Showing posts with label Chandigarh Kare Aashiqui. Show all posts
Showing posts with label Chandigarh Kare Aashiqui. Show all posts
When I star opposite Ranbir Kapoor, people want to know my credibility. They ask, ‘Why is she in this film?’-Vaani Kapoor
8:28 AM
Aware that playing Ranbir’s love interest in Shamshera is a big opportunity, Vaani says she has tried to prove her credibility with each film
Mohar Basu (MID-DAY; July 23, 2022)
In the past three years, Vaani Kapoor has been part of some big-ticket releases — War (2019), Bellbottom (2021) and now, Shamshera. But she is under no delusion. The actor admits she is far from a star, as she states, “I am the underdog.”
If her latest release sees her opposite Ranbir Kapoor, one of the biggest stars today, she asserts it’s the result of years of hard work. “I didn’t have to live up to a parent’s legacy, nor did opportunities knock on my door. [Yet], people said, ‘Oh, she is lucky!’ My place of privilege is that I found my way to Shanoo Sharma [casting director]. I got some opportunities, but what I made of those opportunities is what makes me. When I star opposite Ranbir in Shamshera, people want to know my credibility. They ask, ‘Why is she in this film?’ With each movie, I am trying to prove who I am as an artiste.”
The actor shut down many of her detractors with Chandigarh Kare Aashiqui (2021). Vaani defied the norms of an industry that places importance on glamour by bravely playing a trans-woman in Abhishek Kapoor’s love story. While the film took the discourse around queer love ahead, it made little money at the box office.
Did the lack of commercial success bother her? “It was a risque subject. When we were making it, at the back of our minds, we knew it might not cater to a large audience. Was it a film for the masses? No. It aimed to create conversations [around a] subject that has hardly [been discussed] before. We are proud of the film we made. After it dropped on Netflix, it found love. That is half a step towards progressive thinking. As an actor, I am greedy to do such roles so that when I look back at my trajectory, I feel I have contributed to something respectable.”
For now though, she is busy enjoying Shamshera’s release. Happy to share the frame with Ranbir, she says, “I have so much respect for the actor he is. He has no starry behaviour. Working with him was a joy.”
The Rs. 100-200 crore club pressure is a bit too much-Vaani Kapoor
9:42 AM
Sugandha Rawal (HINDUSTAN TIMES; July 21, 2022)
Vaani Kapoor has been in the film industry for nearly a decade now and she’s done myriad projects, including Shuddh Desi Romance (2013), BellBottom and Chandigarh Kare Aashiqui (both 2021). However, if there’s one thing that bothers the actor, it is the hype associated with films racing to enter the Rs. 100-200 crore club. While she agrees with the importance of box-office success, she feels the pressure tends to get overwhelming at times.
“Box-office is important. You want to be able to earn out of a film so that you can continue creating art. [But] ever since the whole [concept of] Rs. 100-200 crore club came in, it has put a lot of pressure. Sometimes, it is a bit too much. People get scared of experimenting with subjects [because of the pressure]. It gets harder for them to mount films on certain people who are not already at the top of their game… Many things are in play because of the pressure to make sure your film reaches a certain number,” the 33-year-old tells us.
That being said, Vaani, who will be seen next in Shamshera, is glad that there’s space for every story on the cinematic canvas today. “If you do Chandigarh Kare Aashiqui, you have an audience. You also have an audience for a Shamshera, which is for the masses and classes,” she continues, “Shamshera captures a vast audience and comes with a gamut of emotions. There’s laughter, emotional drama and action; there is so much happening, it is like a buffet of emotions… I’m glad that there is space for all films.”
Directed by Karan Malhotra, the period film, set in the 1800s, stars Ranbir Kapoor as the lead and Sanjay Dutt as the antagonist. While many may dub her choices as courageous and bold, Vaani says she feels grateful to be able to bring such “larger-than-life” stories alive.
“I have always watched larger-than-life films, and today, I get to be a part of one. The film is bigger than all its actors; it offers a cinematic experience where everything has been intricately taken into consideration,” she says.
Calling her character the “quintessential Hindi cinema heroine”, she adds, “Sona has an arc and evolves through the journey in the film.”
I wish the Omicron variant had not come and dampened the spirit of Chandigarh Kare Aashiqui-Abhishek Kapoor
8:20 AM
Rishabh Suri (HINDUSTAN TIMES; February 21, 2022)
Filmmaker Abhishek Kapoor is known for making films that carry a message, be it Kai Po Che! (2013) or his recent Chandigarh Kare Aashiqui (CKA, 2021). The Ayushmann Khurrana and Vaani Kapoor-starrer also reflected Abhishek’s trademark style and earned positive reviews.
But the movie’s box-office collections suffered the consequences of the theatre closures caused by the Covid-19 crisis. Abhishek says, “I wish the Omicron variant had not come and dampened the spirit of the film. A week into the film’s release, theatres had to shut down.” But the 50-year-old is happy that when the movie was streamed on a web platform later, it received appreciation again.
Another film whose reaction Abhishek remembers is Kai Po Che!, which completes nine years of its release on February 22: “We worked very hard on that film, with the finest of actors and crew. If you want the film to be more than what it is, then more than one department has to shine.”
