ninad Nayampally, alleged that Kapoor had been making false promises on multiple occasions to delay the clearance of outstanding bills.

“We have been in touch with Boney Kapoor's Bayview Projects LLP, producers of Maidaan since the beginning of the shoot of the film. We have been doing business with them since the start of the shoot of the film. As per our company policy, we raised invoices as per schedule. Even though they cleared the initial invoices, after December 2020 no invoices were cleared. With follow-ups and having conversed with Boney Kapoor-ji himself yet where we shared our concerns. Boney-ji was accommodating and assured us that our dues would be cleared,” Nayampally told mid-day.

“Even after being reassured we were left in the dark. Having no route left we took the legal recourse and issued a legal notice to Bayview and its directors with the intention that we would get some clarification on our dues. To our surprise, there was no response to our legal notice. Left with no other option, approaching the court of law was the only solution for our recovery,” he added.

“We supplied goods and services for the production of Maidaan. But the producer of the film has publicly acknowledged in media statements that he is indebted to various parties and has been unable to fulfil these financial obligations. The producer had assured us that the outstanding dues would be settled before the release of the film. However, the producer and his partners have ceased all communications with us. Their conduct indicates a clear lack of intention to settle the outstanding dues owed to us,” said the vendor’s manager Easiah Dhanpal Xavier, who is the complainant in the suit.

When contacted, Kapoor said Rs 63 lakh is the original pending amount to be paid to the vendor. “I have spoken to my team and he [Ninad] has been told that he would be paid before the release of the picture, which is only a month away. Not only he, other vendors also have been promised the same. Everybody knows that the picture was stuck because of COVID,” he said.

“I have made 45 films and nobody has been deprived in my company. There is no way that I will avoid any kind of payment. This is nothing but an arm-twisting tactic. I will clear whatever the bill is, excluding interest on the pending amount,” he added. The producer stated, “We will reply to whatever is mentioned in the suit in court but he can’t seek an injunction before Rs 63 lakh is paid.”

Boney Kapoor’s Bayview Projects LLP has emerged as the highest bidder for the development of the first phase of the proposed 1,000-acre film city near the upcoming Jewar airport in Uttar Pradesh.

According to the Yamuna Expressway Industrial Development Authority (YEIDA), the company is a joint venture between Boney Kapoor and Noida based real estate developer Bhutani group and have won the bid.

T Series, K C Bokadia’s Lions Films Pvt Ltd, Supersonic Technobuild Pvt Ltd of Maddock Films, and Cape of Good Films LLP were the other companies who had submitted bids.

YEIDA had invited bids for the construction of a 1,000-acre film city near the upcoming airport. The project will entail an investment of Rs 10,000 crore.

Real estate consultants CBRE, which had prepared a detailed project report, had proposed that the project be completed in three phases, with the first phase to be developed on 230 acres. The entire project should be completed by 2028-29.

The objective of the project is to provide an integrated media infrastructure for the movie business value chain.

The concession period will be for 40 years, which will be extendable for 30 years. The selected company will pay an annual premium or revenue share, whichever is higher, to the authorities.

The proposed 1,000-acre site includes 740 acres for filming, 40 acres for film institutes, 120 acres for an amusement park and retail, and the remaining 100 acres for commercial use.

The proposed land is located at Sector 21 on Yamuna expressway, four km from Jewar Airport. To enhance connectivity, YEIDA is linking the airport with the Delhi-Mumbai expressway. There will also be a bullet train operating between New Delhi and Varanasi, while pod taxis will connect the airport and the proposed film city.

There will be space for creative media art production, opportunities for enjoyment and learning and provision for common facilities and post-production facilities.

The project will also include media industry offices, a theme park, a hotel, and a retail and F&B hub.

Chief minister Yogi Adityanath had unveiled a plan to set up a dedicated infotainment city and rolled out an open offer to the film fraternity to come to the state.

The CM had said the government is well aware of the trend of OTT and media streaming platforms and has planned a high-capacity data centre along with all pre-production and the post-production infrastructure, processing labs, VFX and digital technology of international level.