Showing posts with label Coronavirus. Show all posts
Showing posts with label Coronavirus. Show all posts
Famous Studios was Asia’s first air-conditioned studio; Raaj Kumar once came just for AC-Anant Roongta
10:12 AM
Anant Roongta on the responsibility of inheriting a city icon and his plans for the 80-year-old studio
Jane Borges (MUMBAI MIRROR; October 18, 2026)
Twelve years ago, when Anant Roongta, then a 20-something, bursting with ambition, decided to step away from his family business and build a sports tourism company with his cousin, his father Arun Jagmohanlal Roongta was surprised. “So, you are going to start a travel agency,” he had said, unsure why his son didn’t want to take the reins of a legacy nurtured by two generations of the family. It was, after all, no ordinary inheritance—Famous Studios in Mahalaxmi.
A year older than independent India, the studio had hosted shoots for some of Hindi cinema’s most celebrated films, including Taj Mahal (1963), Seeta Aur Geeta (1972) and Hum Saath Saath Hain (1999), while serving as the hub for the Indian advertising industry. Its facilities spanned six studio floors, post-production labs and a screening room.
But Roongta, who, after completing his Master’s in International Business from Aston University, UK, returned to Mumbai to work alongside his father in 2009, could sense a flattening in the business. Much had to do with external forces—the film industry in general wasn’t experiencing any major churn, with the same kind of movies being released year after year, and, with a preference for shooting in the suburbs or on location, staying relevant was becoming harder.
“At the end of the day, mind-set really matters and you have to be ruthless to do something different,” says 39-year-old Roongta when I meet him at his, “war room” in the year-old office in Santa Cruz West.
So much has changed between then and now. After four years in tourism, Roongta came back to the studio in 2018 with fresh zeal and a new vision, building a co-working space within the premises. Last year, the studio in the iconic Art Deco building that had served as the nerve centre of the family’s empire shuttered to make way for a residential tower. Famous, which has turned 80 this year, moved bag and baggage to the western suburbs, with offices in Santa Cruz and Andheri. “It was a very difficult decision to take, especially for my father, who spent a considerable part of his professional life in that building. But I think it’s all part of evolution,” says Roongta, managing director of the studio, adding that cinema still runs in his veins.
Big shoes to fill
The movies happened to the family by accident. Before 1946, the Roongtas, like many traditional Marwari business families, were engaged primarily in jute and cotton trade. They acquired the studio from producer Shiraz Ali Hakim, who had taken a loan from Roongta’s grandfather Jagmohan Bilasrai and had offered the Mahalaxmi land where he had built this, as collateral. During Partition, Hakim decided to move to Pakistan and gave up the studio. “Since it was already functional, my grandfather decided to run it.”
Back then, Roongta says it was “Asia’s first air-conditioned studio”, equipped with imported cameras and a processing laboratory. “Because we shot on negatives, experts from Japan and countries in Europe would come to visit my grandfather to learn about film.” Roongta’s grandfather was also a two-time president of the Indian Motion Picture Producers’ Association (IMPPA), founded in 1937.
The studio enjoyed a golden era that Roongta, born in the 1980s, later heard about. “My grandfather told me a funny story about actor Raaj Kumar. He was called to the set one day, but he had other plans. He came in, sat on a chair and lit a cigarette. As soon as the director said, ‘Sahab, aapka time hai,’ he replied in his typical style, ‘Jaani, aaj mood nahi hai,’ threw away his cigarette and went home. He had come just for the air-conditioning,” says Roongta, laughing.
Roongta was still at school when one of the studio’s sets was converted into a nightclub to shoot the song Koi Kahe Kehta Rahe from Dil Chahta Hai (2001). “I remember interacting with Aamir Khan, Saif Ali Khan and Akshaye Khanna. Little did I realize then that the song would become such a hit,” he says.
Incidentally, ad world figures, including Piyush Pandey and Prasoon Joshi, also spent time at the studio, he shares.
Reimagining the empire
Contrary to claims that the studio’s closure was hastened by a slump, Roongta says that its last few years in Mahalaxmi—barring the brief COVID lull—were buzzing and alive. The co-working space had breathed new life into it. “We were also opening up the place for concerts and launches.” The shift was a response to the changing nature of the work.
“We’ve always been a service-led business, whether it was renting out our studio floors or providing post-production, virtual production, motion capture and visual effects services. But when we moved out, we decided that it was time to transition into a full-fledged creative business,” he says, adding that he is now looking at developing stories for theatrical-first filmmaking.
“Today, people are seeking out more organic stories that are deeply rooted in their lived experiences. This has been made possible because of the cinema that they are being exposed to across Indian languages.” He has already set up a new team of storytellers.
This decision might seem surprising, considering the OTT boom and the influx of microdrama platforms. But Roongta says that “there has been a lot of advancement in technology, which is making the cinematic experience more immersive”. “So, I still feel there’s a huge opportunity there.”
The end goal, he says, is to create culturally relevant content originating from the length and breadth of the country, for global audiences. Roongta admits that it hasn’t been easy to sustain a legacy business like theirs. The business has had its highs and lows. Survival, he says, has required adapting to technology that now changes every quarter. “In fact, we’ve been using AI for the last 18 months.”
Apart from using AI for research and development and gathering data in real time, the studio has, in some cases, been using it to assist with storytelling at the scripting stage. “We are also training our visual effects and animation team to blend a bit of AI into their work,” he says.
In the past, the studio has been a passive film investor, with creative and production work being executed by external parties. But moving forward, Roongta says it will serve as a production house, “which means we will now be involved from concept to development to production, post production and final distribution”. “That was the one thing we hadn’t attempted as a studio.”
Before we end the interview, we visit his new office cabin, where a shelf is dedicated to scale models of different aircraft, all positioned as though about to take off. It’s exactly the mode Roongta believes the studio needs to be in.
I took some therapy sessions to learn the art of dealing with myself without running away-Taapsee Pannu
9:51 AM
Natasha Coutinho (HINDUSTAN TIMES; October 10, 2026)
On World Mental Health Day actor Taapsee Pannu admits, “Like many of us in India, I used to think mental health support is required when you go crazy but slowly grew up to understand it’s got dimensions more than that. I thought one approaches a therapist when touching clinical depression stage or when one cannot express what one is feeling but I realized mental health is also about being in the present and finding peace in what you have. If you aren’t at peace, you constantly feel unstable and that’s what showbiz can make you feel.”
She goes on to say that Covid changed a lot of things for her because it put her physical activity at rest. She says, “Earlier, I would channel my mental anxiety and anxiousness into physical activity by engaging into more work or go outside and engage in some activity or sport to avoid facing my anxiety or be by myself. I would tell myself I’m overthinking and would rush to focus on my job. During Covid, like everyone else, I was forced to spend time with myself and realized I need to take care of my mental health better.”