He also adds that adapting best-selling books into films wasn’t easy, as was the case with this film, which was an adaptation of Chetan Bhagat’s The 3 Mistakes of My Life. He says, “It was an original script. But when you take a book, especially a successful book, it is tough.”
Lastly, how can one discuss his career without mentioning late actor Sushant Singh Rajput, who made his film debut in this one. The filmmaker recounts, “He was a hard-working and excited boy. He had the energy needed for the character of Ishaan.”
Fenil's Bollywood Talk # 713
2:14 PM
BADHAAI DO UNDERPERFORMS BUT THE WEEKEND JUMP GIVES HOPE
Earlier, the niche and multiplex films followed a clear trend, especially if these films had positive reports. The opening would be low. But once word of mouth would spread, the collections would see a jump from Saturday, or even from Friday evening or night. This trend was missing for these unconventional films post the second wave. It was a cause of worry as several such films are made and released throughout the year. Hence, if these films are not getting support from the audience, then it leads to fears that many such films would be released directly online.
Badhaai Do, however, has proved to be an exception. It deals with a taboo subject, of a marriage between a gay and a lesbian. The buzz was limited and even the subject was niche. Hence, as expected, the opening was just Rs. 1.50 crore. However, it showed a big jump on Saturday, as it earned Rs. 2.50 crore. The jump on day 3 was also healthy – Rs. 3.35 crore. After looking at the day 1 collections, many feared that it won't be able to cross the Rs. 10 crore mark. The day 2 and 3 collections have now given hope that it can do double of what was originally predicted, that is, around Rs. 20 crore. This was more so after it held strong on Valentine’s Day (Monday, February 14) and collected Rs. 1.85 crore.
It's not like suddenly, the audiences decided to give these films a chance. The multiplex films which released post the second wave were probably not upto the mark. Chandigarh Kare Aashiqui, for instance, was a fine effort but the second half was weak and the dialogues were poor. Even pre-pandemic, this film would have struggled to find an audience. Badhaai Do, meanwhile, has been liked a bit more as the writing is simple to understand and comprehend. And the last 30 minutes take the film to another level.
Badhaai Do trending well also ends the debate that audiences would now come to watch only the biggies in cinemas while smaller films would be seen only on digital. With the third wave waning, many states have eased up restrictions and have gone back to pre-pandemic measures, except for the mask mandates. Even the box office seems to be heading the same way. If there’s no fourth wave and cases further reduce, 100% occupancy will be allowed everywhere by March or at least, April. And then there would be no stopping the collections. It’s just a matter of time.
Is Bollywood ‘trans’itioning? Filmmakers and writers weigh in on who should have the right of way to tell marginalized stories
8:21 AM
Even as films are making room for the LGBTQiA+ experience, filmmakers and writers weigh in on who should have the right of way to tell marginalized stories
Nidhi Lodaya (MID-DAY; February 13, 2022)
When the Ayushmann Khurrana and Vaani Kapoor-starrer Chandigarh Kare Aashiqui released in December last year, it garnered a lot of interest for its sensitive portrayal of a difficult subject. The film revolves around Manu (Khurrana), a cisgender male bodybuilder in Chandigarh, who falls in love with Maanvi (Kapoor), a Zumba instructor, only to later find out that she is transfeminine, a person who was assigned male at birth, identifies with a female gender identity and chooses to transition to womanhood.
Supratik Sen, who co-wrote the film with Tushar Paranjape, says, “Since we don’t belong to the [LGBTQiA+] community, it was very important for us to really know that world, so that we don’t say anything, which is emotionally unauthentic.”
But filmmaker and editor Apurva Asrani, who co-wrote and edited Shahid (2013), identifies as a homosexual, feels that “representation is key” to create an authentic experience.
Mrittika ‘Mou’ Sarin, a queer screenwriter, storyteller and producer, shares the sentiment. “When a queer person writes these scripts, it allows room for a more nuanced portrayal of experiences that only queer people go through.”
For instance, the feeling of hurt from micro-aggression or when someone doesn’t take your identity into consideration, or the fear of coming out, and shame that one experiences, when not being able to live their identity. “These are situations that straight people haven’t been in and can’t always fully comprehend,” she explains.
Despite their apprehensions, both Sarin and Asrani believe that straight people can write scripts, but “research and collaboration” is a must. “You need to speak with queer or transgendered people about their experiences. It’s also important to never assume that you know everything about the character. Take their feedback at every stage,” Sarin adds.
Paranjape and Sen tried to be as thorough as possible. They initially got the idea from Simran Sahni, a friend of the film’s director, Abhishek Kapoor. Sahni has two trans daughters who were born male and transitioned to female. “Getting the facts right and not undermining the struggle of Maanvi was an important part of the process,” says Paranjape.
Sen explains that the idea of writing is to inhabit different worlds and characters—what’s important, though, is to get the nuances right. To make sure that the experience didn’t feel detached or superficial, Sen and his co-writer consulted a few people from the community, one of whom was Sahni’s daughter Seher.
“We heard their stories, what they had been through and got a glimpse into their lifestyle,” says Sen. Other experts included psychiatrists and doctors. Asrani suggests a writing programme, Likho! by The Humsafar Trust, an NGO for the community.
