During career’s longest break due to lockdown, Rakul Preet Singh is studying business management online and hoping for the best
Akash Bhatnagar (MUMBAI MIRROR; May 21, 2020)

Rakul Preet Singh made her Bollywood debut in Divya Khosla Kumar’s directorial debut, Yaariyan, in 2014. But it was last year, that she caught the eye with Luv Ranjan’s De De Pyaar De, in which she played Londoner Aisha, who falls in love with Ajay Devgn’s Ashish, a man almost double her age. The actress hails it as a “special film as it kickstarted my career” and gave her the opportunity to work with two of her idols. “I am a fan of both Ajay sir and Tabu ma’am (who plays Ajay’s ex-wife in the film). On the sets, they treated me like an equal,” she gushes, adding that it was the story’s tone and her part that sealed the deal for her. “I was getting to play my age in a film that talked about age-gap in relationships in a new way.”

Sometimes, the theme inevitably transcended the screen. “I remember telling Ajay sir that I was two when I sang for the first time. It was 'Rukk Rukk Rukk' (from Ajay and Tabu’s 1994 action-drama Vijaypath). He laughed and told me not to mention it again. I just quipped, ‘Isn’t it what our film is about?’” Rakul laughs.

Recently, Bhushan Kumar informed Mirror (May 7) that a follow-up to the 2019 romcom is on the cards. Ask Rakul about it and she shares excitedly, “I used to message Akiv sir (director, Ali), asking when we would do a sequel. I got to know from the news, too, and I am already looking forward to working with the same team again,” she says.

The actress was looking at a busy year at work before the Coronavirus-induced lockdown broke the momentum. “I would have had three releases this year, Attack (with John Abraham), a film with Arjun (Kapoor) and Indra (Kumar) sir’s film with Ajay sir and Sid (Sidharth Malhotra),” she sighs, confident that after watching her in these films, “people will definitely approach me with more diverse work”.

Prod her on Indra Kumar’s film that reunites her with her De De Pyaar De and Marjaavaan co-stars and was to start last month, and she says, “Now, I don’t know when it will begin, but I am excited about it. It is a fun film in the social-comedy-drama space. Indra sir has an amazing comic timing.”

Till that happens, she’s keeping herself busy with yoga and reading scripts, some of which have got her nod. Recently, she also enrolled for an online crash course in Business Management. “I believe in living in the present. All of us thought of doing a lot of things in 2020, but here we are, sitting at home,” she points out, adding that she is used to choc-a-bloc schedules. “Even down South, I have worked for 350-360 days in a year. This is the longest break I’ve ever had, and I am just waiting to spring back to my normal routine.”

Bhushan Kumar on taking De De Pyaar De forward, spinning a franchise around Sonu Ke Titu Ki Sweety and several South films whose remake rights he wants to buy
Himesh Mankad (MUMBAI MIRROR; May 7, 2020)

The film industry came to a standstill following the lockdown on March 19, which was imposed in light of the Coronavirus outbreak. Filmmaker Bhushan Kumar had a dozen films gearing up for release this year and half-a-dozen ready to roll in April, May and June. While the Satyameva Jayate sequel, fronted by John Abraham with Divya Khosla Kumar, was to kick off last month in Mumbai, Bhuj: The Pride Of India was in final leg of shooting. “Yes, it’s a financial blow, but then, the whole world is suffering. Luckily, we don’t take loans from banks, so the interest isn’t mounting. At the moment, none of us know when this will end. Even after normalcy returns, it is not clear if the audience will visit the theatres or the fear factor will stop them,” he points out.

Talking about his projects, Bhushan informs that there is about 10 days of work remaining on Bhuj, which will be completed once shooting resumes. “But the big question is whether we can arrive on August 15 as scheduled,” he admits.

Set against the backdrop of the Indo-Pak war of 1971, the film features Ajay Devgn as a squadron leader on the frontline. Sanjay Dutt, Sonakshi Sinha and Nora Fatehi are part of the ensemble cast. Bhushan and Ajay’s last collaboration, Tanhaji: The Unsung Warrior, is the year’s biggest grosser so far and the filmmaker admits to slight nervousness because of the huge numbers. “Bhuj is looking good and since people want to see real cinema, we hope to live up to the expectations. But first, we need the pandemic to go away,” he maintains.

Meanwhile, another Ajay-starrer, the Akiv Ali-directed 2019 rom-com De De Pyaar De, had hinted at the possibility of a sequel by way of its climax. The comedy of errors, set in London, revolved around a 26-year old go-getter, Ayesha (Rakul Preet Singh), who falls in love with a 50-year old businessman, Ashish (Ajay Devgn). The twist in the tale comes when she insists on her meeting his estranged wife Manju (Tabu) and grown-up children in India. Part 2 is expected to have Ayesha introducing her family to her 50-year-old beau. “Yes, Luv Ranjan and I have a sequel in mind for De De Pyaar De,” Bhushan confirms.

Another Luv Ranjan film is set for a return. “We are definitely doing Sonu Ke Titu Ki Sweety 2, it’s a great franchise to take forward,” Bhushan shares. The 2018 bromance comedy was a game-changer of sorts for the team that put it together, propelling Kartik Aaryan into the big league.

While cooped up at home, Bhushan is also watching South films. “We have shortlisted a few and once things get back on track, we will buy the rights,” says the filmmaker, who has received some lovely songs from upcoming composers, singers and lyricists, which he promises to incorporate in future projects. “They say music has healing powers, and we are trying to put out as much content as we can, till we all return to our normal lives. I am glad that our music is topping even international charts.”