Taapsee points out that being a part of showbiz dealing with trolling and personal attacks is not easy. “I’m not going to romanticize it with fancy lines about knowing your self worth. No matter how strong you are when your job and standing is largely dependent on everyone else's perception of you, what they say and feel about you, it’s never easy. It was way more harsh in the beginning for me, not just in terms of career but also when I got on social media.”
She adds people’s two seconds of attention can cause actors a lot of mental health damage. “I was trying this impossible task to make everyone happy. I got burnt out and it took me years to accept the situation. I realized I wasted years trying to appease trolls rather than spending that time working on myself as an actor or human being. I sacrificed a lot of time and brain cells to understand this but sometimes trolling still affects me,” says Taapsee. She adds that media portals that tear actors down also affects their state of mind.
She agrees that social media has made actors more vulnerable to anxiety and comparison. She explains, “Exploitation of celebs is now more available to make a joke about but it affects everyone. We even have trolls questioning why does this actor get opportunities, existential questions are discussed by people who I’m not sure are qualified to question someone’s profession. It has made actors vulnerable and the repercussion is that actors stopped using social media to display their true selves. They have started displaying the persona that people like more and sells more. You aren’t connecting with a human being but a brand.”
She goes on to reveal why she decided to be inactive on social media. “I disconnected with social media after a point because I couldn’t be dishonest about the person I am. I had the choice of being inactive on social media or being battered mentally so I chose the first option,” says the actor.
She also admits that she has taken therapy and is glad it isn’t taboo anymore. “The characters I play are mentally exhausting so I would travel somewhere where I could disconnect and forget about my work life. When Covid happened, I didn’t have that privilege and had to face my demons. I became more vulnerable and sensitive that's when I took some therapy sessions to learn the art of dealing with myself without running away,” says Taapsee.
After 6 decades, Remo Fernandes signs off from live acts
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Lisa Monteiro (THE TIMES OF INDIA; August 5, 2026)
Panaji: A guitar. A high chair. A final bow. Remo Fernandes fuelled his career with restless energy, cross-language hits and a stage presence that couldn’t sit still. His closing act came sitting down.
Indian pop-rock’s road warrior called time on his concert career at 73 and ended a 6-decade run with a live performance in London, saying he could no longer give audiences “100%” of himself.
Known for prowling every inch of a stage, Remo sang Sunday night’s show at a UK-Goan festival seated on a high chair, delivering favourites in English, Konkani, Portuguese, Hindi and French. The audience responded with thunderous applause, singing along to “Humma Humma”, “O Meri Munni”, “Maria Pitache” and even requesting “Pyaar To Hona Hi Thaa”.
“I’m used to moving around the stage. It was extremely constricting and limiting doing a show sitting on a high chair. Besides, in that crouching position, my lungs felt restricted for singing,” he told TOI over the phone from UK.
The Padma Shri recipient said he would not continue with seated performances. “I feel I’ll be cheating on my audience and myself if I’m not able to give 100% of myself.”
Remo said a mild stroke after his third Covid vaccination affected movement of his fingers. Persistent vertigo, worsened by a fall that required surgery, has left doctors advising him against performing standing up because of the risk of another fall.
Calling time on live concerts leaves him with mixed emotions. “On the one hand, I’m happy as I’m tired of performing... on the other hand, I guess I’ll miss it sometimes.”
His journey began at age 5 in then Portuguese-governed Goa, singing a Portuguese waltz with a banjo in Panaji. By 14, he was writing love songs. Architecture studies in Mumbai led to Indo-Western experimentation before hitchhiking across Europe and North Africa, busking, writing songs and poems, and eventually returning to Goa.
Remo went on to become one of India’s biggest-selling rock musicians before crossing into Hindi pop and film music, earning gold, platinum and double-platinum records, winning international honours and sharing stages with Jethro Tull, Led Zeppelin, Queen, Zakir Hussain, Trilok Gurtu and Eurythmics.
Now dividing his time between Portugal and Goa, he says there is no new project on the horizon after completing his autobiography and an opera on Mother Teresa. Instead, he hopes to spend his days reading, travelling and watching films. “Goa is home, however spoiled it is... my home in Siolim keeps bringing me back.”
No farewell tour. No curtain call stretched out over months. Just one final concert in London. Remo played his last live set. His music still soared. His feet stayed still.
I don’t want to be tied to one show like a bandhua mazdoor-Rakesh Bedi
9:39 AM
Neha Maheshwri (MUMBAI MIRROR; August 25, 2026)
With Jameel Jamali in Dhurandhar adding another memorable character to his repertoire, Rakesh Bedi is enjoying a phase where he can move freely between films, OTT and theatre. While the veteran actor continues to make occasional appearances in Taarak Mehta Ka Ooltah Chashmah and also in the recently concluded Bhabi Ji Ghar Par Hai!, he has little inclination to return to the 25-day-a-month grind of a daily soap.
He says, “I make appearances in Taarak Mehta mainly because I also want to remain relevant to today’s generation. But I can’t commit 25 days a month to one show anymore. Main bandhua mazdoor nahi banna chahta. Why should I give 25 days to one thing when I can do 20 other things? I do theatre, write plays, direct, travel, do films and OTT projects, and also take lectures on acting. Everything would have to be put on hold if I were stuck with one project indefinitely.”
The financial security and visibility that television offers are not priorities for Bedi. He adds, “I just want to satisfy my hunger as an actor. Money is not everything. Maybe I am earning less than what others are earning, but I don’t mind that.”
His 48-year association with theatre has shaped his approach to acting and continues to inform the way he builds his characters.
He recalls, “For my show, Shrimaan Shrimati, the note sent by the director and writer was simply that he was a henpecked husband. But taking it beyond that and making the character memorable is an actor’s job. What comes into play in all these things is my theatre background of 48 years, without a single gap in any month. Meri life mein koi aisa mahina nahi hai jab maine manch par kadam nahi rakha, except during COVID. Theatre allows you to experiment a lot.”
I was a little apprehensive initially about being a father in my 50s-Rajesh Khattar
3:41 PM
Neha Maheshwri (BOMBAY TIMES; August 21, 2026)
If becoming a parent in your 20s or 30s comes with its share of questions, embracing fatherhood in your 50s can bring an entirely different set of concerns. Rajesh Khattar admits he was initially apprehensive about having a child at that stage, but son Yuvaan has since changed the way he looks at fatherhood.
Recounting what went through his mind before becoming a father, Rajesh says, “Initially, I was apprehensive about being a father in my 50s. But looking at my wife’s (Vandana Sajnani Khattar) intense desire to be a mother, I left it to God’s will, and it surely was His will that we had Yuvaan. I have always believed that each child is born with their own destiny. Still, I feared about Yuvaan’s childhood and future, especially when I was hospitalized due to COVID while he was barely 18 months old. But his mere presence in my life made me realize the futility of worrying.”
Age, he believes, should not dictate when one can embrace a new chapter. He says, “Age is just a number. You are as old as you feel. Actors around my age are still doing leads, romancing heroines, getting married, remarried, so there you are.”