Asrani says what’s often lacking is “deep empathy for the community”. In Bollywood, the trans experience has never really been done justice to. They are usually portrayed as sex workers, evil people, or made fun of. “The mainstream, for decades, has ridiculed and vilified the LGBTQiA+ community. Our movies ‘othered’ them,” points out Asrani.
Chandigarh Kare Aashiqui was a step forward as it had a trans woman character in the lead. If the makers faced flak, it was for having a cisgender actor play a trans role. Only recently, Vijay Raaz’s portrayal of a trans woman in Gangubai Kathiawadi sparked a debate online. Akshay Kumar too, was seen in a trans role in Laxmii (2020).
Paranjape and Sen agree that casting a trans person would have lent their character Maanvi more heft, but they also say that trans actors should not be the only ones playing such roles. “But, the film industry has still not reached a point, where they’ll cast trans actors in trans roles, let alone cis roles. [Unfortunately] at this point, the pendulum is swinging all the way in favour of cis people. This doesn’t mean we need to do this forever,’’ adds Sarin.
Such criticism was missing in the 1990s, when renowned actors like Sadashiv Amrapurkar and Paresh Rawal were seen in trans roles. Asrani says, “At that time, there was a lot of ignorance about the community. But, the world has shrunk with the Internet. Now, nobody will be able to get away with the nonsense they pedaled back in the day.” But instead of insisting that a trans person play a trans role, Asrani says he’d rather have a trans person on the writing team.
According to Sen, what is noteworthy is that Bollywood is no longer shying away from telling stories that are more inclusive. Also, having a popular face playing these roles helps bring more visibility to the issue. “It can get your message across to a larger audience; Bollywood has that kind of impact and reach,” he says. “It [the film] shouldn’t be in your face, otherwise you can lose some of your audience. The aim is to gently educate people, while entertaining them.”
Apurva Asrani and Mrittika ‘Mou’ Sarin
'83 is the top overseas grosser of 2021; beats Sooryavanshi
8:33 AM
Box Office India Trade Network
The Overseas market was dull in 2021 like the Indian market as only '83 and SOORYAVANSHI managed to collect well but this is two films doing well as compared to one in India. The standout performance was SOORYAVANSHI although '83 collected a little more that came over the Christmas and New Year period which is easily the most lucrative period for the box office in Overseas with a prolonged holiday period.
Also SOORYAVANSHI was that film for the mass circuits like Maharashtra, Gujarat and CP, CI. So an $8 million plus overseas total is actually more impressive than its India business. SOORYAVANSHI became the second highest Akshay Kumar grosser in Overseas after GOOD NEWWZ but that was a more overseas friendly film and released over the New Year period.
The rest fared poorly though TADAP surprised in United Kingdom as it beat the likes of BELLBOTTOM, ANTIM and CHANDIGARH KARE AASHIQUI. Overall TADAP could not do much in Overseas but UK has done pretty well as it has collected £187k till date and is still running after 9 weeks of release. It might add another £3-5k and a £190k final total which is not much less than films like BALA and DE DE PYAAR DE which released pre-Covid in 2019.
The top ten grossers Overseas ins 2019 are as follows.
1. 83 - $8.5 million (expected)
2. Sooryavanshi - $8.35 million
3. Bellbottom - $1.92 million
4. Antim - The Final Truth - $1.8 million
5. Chandigarh Kare Aashiqui - $1,060,000
6. Bunty Aur Babli 2 - $1,000,000
7. Tadap - $620,000
8. Mumbai Saga - $470,000
9. Thalaivii - $380,000
10. Chehre - $320,000
Sooryavanshi is the only hit of 2021, the worst year ever for the industry
8:28 AM
Box Office India Trade Network
The year 2021 was the worst ever seen in history for the Hindi film industry with SOORYAVANSHI being the only HIT film and no other successes. There were BLOCKBUSTER films like SPIDER-MAN: NO WAY HOME and PUSHPA: THE RISE - PART 01 but they were from Hollywood and the Telugu film industry respectively.
There were 57 releases from the Hindi film industry in 2021 compared to 59 releases in 2020 and the 57 films cumulated around 490 crore nett while in 2020 it was 745 crore nett from the 59 releases. The disaster year was due to the Coronavirus pandemic but also the films that did releases at the fag end of 2021 were not up to the mark.
The year was so bad that becoming a FLOP was actually a minor achievement. SOORYAVANSHI was a HIT while ANTIM, TADAP and ROOHI were the flop films and every other single film was a DISASTER. The problem with these films was they did okay for a week or so but could not do anything after. The saving grace was the revenue from digital rights which meant that despite very poor theatrical results, the losses were not huge. 83 lost a record amount of money while SATYAMEVA JAYATE 2 also lost a reasonable amount but most others got away with it.
There were releases like BELLBOTTOM which had high costs and CHANDIGARH KARE AASHIQUI which had reasonably high costs but did not suffer much due to good prices for digital. This is despite very poor theatrical performance. Going forward things will get better as Covid now looks behind us though you can never be 100% sure.
It will probably take time to get back to pre-Covid levels as the content has to adjust to the new box office scenario post pandemic. The larger Hindi film audience is in the states and not in the metros while most films were targetting metros pre-Covid. The footfalls were dropping pre-Covid and a change in content was going to be needed anyway to hold footfalls and all Covid-19 has done is accelerated this need for change.
The classifications for 2021 is as follows.
All Time Blockbuster
-
Super Blockbuster
-
Blockbuster
-
Super Hit
-
Hit
Sooryavanshi
Semi Hit
-
Average
-
Below Average
-
Flop
Antim - The Final Truth
Tadap
Roohi
Disaster
The Rest (53 films)
A lot of people are still not on OTT-Vaani Kapoor
7:57 AM
Vaani Kapoor believes that the reach of theatres continues to be wider than that of web platforms
Rishabh Suri (HINDUSTAN TIMES; January 12, 2022)
Vaani Kapoor is basking in the appreciation for her performance in her latest big-screen outing Chandigarh Kare Aashiqui (2021). And she is happy to have reached a stage where her acting chops are recognised, as until now, she was slotted into the ‘rom-com actor’ and ‘good dancer’ categories.
“People would say, ‘You dance really well’. And I would be like, ‘I also act’. Maybe I don’t get those meaty parts enough to showcase [my acting skills]. Of course it’s also the director (Abhishek Kapoor) who has presented me in a certain way, and it worked,” she says.
The actor feels that there is also a change in how we look at female actors, but it’s not enough just yet. “With the emergence of women-driven films, women get good parts to play. But audiences need to give such films a chance and give it enough so that the box-office numbers don’t look shabby, for the makers to have the courage to make more films which are driven by women, or give them meatier parts,” elaborates Vaani, who has Shamshera lined up for a release this year.
While the situation is uncertain yet again due to the surge in Coronavirus cases, she is happy that both her films last year — BellBottom and Chandigarh... — opened in theatres, and not on OTT. Supporting theatrical releases, she mentions, “I am happy that the film released in theatres, because I feel it reaches a larger audience. A lot of people are still not on OTT.”
The 33-year-old also doesn’t miss mentioning how the theatrical experience is vastly different from the streaming one. “It (watching movies in theatres) is a community experience. My father doesn’t step out usually because of Covid worries and his ailments. But he went to a theatre in Delhi for my film. He said he loved the whole experience. He also loved the film, but he liked the experience of watching it with friends and family,” she concludes.
Artistes can’t depend on Bollywood for a chance anymore, feel Sachin-Jigar
8:15 AM
Juhi Chakraborty (HINDUSTAN TIMES; December 30, 2021)
In the last two years, the music industry was heavily impacted due to the pandemic, but it also made artistes realise that they needed to be self-sufficient. Composer Sachin Sanghvi of the musical duo Sachin-Jigar, who suffered from Coronavirus himself, shares how it gave him time to re-evaluate.
“It has been a good time for artistes to understand that they cannot depend on films or a chance from Bollywood anymore. Everybody has to find their own sunshine. We are living in such times that every artiste has a chance to become as popular as a film star,” he explains.
The pandemic opened them up to new ways of making music. The duo came up with the entire album of Chandigarh Kare Aashiqui in the lockdown. Jigar Saraiya adds, “We both have always made music in studio, but the pandemic brought out a new side of making music at home. All the songs were made online, and we were recording and sharing them with Abhishek Kapoor (director) simultaneously.”
Looking back at 2021, the duo agrees that it has been a fulfilling year, as they were able to cater to the masses as well as the critics through their music. “With Roohi, Shiddat and Bhoot Police, we were pretty massy with what we did. But with Chandigarh Kare Aashiqui, we struck a balance between the masses and critics,” Saraiya tells us.
As for 2022, the has a jam-packed calendar, composing music for Dasvi and Bhediya along with two web shows and four Gujarati films.
Chandigarh Kare Aashiqui's response proves that people want to see more disruptive content-Ayushmann Khurrana
7:58 AM
Stating that brave films can only be “made in a progressive society”, Ayushmann Khurrana says Chandigarh Kare Aashiqui’s success indicates the audience’s changing mindset
Mohar Basu (MID-DAY; December 23, 2021)
It isn’t surprising that it took Ayushmann Khurrana’s star power to bring a story about the transgender community into mainstream consciousness. Headlining Chandigarh Kare Aashiqui — a love story between the brash body-builder Manu and trans woman Maanvi — was as much a risky gamble as it was a brave move. The gamble, like most of the actor’s recent ones, has paid off. Director Abhishek Kapoor’s film has been widely appreciated, with critics applauding Khurrana and Vaani Kapoor’s performances.
For Khurrana, the film’s success indicates that the Indian audience is ready for progressive content. “Progressive films can only be made in a progressive society. The response that Chandigarh Kare Aashiqui is getting [reflects] the fact that people want to see more disruptive content. I am thankful to [the audience] for being open-minded to see films about a gay couple in Shubh Mangal Zyada Saavdhan [2020], and a cis-het man and a trans-woman’s love story in Chandigarh Kare Aashiqui,” says the actor.