The difference age has made to his approach to fatherhood is evident in how he responds to situations involving his seven-year-old son. Having experienced fatherhood earlier with Ishaan Khatter, he says, “I am reliving fatherhood with him now. Whether one is a young father or an older father, the love and affection for your child remain the same. But with age, one gains patience and wisdom to understand your child’s psyche. As a young father, I was more reactive, whereas now I understand that certain situations don’t demand a reaction. I am also aware of how children change and evolve through different phases of childhood.”
That perspective has also shaped the way he views parenting and a child’s journey. He says, “One has to realize that your children are not race horses, life is not a Derby, and you as a parent are not the jockey. There is no finishing line to be crossed. Children are individuals, and it is fascinating to see them blossom into their own during their teenage years and adulthood. All I want is to give Yuvaan the best I can for as long as I am around.”
Neetu Kapoor is most fitness-conscious Kapoor, says Armaan Jain
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Armaan Jain; (right) Raj Kapoor with Prithviraj Kapoor. Pics/By Special Arrangement, Instagram, YouTube
Priyanka Sharma (MID-DAY; July 31, 2026)
Some will tell you ghee makes all the difference in their dishes. Others swear by garlic. For Armaan Jain, the star ingredient of his recipes is something intangible — it’s a mindset. “Kanjoosi nahin karne ka. Even if you have Rs 5 in your pocket, feed people dishes worth Rs 10.”
That’s the culture Armaan, Rima Jain’s son and Raj Kapoor’s grandson, grew up imbibing. So, when he decided to turn his passion for feeding people into a business, this became the foundation for The Junglee Kitchen.
Kapoors and food is a love story as old as time. During the pandemic-induced lockdown, in the absence of cooks, Armaan thought of taking over the kitchen and experimenting with the recipes that he was raised with.
He told mid-day, “I didn’t ever imagine it becoming a business. [During the lockdown] I was missing some family recipes. So, I would keep calling up my cook who was on leave. Then, I innovated those recipes. When I fed my family, they liked them.”
That’s how The Junglee Kitchen was born. With the delivery kitchen that began operations out of his home in 2021, Armaan is serving the Kapoor khandaan’s favourite dishes, particularly his legendary grandfather’s, to the city.
The name isn’t exactly what you would associate with the Kapoor family. Is it an ode to his grand uncle, late Shammi Kapoor’s hit Junglee (1961)? Not really. The name, Armaan shared, has two personal meanings attached to it.
“The reason why I thought of the word ‘Junglee’ is because that’s my approach to cooking. I’m not a trained chef; just someone who has been exposed to food since he was five or six. Plus, our food is fiery and spicy,” he smiled, before adding, “One of our hero dishes is called Junglee Maas. It’s a dish the Kapoors have grown up devouring.”
Like Junglee Maas, each dish for Armaan is a walk down memory lane. One that evokes memories of the Kapoor family coming together, trading gossip, laughing, and bonding over food. While the entrepreneur, born in 1990, never got the opportunity to meet his grandfather, he vividly remembers the feast that his maternal grandmother, Krishna Raj Kapoor, would serve for the family. He is now serving that taste of his childhood — whether it’s the Junglee Maas that the Showman of Indian Cinema enjoyed or the dal makhani that his superstar-cousin Kareena Kapoor Khan swears by. The dishes start from Rs 250, going up to Rs 700.
“Whether it was a small get-together or big, Junglee Maas was always there. The table would always be full, with 20 dishes on it. The other fixture was dal. Then two-three sabzis and [multiple] non-veg dishes. I also have strong memories of Punjabi dahi pakoda kadhi,” recalled Armaan.
What is his favourite dish on the menu? “I am a Punjabi who loves comfort food. So, I like my dal makhani. We have always had a Punjabi smoked dal at home. I improvised into a nice slow-cooked dal makhani in the COVID-19 days.”
Going forward, The Junglee Kitchen will include ‘Desi Chinese’ in the menu. That’s almost expected, given how the Kapoor family members have often expressed their love for Chinese food. Armaan added, “I love my Chinese food. The dhaba Chinese — think Chicken lollipops, Chicken Manchurian, and Chilli chicken.”
While he expanded the delivery kitchen’s service to Bengaluru in 2025, the next goal is to make it a pan-India service. He wishes to incorporate flavours of India’s different regions while keeping his family’s recipes in focus. “I have currently four or five outlets. We’re looking to scale these up to about 100 outlets in the next two years, across five-six cities. I have always had people come over to our place to eat. There would be 50 people at a time at my grandmother’s place. So, I had the confidence that I could cook,” he smiled.
Quick Five with Armaan Jain
What was Raj Kapoor’s favourite dish?
Dal. It was a fixture in every meal
What do the Kapoors end their meal with?
Gulab jamun
Who is the most fitness-conscious Kapoor?
Neetu aunty
Who is the worst cook in the family?
All of them just eat; they don’t cook [laughs]
The Kapoor who won’t stop at one dessert?
Karisma Kapoor
People have become casual about Covid, but my experience reminded me it still exists-Jaan Kumar Sanu
3:44 PM
Hasti Doshi (MUMBAI MIRROR; July 15, 2026)
Singer Jaan Kumar Sanu recently tested positive for Covid-19 and says the infection took a serious toll on his health, leaving him with a high fever, extreme weakness and a brief loss of consciousness. He also shared an update on his health by posting a video from the hospital on social media.
Recalling how it began, Jaan says, “I’d been busy rehearsing for a show. A few days ago, I suddenly developed a 103-degree fever. We went to the hospital thinking it was just a viral infection. They gave me medication and sent me back.”
However, his condition deteriorated rapidly. “By dawn, my fever had risen to, and I fainted. My family took me back to the hospital, and that’s when we found out it was COVID. It took a severe toll on my health. I’ve lost around two to three kilos in just three days.”
Describing his recovery, he adds, “There’s a lot of weakness, body pain and constant fatigue. Even the smallest chore takes a lot of energy. People have become much more casual about COVID, but this experience reminded me that it still exists.”
Urging people to remain cautious, Jaan says, “I’ve seen reports of COVID cases rising again, so I’d advise people to stay alert. I’ve been asked to wear a mask whenever I step out because my immunity has taken a big hit. COVID may not be as scary as it once was, but it can still have a significant impact on your health. People should continue to be mindful.”
During Covid, Asha Bhosle and I became very close because we were stuck in Lonavala and Khandala-Shabana Azmi
4:11 PM
Shabana Azmi on the artistry, fearlessness and charm of Asha Bhosle
Debarati S Sen (MUMBAI MIRROR; April 21, 2026)
For Shabana Azmi, the voice of late Asha Bhosle has always been more than music — it is a feeling, a memory and a lifelong companion. Her tribute reflects not just admiration for an extraordinary artiste, but deep affection for someone who became family over the years.
A VOICE THAT DEFINED GENERATIONS
For Azmi, Asha Bhosle is far more than a celebrated playback singer - she is an irreplaceable artistic force. “Asha ji has been my most favourite singer of all times. Unki aawaz mein jo ras hai jo shararat hai — it’s unmatched,” she says, capturing the essence of a voice that brought emotion, playfulness, and depth to every song.
Over the years, the legendary singer lent her voice to several songs picturised on Azmi, elevating her performances on screen. Memorable collaborations include Phir Se Aaiyo Badra Bidesi from Namkeen and Ambar Ki Ek Paak Surahi from Kadambari, where Asha’s evocative singing perfectly complemented Azmi’s nuanced acting. In Sameera (1981), Bhosle sang multiple tracks, including Zindagi Hum Tere Haal Par and Jaane Na Doongi, further strengthening their artistic association.
MEMORIES BEYOND MUSIC
While their professional collaborations were significant, it is the personal moments that Azmi cherishes most. “During Covid we became very close because we were stuck in Khandala and she with family were in Lonavala,” she recalls. “She would cook the most delicious meals for us and between Javed and her we would be regaled with hilarious anecdotes from the industry and cheeky humour,” she says.
These shared experiences reveal another side of the legendary singer — one marked by warmth, wit, and generosity. “Her memory is phenomenal and she could be very candid,” Azmi adds, evoking evenings filled with laughter, storytelling, and companionship.
FEARLESSNESS AND A SPIRIT OF REINVENTION
What stands out most for Azmi is not just Bhosle’s voice, but her fearless approach to life and music. “What I admire most is her gumption, her fearlessness and her desire to take risks and push her own parameters,” she says.
This spirit of constant reinvention has defined Bhosle’s remarkable career, allowing her to experiment across genres and remain relevant across decades — qualities that Azmi deeply admires. “Her voice will remain immortal but what I will cherish are the memories she has left behind for us,” she says.
Homebound row: Dharma Productions issue statement after author alleges plagiarism, call claims baseless
4:10 PM
After ‘Homebound’ lands in legal trouble amid plagiarism accusations, mid-day digs out the list of scenes author Puja Changiowala alleges are lifted from her book; Dharma Productions calls the claims ‘baseless’
Mohar Basu (MID-DAY; December 25, 2025)
Only a week after earning a place in the 2026 Academy Awards shortlist for Best International Feature Film, Homebound has come under the scanner. On December 23, it came to light that author and journalist Puja Changiowala sent a legal notice to Dharma Productions, which backed the Ishaan Khatter, Vishal Jethwa, and Janhvi Kapoor-starrer, accusing the makers of plagiarism. She alleged that Neeraj Ghaywan’s directorial venture has drawn heavily from her 2021 book of the same name. In the latest development, mid-day has dug out the list of similarities.
Set in India during the COVID-19 pandemic, Changiowala’s book follows Meher and her Dharavi-based family, who journey on foot toward their village in Rajasthan after the government announces a strict lockdown.
The documents in midday’s possession, dated October 15, has cited a scene in the movie where the lead characters and some migrant workers discuss the issues of rent, dwindling savings, and the length of the journey as they debate leaving the city. The author has claimed that her book features the exact scene where characters discuss the same dilemmas. It has also pointed to a character saying, “Corona se baad mein, bhook se mar jayenge pehle”, which Changiowala believes is lifted from page eight of her novel.
The author has further claimed that the sequence where Khatter and Jethwa’s characters attempt to go home via a special train and are lathi-charged “is wildly similar” to her book. The notice reads, “In pages eight and nine, characters receive WhatsApp messages about a special train. The father figure attempts to [go to] the station and is also met by a police lathi-charge.”
Changiowala has sought recognition of authorship and other remedies. In a separate application dated December 23, she sought mediation and claimed preliminary damages of Rs 1 crore.
When mid-day reached out to Dharma Productions, it responded with a statement that read, “The allegations of copyright infringement are baseless and unfounded, and Dharma Productions categorically denies the same. Homebound is an officially licensed adaptation inspired by the New York Times article by Basharat Peer, with all requisite rights lawfully acquired and due credit duly provided. A legal notice has been received and duly responded to by Dharma Productions’ legal counsel.”
The statement further read, “Dharma Productions has become aware through media reports of an alleged pre-suit mediation before the Bombay High Court — however, no formal communication has been received to date. We take such allegations seriously and are exploring legal action at our end to protect the integrity of our film.”
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One among the many contentious scenes is where Vishal Jethwa’s Chandan tells Ishaan Khatter’s Shoaib to use a Hindu alias. This allegedly tallies with events that play out on page 179 of Changiowala’s book
My right eye is still affected, but hasn’t hindered my work-Vaibhavi Merchant
9:17 AM
Natasha Coutinho (HINDUSTAN TIMES; September 28, 2025)
Vaibhavi Merchant, who received her second National Award for Best Choreography on Tuesday, has spoken about battling health challenges like peripheral vision loss and thyroid issues for the first time. The 49-year-old, who was honoured for Dhindhora Baje Re (Rocky Aur Rani Kii Prem Kahaani, 2023), opens up about her body transformation.
“I was diagnosed with thyroid in 2017; it is a hereditary issue. Despite working hard and trying several diets, my body showed no results until my endocrinologist put me on a slow, sustainable plan. I also started playing badminton,” she shares.
But soon after, Vaibhavi was diagnosed with an autoimmune trigger. “I had peripheral vision loss in my right eye,” she reveals, adding, “It could be due to the Covid vaccine or the shoot schedule of Tiger 3 (2023). We shot throughout Europe — including Italy, which was badly affected by Covid — and I spent long hours in a mask, which affected a nerve.”
Vaibhavi was put on steroids at the time. She recalls, “It made me gain another 10 kg. To date, people ask me why I wear glasses indoors, but I have to do what I can to protect my eyes. My right eye is still affected, but hasn’t hindered my work.”
Despite the stress on her body, she has learnt to adapt to the situation: “I never gave up, though I still have 5 kg to lose and muscle mass to gain. It’s important to be guided by a doctor, and to love your body the way it is.”
Her slim physique at the ceremony, captured by actors Shah Rukh Khan and Rani Mukerji, also surfaced on social media. “I got so many messages about how people loved SRK and Rani rooting for me. They made my day special by capturing beautiful photos and videos. Rani is my soul sister, Shah Rukh just knows how to make you feel special,” she ends.
He hit me till I fell-Fatima Sana Shaikh
9:22 AM
Fatima Sana Shaikh on being assaulted after confronting harassment
HINDUSTAN TIMES (July 14, 2025)
Actor Fatima Sana Shaikh recently opened up about a traumatic incident where she was physically assaulted after confronting a man who touched her inappropriately in public. The experience left a lasting impact on her.
Fatima recounted the harassment: “Once, a man touched me inappropriately, and I hit him. But he hit me back so hard that I was fully down. I only hit him because he touched me, but that pissed him off, and he hit me to the point that I fell.”
The incident was a wake-up call. She told Hautterfly, “After that incident, I got a little more cautious. I realized that we also have to check how to react in such situations. But look at the irony...something wrong is happening with us, and we only have to think about how to react to it.”