With films like Badhaai Ho (2018), Article 15 (2019) and many more over the past four years, he has become the face of issue-based dramas, sometimes highlighting a social evil through a light-hearted fare, and other times, as a punch in the gut. His process of choosing scripts remains the same — he goes by instinct and intent. “When we set out to make Chandigarh Kare Aashiqui, our aim was to start a conversation on inclusivity and equality in India. It is amazing to see that the film has engaged the nation. This shows they are recognising the need for gender parity and inclusivity.”
While Khurrana is relishing that the Indian audience is embracing his social entertainers, he credits his collaborators for bringing gutsy stories to the table. “I have always believed that cinema can serve a purpose to better society. I have to credit my filmmakers and scriptwriters for doing the brunt of the work. Their vision has triggered the winds of change.”
The best compliment for Chandigarh Kare Aashiqui has been from the transgender community-Vaani Kapoor
8:01 AM
Vaani Kapoor is grateful for audience’s positive response and acceptance of her latest film
Rishabh Suri (HINDUSTAN TIMES; December 21, 2021)
Actor Vaani Kapoor feels relieved as her riskiest project to date, Chandigarh Kare Aashiqui, has been getting good reviews. And the reason everything about her part in the film had been kept under wraps till its release is finally in the public domain now — her character, Maanvi, is a trans woman.
“I am happy that everybody is liking it. I am grateful that the audiences are accepting it, it is being viewed in the correct light. I hope more people go and watch it, and give it a chance,” says Kapoor.
But the 33-year-old realises that right now, not every film will have people heading to the theatres. The rising threat of the Omicron variant amid the ongoing pandemic will likely make people think twice.
“I understand the logistics, having faced a pandemic, people being scared, even the financial aspect of it. Entertainment is not on the top of their lists now. But I feel Chandigarh... is a must-watch film. I am not saying this because I am in it, but the message has been packaged in an entertaining form,” the actor adds.
The best compliment which has come her way so far has been from the transgender community, she tells us. Those who watched it told Kapoor they could relate to her portrayal of the character.
“Saisha Shinde (a transgender designer) had perhaps a tougher experience than my character. She loved it, and put it out on social media as well that I got the nuances right. She met me and told me the character resonated with her a lot. For me, that is a compliment. Then I met Simran Sahni, who brought the idea of the film to Gattu (director Abhishek Kapoor). She has two trans daughters, and she said they got teary eyed (on watching the film) and felt connected. They felt proud that I did the film. That’s the compliment which was the best. We never wanted it to be caricaturish. If we were falling short of it, and there was no connect with who I am trying to represent, then I failed at it,” concludes the actor.
Even if Chandigarh Kare Aashiqui changes the mindset of 10 people, our job is done-Vaani Kapoor
4:29 PM
Bravely taking on the role of trans woman in Chandigarh Kare Aashiqui, Vaani says she was confident of the film driving the point home under Abhishek’s supervision
Uma Ramasubramanian (MID-DAY; December 14, 2021)
Many would tell you that for stars, vanity and perception are key to surviving in the movie industry. But Vaani Kapoor is an artiste first, choosing projects over perception and stories over style. Which is why she didn’t bat an eyelid before giving her nod to Chandigarh Kare Aashiqui that sees her play a trans woman — a role that some of her peers may shy away from, mistakenly fearing that it may alienate their male fans.
“It’s not that if I do this movie, I won’t get opportunities to do [glamorous] roles. Also, I am secure to not be affected by trolls. They should not stop you from what you want to do, if you have the conviction. The [male fan base] has loved the movie; they are evolved enough to understand it,” begins Kapoor.
For an industry that has thrived on candy-floss romances for decades, Chandigarh Kare Aashiqui comes as a breath of fresh air. It traces how Ayushmann Khurrana’s boisterous body builder Manu is left unsettled by his ladylove Maanvi’s past. Kapoor harboured no doubts about essaying the part, placing her faith in director Abhishek Kapoor. “I thought there might not be enough progressive people to support [the film]. But to my surprise, a lot of people have taken it in the right way. I knew I was in the right hands with Gattu [director]. It could have been tricky. The film could go incredibly wrong if not handled well. It had to have sensitivity and the right sensibility.”
She is glad that the movie achieved what it set out to do — trigger a conversation and bat for the acceptance of people who have transitioned. “They have designed Maanvi in such a way to normalise the subject. There is nothing strange about her; she is like you and me. She is attractive like many trans women are. I have not walked a mile in their shoes, but I have tried to be earnest, and did a lot of research. Even if the film changes the mindset of 10 people in the theatre, our job is done. There are so many ifs and buts, and so much ignorance on the subject. The second half of the film, through animation and graph, gives you an idea of how [the gender reassignment surgery] happens. This movie is an attempt to push the bar.”