The 33-year-old also shared another harassment episode during the Covid-19 lockdown. While cycling in Mumbai with a mask on, a tempo driver persistently honked and made “weird sounds,” following her until she turned into her lane.
A lot of people are failing because they are putting five titles underneath each film-Nagarjuna
10:54 AM
Even as his pan-India movie Kuberaa tastes success, Nagarjuna says makers must be judicious as each story doesn’t have the power to appeal across cultures
Priyanka Sharma (MID-DAY; July 1, 2025)
For Nagarjuna, there was more than just money riding on Kuberaa. Its success would determine the path ahead for the superstar. With the crime drama having reportedly earned about Rs. 81 crore in the domestic market, we can hear the smile in Nagarjuna’s voice as he gets on the call for his first interview post the release. “Kuberaa is different from what I or director Sekhar Kammula was doing before. It was important for the movie to succeed so that we get the courage and strength to do more films with different subjects,” says the actor of the June 20 release that also stars Dhanush and Rashmika Mandanna.
Courage isn’t the only outcome of a successful film. As Nagarjuna puts it, “Success makes you love your job.” This is especially true when one has been working for 36 years. “Longevity is quite difficult to achieve, especially in our field. Success and love for the job go hand-in-hand. I was fortunate that success was always around the corner.”
After almost four decades in the industry, the actor, 65, craves to experiment more. He wants to keep things stimulating for the artiste in him, even though experiments can be risky for the superstar in him. He reflects, “We get caught in the loop that we have to do something exactly like this [to ensure success]. I noticed that in my career, whenever I [repeated myself], I had failures. Trying different things and new characters will always be loved by the audience.”
Nagarjuna has been ahead of the curve in another aspect — he did pan-India films way before they became a phenomenon. “When Shiva came in [1990], I tasted success in Mumbai, Delhi, and across the Hindi-speaking belt. It was fantastic. After COVID, everybody started watching movies in every other language.” The change is welcome, but the senior actor notes that it demands a discerning attitude from filmmakers.
“Every film cannot be a pan-India offering. It’s very difficult to be familiar with a different culture altogether. These days, a lot of people are failing because they are putting five titles underneath each film. [A pan-India film] requires a lot of planning and a [powerful] screenplay. Why did only Shiva work for me? I could have done a lot of other films. We didn’t make them because only a few films deserve to be pan-India.”
Not enough bang for the binge, Indian streamers flip the script
9:11 AM
Ad-supported long-format web series make a comeback, reversing the ad-free premium content trend, as growth slows and viewer habits change
Rajesh N Naidu (THE ECONOMIC TIMES; June 26, 2025)
India's streaming industry is witnessing a return to ad-supported long-format web series - typically spanning 20 to 50 episodes - as subscriber additions stagnate and margins on premium ad-free content fall.
The share of such long-format shows in total web series content on OTT are expected to rise to 70% in the next one year, up from about 50% now, as streaming platforms increasingly embrace traditional television consumption and monetization patterns, industry experts said.
The shift away from big-ticket original shows, which had surged to 50% of streaming content, is being driven by a binge fatigue among Indians partly due to time constraints.
"Traditionally, the Indian television audience is more attuned to daily soap or episodic format of storytelling," said Sudeep Nigam, a scriptwriter known for mini-series The Indrani Mukerjea Story: Buried Truth. "Binge-watching is essentially a western concept."
While binge-watching spiked during the Covid-19 lockdown, Nigam said the trend was temporary. "Post the pandemic, due to hectic lifestyle, an average Indian viewer can spare little time for viewing. In this context, ad-supported long-format web series has high relevance in India, as premium content demands intense engagement from a viewer," he said.
The share of premium originals on OTT platforms could drop to around 30% over the next one year, according to industry estimates.
"India is still not a subscription economy," said Manish Sinha, founder and CEO of RunnTV, the country's first independent free ad-supported streaming television (FAST) platform. "It is expensive to retain subscribers. Subscribers buy subscriptions for specific content and then do not renew subscriptions."
Latest numbers confirm that the paid subscription base is not expanding. According to media and entertainment research firm Ormax Media, subscribers who had access to paid content in India fell by 1.6% to 150.6 million in 2024 from 153 million in 2023.
Industry analysts said streamers have realized that focusing only on premium content does not materially improve profitability, which has become one of their key focus areas post the pandemic.
The reluctance of top Hindi film actors to take up roles in streaming content is also posing a challenge to creating premium content, experts said. These actors fear that appearance in streaming content may deplete their 'star' value. Also, there is unchecked piracy which impacts the returns on investments on premium OTT content, experts said.
Meanwhile, the base of ad-supported content subscribers grew more than 20% between 2023 and 2024, industry analysts said. This has warranted the demand for mass content. The recent Netflix-Balaji Telefilms creative partnership must be seen in this light, experts said.
One of the key advantages of producing ad-supported long-format web series for streamers is its cost-effectiveness.
"Today, streamers want new subscribers. This necessitates telling new stories in familiar ways. Ad-supported long-format web series have been familiar with the Indian audience. It is cost-effective for streamers," said Samar Khan, CEO of Juggernaut Productions, a platform agnostic content creation hub.
It is estimated that the cost of shooting an episode of an original for a streamer is between Rs. 1 crore and Rs. 3 crore. In comparison with this, the cost of shooting an episode of an ad-supported large-format web series is between Rs. 20 lakh and Rs. 30 lakh.
Manju Warrier's Malayalam thriller Footage to release in Hindi: "Want to see how 'Hindi film audience responds to it"
8:21 AM
With Footage releasing in Hindi, Manju Warrier says she wants to gauge the Malayalam movie’s popularity among Bollywood-loving audience
Priyanka Sharma (MID-DAY; March 4, 2025)
Almost six months after the release of Malayalam thriller Footage, the makers are bringing the Hindi version of the Manju Warrier-starrer to the audience. Saiju Sreedharan’s directorial venture will hit the theatres later this week.
Ahead of the dubbed version’s date with the audience, Warrier says, “Whenever I have been to Mumbai or north India, people have come up to me and talked about my films. But that is an audience that loves watching Malayalam films. With Footage, I want to see how the Hindi film audience, which doesn’t consume Malayalam movies, responds to it.”
Bollywood fans, who may not be familiar with the National Award-winning actor, will recognise a name in the movie’s credits. Footage, which belongs to the less-explored genre of found-footage, is presented by Anurag Kashyap. Teaming up with the filmmaker has Warrier elated.
“I remember I had first met Anurag sir at the première of a Malayalam film. I was surprised that he even knew my name! Since then, we’ve been friends. When we finished filming Footage, he wanted to watch it. After watching it, he presented it in Malayalam, and now he is backing it in Hindi,” she smiles.
The actor has two more releases lined up—L2: Empuraan, and Mr X. Bollywood too is on Warrier’s mind. In fact, she was to star in a Hindi film opposite R Madhavan.
“We had started shooting for it, but had to [halt] it midway due to COVID. We couldn’t resume it due to various reasons,” she recalls, before adding, “I am looking forward to doing good films in Hindi.”