(Crisp) Movie Review: CHANDIGARH KARE AASHIQUI by FENIL SETA
11:40 PM
Chandigarh Kare Aashiqui is a progressive film and treated in a very entertaining manner by Abhishek Kapoor. It’s just 117 minutes long and moves at a nice pace. The introduction of the main characters happen in no time and the way the love blossoms between the protagonists is quick but convincing. The twist in the tale is obviously expected but the manner in which it unfolds is arresting. The intermission point is hard-hitting. In the second half, the developments don’t really impress much. Also, the dialogues in the film could have been far better and funnier. Thankfully, the film picks up in the pre-climax. The climax might seem convenient and clichéd but it works as it’s nail-biting. Ayushmann Khurrana, as expected, is in top form. It’s amazing to see how he continues to pick up such bold subjects. Vaani Kapoor is terrific and a big surprise. She’ll surely be seen in a different light from now on. Kudos to her for accepting this part! Kanwaljit Singh is adorable while Tanya Abrol is apt for the part of the dominating sister. Karishma Singh is decent as Vaani’s friend. Girish Dhamija, Aanjjan Srivastav and others are fine. All in all, Chandigarh Kare Aashiqui is worth watching!
My rating - *** ½ out of 5!
Fenil's Bollywood Talk # 703
11:04 AM
WILL AYUSHMANN KHURRANA’S BOLD FILM FIND ACCEPTANCE?
Ayushmann Khurrana last had a theatrical release, Shubh Mangal Zyada Saavdhan, in February 2020. This was just a month before India went under a lockdown. The film’s overall business wasn’t encouraging but it opened very well. This was huge considering that it was a gay love story. The actor has found acceptance very well among audiences, especially those frequenting multiplexes. Hence, the expectations are there for his next film, Chandigarh Kare Aashiqui, which releases tomorrow.
It is directed by Abhishek Kapoor, the director of acclaimed films like Rock On, Kai Po Che and Kedarnath. Chandigarh Kare Aashiqui, however, looks very different from the rest of his films and is more in the youth-centric love story zone. Vaani Kapoor is paired opposite Ayushmann. The trailer does not give much idea about the plot but it is said to be the story of a trans woman and a body builder.
Thanks to the title, Chandigarh Kare Aashiqui has a good chance in the North, particularly Chandigarh and Delhi-NCR. In addition, class audiences in other metros will not mind watching a film with such a topic. The film will face challenges, as the trailer is decent and nothing great. Songs have not worked. However, what goes in its favour is that it is getting a solo release. Tadap won’t be as strong in the second week. Hence, Chandigarh Kare Aashiqui will get six days to run uninterrupted before the release of the highly awaited film Spider-Man: No Way Home. The first day collections can be in the range of Rs. 2-4 crore and might go even higher if word of mouth is positive.
The other release of the week is Velle, starring Sunny Deol’s son Karan Deol with Abhay Deol and Mouni Roy in supporting roles. It is the remake of the 2019 acclaimed Telugu film Brochevarevarura and is presented by Ajay Devgn. The trailer of this film has been played in several cinemas of different multiplex chains compulsorily. However, it has not helped much in generating awareness, forget generating hype. Many viewers are not even aware that this film is getting released. It’s day 1 collections can be disastrous and would be under Rs. 20-25 lakhs.
Even big films paid like small budget ones during the lockdown-Brijesh Shandilya
8:05 AM
The singer talks about the financial challenges he faced during the pandemic and how he kept his creativity going
Soumya Vajpayee (HINDUSTAN TIMES; December 7, 2021)
Singer Brijesh Shandilya, best known for rendering Banno Tera Swagger from Tanu Weds Manu Returns (2015), has no qualms about admitting that the Coronavirus lockdown was hard for him in all aspects. “It was a tough phase, not just for me, but for almost all musicians. It was a challenging time, creatively as well as financially. It came as a huge setback,” he says, adding that things became really tough, monetarily: “Our industry was the most affected during the lockdown. Even for big-budget films, I was paid amounts of a small film. I took up online gigs during the lockdown to keep myself going, creatively and financially.”
Ask Shandilya what he did to stay creatively sane during the challenging phase and he tells us, “To keep myself sane, I started working on my craft. I never got frustrated or depressed with the situation. I connected with a lot of people, worked on my cooking skills and took care of my health. I also worked on independent music and made close to 25 singles. Around seven of them will be releasing soon.”
The singer, who’s also known for rendering some groovy numbers like the Golmaal Again Title Track, Rocket Saiyyan from Shubh Mangal Saavdhan (2017), Trippy Trippy from Bhoomi (2017) and Mushkil Hai Apna Meil Priye from Mukkabaaz (2017), is excited about his new track, Kheench Te Nach, from Ayushmann Khurrana’s upcoming film, Chandigarh Kare Aashiqui. “It’s quite different from all my previous songs. It’s my first rap number, which I’d recorded almost three years ago,” the singer ends.
Film business runs on hard work, a bit of luck and your own sensibilities-Bhushan Kumar
3:48 PM
Rachana Dubey (BOMBAY TIMES; December 6, 2021)
When Bhushan Kumar took charge of his father, Gulshan Kumar’s company, T-Series, he was a young 19-year-old. Today, not only has he turned the company into one of India’s most successful music labels, but he has also earned it the tag of being one of the country’s foremost film production studios.
He is currently busy promoting his upcoming films, Chandigarh Kare Aashiqui starring Ayushamann Khurrana and Vaani Kapoor and Atrangi Re featuring Akshay Kumar, Sara Ali Khan and Dhanush. Besides that, he’s also been making time to visit the sets of his upcoming films like Shehzada starring Kartik Aaryan and Luv Ranjan’s next with Ranbir Kapoor and Shraddha Kapoor in Delhi.
In a freewheeling chat with BT, he spoke about the changing avatar of the entertainment business and what has helped him maintain his position despite intense competition and a global health crisis. Excerpts:
While you waited almost two years to release Satyameva Jayate 2 in theatres, you continued to have movie releases via OTT platforms. In short, your company did not have a lean day in the last 20 months. How did you go about doing that?
As a studio, we have always tried to make films that cater to every single bracket of audience in the country. My job is also to ensure my actors and directors are happy to work with me. The encouragement and appreciation they sense from a theatrical run are unmatched.
I didn’t want to take that away from them for the sake of profit. Having said that, the theatrical situation is not what it used to be. Before the second wave hit, we had released Saina and Mumbai Saga, which did nominal business. We took the steps that were important to keep the business going at all times. So now, we have a list of films that will be released in theatres, and some that were pre-committed to OTT platforms will have a direct to digital run.
You are releasing Atrangi Re on an OTT platform and Chandigarh Kare Aashiqui in theatres. What has been your strategy while trying to blend different business models in terms of releasing your films?
All the films on our list were made for a theatrical run, but circumstances have forced us to recalibrate and think wisely about our release strategy. Today, we have 30 ongoing projects and twice as many in different stages of development. The decision to release content on different platforms was to ensure that we keep the audience entertained and we have ample cash flow at the same time for our new ventures. Apart from strong content, we look at the cast we have on board. Releasing a film in a theatre or on an OTT platform is a decision made with experience, gut instinct and the way a project shapes up, among several other things. We have already started drawing up our plans on what will work better as an OTT release and what can now be released in theatres.
From tackling competition at an early age to becoming a frontrunner in film and music production, what has helped you build and sustain your spot in the business?
My father, Gulshan Kumar, is a source of inspiration for me. Music was in his genes which he passed on to me, and filmmaking was his dream that I am trying my best to fulfil. It was a gradual process. When I started out, I braved competition from domestic players and international companies making big films. That was a tough phase, but I didn’t want to give up. Paisa sab ke paas hota hai, but not the kind of long-standing relationships that I have built and continue to invest in even now. A great set of directors like Aanand L Rai, Nikkhil Advani, Anubhav Sinha and newer filmmakers like Om Raut and Sandeep Reddy Vanga are all working with me as creative collaborators. Most of them are producing and directing content together with us. We play on each other’s strengths. With the space we give one another, and with the way we respect each other’s contribution to every project, they don’t want to leave my corner. I have never had a specific strategy to counter competition. This business runs on hard work, a little bit of luck, your own sensibilities as a producer and as a music label. The response to our content shows that we have probably made some wise and correct decisions. In the bargain, I have earned the goodwill I have.
With the number of songs in our films decreasing, you have been tapping into singles. What’s been your thought process there?
Yes, it’s true that the space for music in our films is depleting. As a label, you have to keep your ear to the ground and know what people want to hear. In the last two years, we’ve made a lot of singles around bewafaai, which have worked really well. Before that, we made the best recreations of old songs. We have a vast catalogue today. The content earns for itself. You just have to try and understand what the audience seeks.
In the new scheme of things in the entertainment business, in which direction do you see your company heading?
Right now, my biggest worry is the health situation in our country, which is changing every day because of new variants of the Coronavirus. Today, everyone is wondering what they should make, and what might draw people into theatres. Jab lockdown tha people had content that was released on OTT, and it was consumed. The real challenge for content creators begins now. We’re positive and hopeful that things will only get better. Health and safety are really the key. What may not change from now on is that a chunk of films will continue to go to OTT platforms, and some will make their way to theatres. As usual, we are prepared to embrace change and move ahead.
Excess food from Chandigarh Kare Aashiqui sets was given to the underprivileged-Pragya Kapoor
8:07 AM
As Chandigarh Kare Aashiqui team adopts zero-waste policy on set, maker says over 98 per cent waste was recycled or co-processed
Mohar Basu (MID-DAY; December 3, 2021)
Filmmakers in India are fast becoming environmentally conscious. After Bhumi Pednekar adopted a no-waste and no-plastic policy on the set of Badhaai Do, the makers of Chandigarh Kare Aashiqui took measures to ensure they had a zero-waste set. “A zero-waste set leaves the least possible waste to go to landfills by reusing the generated waste to its fullest capacity, and minimising the generation of waste,” explains producer Pragya Kapoor.
She admits that the different locations in Chandigarh, combined with expansive set-ups and a large crew of 300, initially posed a challenge. “We streamlined the process and aligned the crew to this novel exercise.”
During the filming of the Ayushmann Khurrana and Vaani Kapoor starrer, the waste generated at the location was divided into three categories — solid, liquid, and PPE. “Once the waste was collected, it was sent for sorting where it was further divided into categories — biodegradable, recyclable, food waste, reject waste and construction waste. The excess food was distributed among the underprivileged families.”
She adds that during the start-to-finish schedule from October 26 to December 21, the set generated 16,138 kilos of waste. Of this, 95.1 per cent was recycled or composted, while 3.6 per cent of non-recyclable waste was sent for co-processing. The remaining 1.3 per cent was handed over to the Punjab municipality as reject waste.