If only five big producers can support independent cinema, things can drastically change-Rima Das
9:13 AM
As Village Rockstars 2 premieres at the Berlin Festival, Nation Award-winning filmmaker Rima Das opens up working on a folk-horror story for her next, and why financial support for independent filmmaking in India needs to go beyond just lip service
Priyanka Sharma (MID-DAY; February 16, 2025)
It's time for Rima Das 2.0. The National Award filmmaker is currently at the coveted Berlin International Film Festival for the premiere of her latest work, the Assamese movie, Village Rockstars 2. The festival darling lets us in on a new resolution when we speak to her—she is ready to turn over a new leaf. “I have realized going to festivals is not enough. Now, my main aim is that my work reaches more people,” she says.
In her over a decade-long career, Das has created an enviable filmography—her breakout film Village Rockstars, Bulbul Can Sing to Tora’s Husband—and now the sequel to her National Award-winner, which has already travelled to several national and international festivals.
“At Busan Film Festival last year, a producer from Singapore told me, ‘Rima, I think this is the only sequel of an independent film. We haven’t had any other sequel to an indie film before’.” Das laughs as we mention that her film couldn’t have come at a better time, as sequels seem to be the latest obsession.
“While making Village Rockstars [2018], I never thought of a sequel. But while editing it, it did strike me that the story has a natural progression and another film can be made. But I thought if I took it to festivals, how will they react to a sequel? Also, for the audiences who haven’t watched the first part, will the title Village Rockstars 2 work? Then, I thought about the long-term value of a story and that’s why I decided to make the sequel.”
Village Rockstars is about Dhunu, a 10-year-old girl, who dreams of buying a guitar and is saving up for it. However, when calamity hits her village, she must re-evaluate her priorities. Part 2 revisits the life of Dhunu, seven years after the events of the last film.
The filmmaker began working on the film, on which she also serves as the writer, cinematographer and co-producer, in 2020. But it ended up consuming Das’ time more than she anticipated.
“In 2020, I wanted to start something with Tillotama Shome. Then, the pandemic happened. I felt like I was in a cocoon, so I started making Tora’s Husband and Village Rockstars 2 simultaneously, but there was a lot of physical, mental trauma because of the pandemic. I lost my father. So, to finish both the films took a long time. I had to rewrite and re-shoot portions of Village Rockstars 2. It took me four years to finish the film,” she shares.
As rewarding as making Village Rockstars 2 was, it also left the filmmaker feeling stagnated. Das knew it was time for a reboot. “I had been shooting in the same location for years because Village Rockstars and Bulbul Can Sing were shot in the same area, while Tora’s Husband was shot nearby. I stopped enjoying it. So, during that time I started developing other ideas because I felt like doing something new,” she says.
Now brimming with ideas, the filmmaker is having a party. “I am writing something set in Mumbai, and it’s folk horror. When I look around, I see a lot of stories. Then, I feel like telling these stories is more important than making something perfect.”
With creative expansion on her mind, Das wants to enter unfamiliar territories. “Now, I also want to do commercial and semi-commercial films. Not being officially trained in filmmaking, my perception and knowledge of art is probably different from other filmmakers. Keeping the essence of cinema intact, I want my films to be accessible and reach a wider audience. Some films I think feel very arty. If I am making a Village Rockstars, I have a message to tell. If only cinephiles are watching it, it’s not enough for me. I want my films to reach marginalized sections or the [regular] audience. That is success for me. I don’t like my films to be a piece of art that is consumed by only a section of the audience. This wasn’t exactly on my mind when I made Village Rockstars. It was made without music and I thought the way it had shaped up was for a foreign audience but when it was released in India and I saw people loving it, I realized there are no boundaries to art.”
What also calls out to the filmmaker today is the need to embrace collaborations. Since the beginning of her career, Das has made movies largely by herself— from writing to producing. “I am looking for more collaborators, who are like-minded. I don’t want to be in the lonely place of doing everything by myself. I know when the time is right, the right kind of people will align with my vision and understanding of cinema.”
Making movies is as much about having talent as it’s about finding people who believe in it. It becomes particularly difficult to find believers of stories that don’t conform. Das, one of the biggest success stories in India’s independent space believes, “If you look at our audience, it should not be difficult to be an independent filmmaker in India. But there aren’t many forces to support it. There is a lot of lip service. If only five people, who are big producers, can support the scene, it can drastically change. But that’s not happening and I don’t know why. We look at old architecture and marvel at it, but nothing new is being built. Good art, poetry, and film are as important as good architecture. When I hear about the box office, it is only about two per cent of our population watching a film that is called a huge success. So, when we spend Rs. 50 lakh to a crore on an indie film, the recovery in India is very easy. You just need to find your audience. But there is no support.”
On this note, Das registers praise for actor-producer couple Richa Chadha and Ali Fazal, who made their production debut with the marvellous Girls Will Be Girls. “We need more people like Richa and Ali. Look how they supported an independent filmmaker [Shuchi Talati] and a beautiful film got so much visibility.”
Beyond that, Das believes one has to just be at it. “These problems have always been there in the independent space. Films are a catharsis for me. Every time I am doing something, I am creating opportunities for people, whether the number is 10 or 40.”
Losing my voice was heartbreaking, but I've healed now-Shekhar Ravjiani
10:19 AM
Tanvi Trivedi (BOMBAY TIMES; December 2, 2024)
Musician Shekhar Ravjiani (of the Vishal-Shekhar composer duo) recently revealed on social media that he lost his voice and could not perform at concerts two years ago. He was diagnosed with a condition called Left Vocal Cord Paresis, a disorder where an individual's left vocal cord reduces movement or ability. In a conversation with BT, Shekhar spoke about his traumatic experience and how he dealt with it.
“I tested positive for COVID twice during the pandemic, but I recovered and resumed my normal life. But, in June 2022, I suddenly found that I could not sing and had lost my voice and just air coming out from my throat. I was shocked and shuddered, thinking what would happen to me. Thinking of a life where I would never be able to sing or perform frightened me,” he shares.
‘I had to put up a strong front and pushed myself harder at concerts’
Elaborating on what happened after the diagnosis, Shekhar said, "When I was diagnosed with Left Vocal Cord Paresis, I began believing that there was no hope. After a few weeks, I had to accept that it was something that I had to deal with. The solution was to fight it. I was completely heartbroken. I put up a strong front and pushed myself harder at the studio and concerts. Mentally, I was in a bad state, but I avoided talking about it and kept myself busy.”
‘Today, I have healed and can sing even better’
He further added, “I had to go to San Diego for a project, and there, a friend asked me to meet a doctor in the US. She suggested a vocal warm-up and vocal exercises to help get my voice back. I also learnt that a vocal warm-up is essential every time I perform on stage. If you don't exercise your vocal cords, your voice can be harmed a lot. Today, I have healed and can sing even better. I am talking about it now because I hope everyone should learn from this and never give up hope. My faith in Lord Hanuman helped me sail through. I am thankful and grateful to the doctors who helped me recover from this condition.”