“The biggest concern was the excessive use of water bottles and cutlery. To counter this, we had cutlery made out of compostable material. Reusable sippers replaced the water bottles, and bulk water dispensers were placed across the location to avoid the use of single-use plastic bottles.”
Ayushmann Khurrana is bridging the gap between tentpole and parallel cinema-Abhishek Kapoor
6:47 PM
Chandigarh Kare Aashiqui director says Ayushmann was apt choice to bring the unusual love story into mainstream consciousness
Mohar Basu (MID-DAY; November 30, 2021)
When writer-director Abhishek Kapoor was developing the script of Chandigarh Kare Aashiqui, he was certain that Ayushmann Khurrana would be the perfect choice to headline the film. His conviction, in part, could be attributed to the actor’s ability to seamlessly become a character, no matter how divorced it is from his real-life persona. “Ayushmann walked in like a breeze and made Manu [his character] his own in no time. He fit the part like a glove,” says the director.
But Kapoor, having followed the actor’s body of work closely, had a bigger reason to approach him for the unusual love story. He believed that only Khurrana could give the subject, otherwise considered niche, the mainstream attention it deserved. The director elaborates, “We’ve been led to believe that there’s conventional tentpole cinema, and then there’s parallel cinema. But thanks to actors like Ayushmann, that gap is being bridged, giving rise to a new wave of ‘content-pole’ cinema. Right since his debut, he has championed the art of taking the road less travelled. This has not only given him the credibility of his fans, but also the scope to experiment.”
The filmmaker was hardly surprised when he formed a deep friendship with his leading man, based on their shared love for cinema that goes beyond entertaining audiences. As they are set to explore a different facet of queer love with the December 10 release, Kapoor says, “We connected mentally and emotionally because we have the same passion to present something fresh and new to our audiences. I’m glad to collaborate with an actor who is sensitive, genuine and deeply opinionated.”
Shamshera makers want theatres to be completely open so everyone can have a spectacular theatrical experience-Vaani Kapoor
8:13 AM
Vaani Kapoor talks about how her work helped her sail through the ‘stay at home’ phase — the toughest period of her life
Juhi Chakraborty (HINDUSTAN TIMES; September 14, 2021)
The past two years have been challenging, confesses actor Vaani Kapoor, who shares that the phase where she had to stay at home and not step out for work was, by far, the toughest period of her life. “I was feeling trapped in the house like so many others,” she says.
The actor adds that she missed being on a film set and, in general, her overall work, and her happiness resumed when she resumed her work. Kapoor, who completed two films — BellBottom and Chandigarh Kare Aashiqui — amid the Coronavirus pandemic, tells us that she “was waiting for cases to go down”.
“Ours is a job that can’t happen over a video call,” shares the actor.
With filming currently in full swing and the final products slowly making their way to the cinemas, the 33-year-old only hopes that the worst is over. “We all, kind of, skipped two years of our lives and now we are finally hoping that we can live normal lives [going forward], of course, by taking all precautions. It has been hard for us (movie industry) as it has been for everyone else,” she adds.
Kapoor says that she was among the fortunate ones who had kept working despite the pandemic. “I was lucky enough to shoot two films at a time when everybody else had to wait it out and be home.I am aware of that and grateful for it. I ended up shooting two films back-to-back amid the pandemic. I was the busiest. I have never shot films back-to-back [in the past]. I am grateful that I had work. I could keep myself distracted,” the actor shares.
While her film BellBottom has made its way to the cinemas, Kapoor has two more projects waiting in line — Chandigarh Kare Aashiqui and Shamshera.
Ask her the status of the release of these two films and she tells us, “I don’t know when they will be coming out. I know that Shamshera makers would want theatres to be completely open so everyone can watch it there because it [would make for a] spectacular theatrical experience. They are making that decision. It is very hard on producers with money and financial aspects [involved]. I hope all the films that are awaiting their releases are out soon,” concludes the actor.
Bellbottom, Shamshera, Chandigarh Kare Aashiqui: It's a hat-trick for Vaani Kapoor
7:58 AM
Vaani Kapoor to entertain viewers with three releases in three successive months
Mohar Basu (MID-DAY; February 26, 2021)
Its been a busy few weeks for Vaani Kapoor, whose toil is set to bear fruits with three releases in three successive months. Kapoor, who was last seen as Hrithik Roshan’s love interest in War, kicks off her streak with Bellbottom on May 28, which will be followed by Shamshera on June 25, and Chandigarh Kare Aashiqui on July 9.
Kapoor says, “I am preparing myself for a hectic work schedule when promotional work begins. It is exciting that audiences will see me in three diverse avatars across the projects. I hope that the three films are accepted by audiences, and play an instrumental role in enabling people to return to theatres.”
Kapoor credits the film industry for consistently trying to return to normalcy following the havoc caused by the pandemic. “I shot for these films during the pandemic. The industry has shown its intent to entertain audiences when Coronavirus subsides. So, it is exciting for me to see how audiences will support our films and the industry. We will offer them some of the best films in the next few months and I’m hoping that people will appreciate the content.”
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