I will stop singing songs on alcohol if all states become dry states-Diljit Dosanjh
8:27 AM
BOMBAY TIMES (November 19, 2024)
Diljit Dosanjh says he will stop singing songs with alcohol references if all the states in the country are declared dry state. At his Sunday show in Ahmedabad, the singer-actor responded to the notice sent to him ahead of his Hyderabad concert, directing him to avoid songs related to alcohol, drugs and violence.
The singer said, “There’s some good news. I didn’t get any notice today. There’s more good news: I’ll not sing a single song on alcohol to day either. Ask me why? Because Gujarat is a dry state! Let’s do something, let’s start a movement. If all states declare themselves dry states, I’ll stop singing songs on alcohol from the very next day... I will stop singing about alcohol, you shut the ‘thekas’ in the country... I take a pledge. Is this possible? It’s a big source of revenue. Everything was shut in corona (pandemic), except the thekas. You can’t fool the youth.”
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Diljit Dosanjh takes on government’s dictate on his songs and says declare the state dry, and he will tweak his songs
HINDUSTAN TIMES (November 19, 2024)
On Sunday (November 17), while performing in Ahmedabad, singer-actor Diljit Dosanjh publicly addressed the Telangana government’s notice warning him against performing songs that glorify alcohol, drugs or violence ahead of his November 15 Hyderabad concert. The notice, issued just hours before his performance, sparked a debate that Dosanjh has carried into his subsequent shows, including the one in Gujarat.
Starting his Ahmedabad concert on a light note, Dosanjh announced his “good news” — this time, no notices had been served. Aware that Gujarat is a dry state, he refrained from performing songs referencing alcohol. However, he expressed frustration that despite releasing two devotional tracks recently, his critics focus only on songs like Patiala Peg and 5 Taara.
Clearing misconceptions, Dosanjh asserted that he neither drinks nor promotes alcohol, unlike Bollywood stars who endorse liquor brands. “Main jahan jaata hoon, chup karke apna programme karta hoon, chala jata hoon. Aap kyun chedh rahe ho mujhe?” he questioned. Comparing his handful of songs referencing alcohol to the abundance of Bollywood tracks on the same subject, he called out the hypocrisy.
The singer-actor proposed a bold solution: a pan-India movement to ban alcohol entirely. “Agar saari states dry state ghoshith ho jaayein, main kabhi sharab ka gaana nahin gaunga. Main pran karta hoon,” he declared. Highlighting the government’s reliance on liquor revenue, he mocked the system, saying, “Corona (Covid-19) mein sab bandh hogaya tha, theke bandh nahin huye thhe. Aap youth ko fuddu nahin bana sakte.”
Acknowledging the ease of adapting his performances, he cheekily offered a compromise: declaring dry days during his concerts. “Jahan jahan mere shows hain, ek din ke liye dry day ghoshith kar do, aur main gaana tweak kar doonga,” he said, promising that his fans would still enjoy the show without alcohol-themed tracks.
Praise for Gujarat govt
Lauding Gujarat’s dry-state status, the 40-year-old expressed hope that Amritsar, his hometown, might follow suit. “Main Gujarat government ka fan hoon,” he remarked, urging his fellow Punjabis to consider the benefits of such a policy. HTC
What happened
The controversy began when Telangana authorities issued a legal notice to Dosanjh hours before his Hyderabad performance, citing tracks like Patiala Peg and 5 Taara. The move, they claimed, was to prevent glorification of vices in public entertainment.
Telangana govt responds
Defending their notice, Telangana Deputy Chief Minister Bhatti Vikramarka Mallu stated that the guidelines were intended for the betterment of society and its youth. “The government of India has issued clear guidelines against songs promoting drugs and alcohol. Mentioning these guidelines while granting concert permissions is standard procedure, so there is nothing wrong in it,” he said.
I was asked to replace the word chaddi from Jungle Jungle Baat Chali Hai-Gulzar
11:26 PM
Natasha Coutinho (BOMBAY TIMES; November 14, 2024)
Celebrated Indian poet, lyricist, author, screenwriter and film director Gulzar has penned iconic children’s songs like Lakdi Ki Kaathi from Masoom (1983), Jungle Jungle Baat Chali Hai from The Jungle Book (1989) and Panga from Makdee (2002), the latter two composed by Vishal Bhardwaj. Not many know that even the popular prayer Humko Mann Ki Shakti Dena from Guddi (1971) was written by him. On the occasion of Children’s Day, in a chat at his Bandra bungalow, Gulzar spoke to us about some of his favourite works for children.
‘Many are not aware that the lyrics of Humko Mann Ki Shakti Dena were written by me’
Gulzar explains that the idea behind the song was to portray what a young schoolgirl prays for and how she expresses her thoughts. He says, “Humko Mann Ki Shakti Dena went on to become the morning prayer at many schools. Many people don’t know the lyrics were written by me. I was recently working with Shaad Ali (director) at the recording studio, and he mentioned that they used to sing Humko Mann Ki Shakti Dena in school. He was taken by surprise when Shankar Mahadevan mentioned that the lyrics were written by me. If you speak from your heart, it reaches children. Back then, the great Indian poet Kedarnath Singh had told me, ‘Your work has gone beyond your name, which is a great thing.’”
‘Writing for children isn’t about getting the grammar right’
Talking about how he develops the idea that connects with children, he cites the example of Lakdi Ki Kathi (Masoom), a song that has resonated with children across generations. “The idea came from the thought that if you make a child sit on a walking stick and call it a horse, they know it isn’t real, but they still enjoy the experience because of their imagination. It’s also important to use places that they are familiar with, for example, they have heard their parents speaking about visiting the sabzi mandi (vegetable market) or Mehrauli and so on. So, the song must have a familiar environment. Writing for children isn’t about getting the grammar right, it’s about throwing grammar out of the window and connecting with the child’s thought process. Children enjoy tongue twisters, what we give them in textbooks is boring.”
‘I was asked to replace the word chaddi from the song Jungle Jungle Baat Chali Hai’
Recalling a controversy over the lyrics of another popular song, he shares, “NFDC had some objection to the lines, Jungle Jungle baat chali hai, pata chala hai, arre chaddi pehen ke phool khila hai (The Jungle Book, 1989).
“I was told, ‘Gulzar saab ab aap poetry mein chaddi bhi le aayenge.’ There was a silly suggestion to replace the word chaddi with lungi. I asked them if Mowgli in The Jungle Book had put on anything else throughout the film? Ab chaddi ko kuch aur bolenge? Vishal Bhardwaj (music composer for The Jungle Book) has a knack for understanding children, he made films like Makdee and The Blue Umbrella, but didn’t find encouragement from the trade. Vishal himself is a little child for me.”
‘I have been working with physically challenged children since 1972’
Gulzar shares, “Since the time I made Koshish in 1972, I have been working with physically challenged children. Every year these children come down from Bhopal and I walk with them at the Mumbai Marathon. These children feel so happy when they appear on television and that gives me immense joy, too. I wish to continue working with children till I’m alive.”
'Inspired to write poems during Covid'
He says, "I wrote a poem on a crow during COVID-19, when death was surrounding us, ambulances were constantly passing by, people were wearing masks but this crow near my house, was busy building it’s nest. Hearing the little crows caw was so inspiring. I ended up writing 14 children’s poems that were published by my friend Sushil Shukla with illustrations by Allen Shaw."
Photo: Prathamesh Bandekar
I had to remind people that I existed. During that time, social media became my lifeline-Alaya F
9:11 AM
Akash Bhatnagar (HINDUSTAN TIMES; September 22, 2024)
In recent times, several actors, including Abhishek Banerjee and Aahana S Kumra, have openly criticised social media influencers for stepping into showbiz and snatching acting roles. But for Alaya F, the journey has taken the opposite path. She started as an actor and, due to circumstances, later embraced the influencer space.
Reflecting on this transition, she shares, “The world shut down right after my first film Jawaani Jaaneman released in 2020. I had to find a way to stay relevant, to remind people that I existed. During that time, social media became my lifeline.”
At 26, Alaya admits that platforms like Instagram have been a “blessing” for actors. She adds, “Now, you don’t have to rely on films for money. You can choose projects out of passion because social media handles the financial part.”
This year has been a mixed bag for the actor. While Srikanth performed well at the box office, her more commercial film Bade Miyan Chote Miyan didn’t hit the mark. When asked how she handles such ups and downs, she says, “In this industry, your position and reality are always shifting. The only constant is change, and I’ve grown a lot more comfortable with it. Initially, it made me anxious — feeling the pressure to prove myself — but now I’ve learned to stay calm. I want to make more thoughtful choices going forward.”
Alaya admits she often feels like an underdog in her career, too. “I still feel like I’m fighting to prove myself, and that’s actually great because everyone loves an underdog story. I have so much more to show and so much yet to achieve. That excitement keeps me driven and makes the journey worthwhile,” she says.
I cycled from Gangotri to Gangasagar in 75 days-Shantanu Moitra
8:12 AM
“Cycling is nostalgia for me,” says Shantanu Moitra who learnt and fell in love with the sport when he was in the fifth standard. In a candid chat with us for World Bicycle Day, the musician who has composed for films like 3 Idiots and 12th Fail takes us through his life-changing experiences while cycling around the country. Excerpts:
Baba taught me how to cycle
As a child, my first sense of freedom came from cycling. The falling, getting up trying again – as you learn, your parents let you go which gives a sense of independence also. In Delhi’s East Patel Nagar, where we grew up, we used to see every other person travelling on a bicycle, but I never had my own as we couldn’t afford it. So I used to borrow from my friends and take rounds of our neighbourhood. My father was an avid cycle lover. He used to travel 40 km to and from work every day. He taught me how to balance the two wheels. I remember the day vividly when he let me go on my own. It was an important day in my life, it empowered me to take care of myself.
‘My father’s cycling tales fascinated me’
Baba always told me how he made friends from different walks of life while he used to cycle. He and his friends always went to a particular tea shop for chai or nimbu paani on their way back home. He had created a world while cycling and it fascinated me. Just imagine: you are riding a cycle and stop to pick up a jamun that fell from a tree. Isn’t it captivating? All these stories were like a fantasy land for me.
‘I bought my first cycle when I was 30’
Ironically, I never got to buy a cycle when I was in school or college. Eventually, I bought a car, but never a cycle. When I came to Mumbai 30 years back, I saw cycling as a hobby was popular. That was when I bought my first cycle, at 30 years of age! It made me nostalgic and I realized I was made for cycling. Then a cycling community was formed and, every Sunday at 5.30 am, we used to cycle 70 km, from my home in Versova to Nariman Point. It was a Sunday morning ritual we looked forward to. Everyone in this community was a cycle lover.
‘The Ganga expedition was an opportunity of a lifetime’
Shantanu shares that after completing the music composition for 3 Idiots, he undertook a ‘100 days in Himalayas’ trip in 2016. “I was travelling above 14,000 feet right from Kashmir to Tibet. The perspective I gained from that trip made me realize that I wanted to do it on a cycle. I wanted to see Ganga from its source to the end. Adventure is not rational, one has to feel that urge from within. My fear was that the timing of the adventure (which he undertook in 2021) shouldn’t clash with the music composition of Shoojit Sircar’s Sardar Udham, but Shoojit being a friend assured me that he could adjust, and I shouldn’t let go of the opportunity of a lifetime.”
‘It was a mind game’
For the Ganga expedition, Shantanu realized that he had to cycle for 2,700 km. “That’s a magnificent number. I realized it’s a mind game. This time was pivotal in my life – Baba saw me prepping, which made him very happy. Soon after, COVID changed the world, and I lost Baba in the pandemic. I realized life is uncertain so I must fulfil my dream. I knew I had to do this expedition for my baba.”
‘Got professional guidance’
Shantanu started prepping for the trip in 2019. He says, “Before any mammoth expedition, professional guidance is a must. I got a nutritionist, and got medically checked. For my lung capacity, I practiced regularly at Bhor Ghat, Lonavala’s highest point. I mapped my route on a cycle trainer at home. I started my regime by cycling 100-150 kms every day and slowly the cycle became my greatest companion and best friend. Within 25 days, I reached Rishikesh, and the expedition of 75 days started from Gangotri to Gangasagar. It was a memorable experience.”
Shantanu’s safety tips
- If you are cycling early in the morning, there has to be a taillight on and a helmet light on
- A red light is applicable for all transports, including a cycle. Respect that
- Before you start long-distance cycling, eat light food at least one and a half hours before. And after cycling for say 50 km, munch on a snack bar or something light so that your body has the fuel to continue
- People tend to avoid cycling and opt for a car or bike as they feel it is safer. The first and foremost rule while cycling is to wear a helmet, it’s non-negotiable
- Hydration is a must when you are cycling long distances. Alertness is very important for a cyclist and that happens when you keep yourself hydrated. Also, muscle reflexivity increases if you are well-hydrated
- Need to create paths for cyclists
- If we encourage cycling for the young generation on World Cycling Day, we have to create paths for cyclists – and that is the biggest concern of urban civilization. Any civilized place has cycling tracks. If we want less fuel consumption, less pollution and a healthier lifestyle, cycling tracks are a must in any city.
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Cycling takes care of one’s body, mind and reflexes. Not only does it help build a community but also lets one connect with nature. We must encourage the young generation to cycle more for a better world
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No one understood why a music director is cycling down a river. I failed to explain to people that it was an experience of a lifetime. Every pedal was a tribute to my father and no one can stop me from cycling
– Shantanu on his Gangotri to Gangasagar expedition
The composer shared with us his cycling route map for the Gangotri to Gangasagar expedition, spanning 2,700 km. “I mapped my route on a cycle trainer at home,” he tells us
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