Rakul Preet Singh recalls her last day at work before the industry-wide shutdown, till March 31, came into force
Akash Bhatnagar (MUMBAI MIRROR; March 21, 2020)

Earlier this week, Rakul Preet Singh shared a group selfie from an ad film shoot. The actress and the people around her posed with face masks and hand sanitisers. “Please don’t step out unless absolutely necessary! Could not cancel today’s shoot but the entire team took precautions! Don’t be paranoid but wise. Think positive and fight Coronavirus with a smile,” she wrote.

Harking back to the day, Rakul says, “Leaving home felt like going to war. We made sure that there was a doctor on set and a limited crew. It was the toughest shoot, considering the paranoia (around the outbreak). No one was allowed inside my van except my entourage.” Meanwhile, work on two of her upcoming films, the John Abraham co-starrer Attack and a yet-untitled project with Arjun Kapoor has been put on hold.

On March 15, film bodies including the Indian Film and Television Directors’ Association, Indian Motion Picture Producers’ Association and the Indian Film and TV Producers Council directed all film, TV and OTT productions to be halted till March 31 for safety reasons. As a consequence, Rakul informs, all her shooting dates have gone for a toss. “I was supposed to be shooting every single day during this time. All of that is now going to fall in April for both my films. On April 10, I was to start work on Thank God (with Ajay Devgn and Sidharth Malhotra). But now, I don’t know what’s going to happen. This is the longest break of my life,” she sighs.

Rakul, who made her Bollywood debut with Yaariyan in 2014, didn’t return to the Hindi big screen till Aiyaary four years later. “At the time of my Hindi debut, I was a naïve 20-year-old who didn’t know one had to be in Mumbai to find more work. I had started shooting for my Telugu debut by then, which became a hit. Before I knew it, I had signed two-three big films there and decided to stick around,” she explains.

She goes on to inform that she was supposed to feature in the M S Dhoni biopic, in the role that eventually went to Disha Patani due to scheduling conflicts. Neeraj Pandey’s Aiyaary, in which she featured alongside Sidharth and Manoj Bajpayee, gave her the impetus she needed to return to Hindi films. “During the four years away from Mumbai, I did 18 films down South. I understood that people didn’t know my body of work in Mumbai. I met everyone again and De De Pyaar De (Luv Ranjan’s production co-starring Ajay and Tabu) came my way. And I felt it was time to make the transition (back to Bollywood),” she says.

Ask her about the challenges of making it as an outsider and Rakul says, “When I decided to become an actor, I knew it wouldn’t be served on a platter to me but that’s the fun of it. Being an outsider, you might not get the first opportunity, but at the end of the day, it’s talent that survives. Alia Bhatt is one of the finest actors today, not because she is Mahesh Bhatt’s daughter. She has proven herself. Today, outsiders are welcomed so warmly, be it Ayushmann (Khurrana), Vicky (Kaushal), Anushka (Sharma), Taapsee (Pannu) or Rajkummar (Rao). I understand it will take time for me but you can either crib about it or you can work towards your goals. I choose the latter.”

Does she feel the pressure to stand out among the current generation of actors, like Ananya Panday, Janhvi Kapoor and Nushrat Bharucha? “I don’t get into these pressures. We all have our pros and cons and different personalities. There are bigger and better things to worry about,” Rakul signs off.

The year 2019 turned out to be pretty decent with the top twenty five films collecting 3600 crore nett plus as compared to 3000 crore nett last year. But a lot is to do with lower GST in 2019 as the GROSS numbers are 4250 crore compared to 3850 crore in 2018. There is a 20% difference in NETT numbers which would be a good result if all things were equal but in actual terms the difference is 10% as in GROSS numbers, all is equal. The 10% growth is roughly how much ticket rates grew in 2019.

The biggest grosser of the year was WAR (Hindi) grossing 292 crore nett but the biggest HIT was KABIR SINGH. It was the universal blockbuster of the year which did equally well in all parts of India. It also had the highest footfalls of the year as it was released outside holiday periods on normal ticket rates. WAR and URI were also BLOCKBUSTERS but could have done better in the Central India markets where there performance was lower as compared to other areas. The other film to top 200 crore nett HOUSEFULL 4 could have done better in North.

No film got close to 3 crore footfalls which tells there was no really huge BLOCKBUSTER. In fact the last 3 crore footfall film was TIGER ZINDA HAI in 2017 though PADMAAVAT may have got there if it had released all over. Only two Hindi films - KABIR SINGH and WAR - managed to get more than 2 crore footfalls and the third film was AVENGERS: ENDGAME from Hollywood. SAAHO also manged it in all formats and if we take all formats into consideration then this film had the most footfalls of any film in India last year at 2.60 crore.

The ranking of the top films in terms of NETT collections are as follows and these twenty stand above the rest as the 26th film is under 50 crore nett. The GROSS collections may change the positions a little as there is state levy and higher service charges in some states and if films have a higher ratio coming from these areas then it changes the NETT to GROSS ratio.

1. War (Hindi) - 2,92,71,50,000
2 Kabir Singh - 2,76,34,00,000
3. Uri: The Surgical Strike - 2,44,00,50,000
4. Housefull 4 - 2,05,60,50,000
5 Bharat - 1,97,34,50,000
6. Good Newwz - 1,95,78,00,000 (35 days)
7. Mission Mangal - 1,92,67,00,000
8. Kesari - 1,51,87,50,000
9. Total Dhamaal - 1,50,07,50,000
10. Saaho (Hindi) - 1,48,84,00,000
11. Chhichhore - 1,47,32,50,000
12. Super 30 - 1,47,00,00,000
13. Dream Girl - 1,39,37,00,000
14. Dabangg 3 (Hindi) - 1,34,79,00,000
15. Gully Boy - 1,34,21,50,000
16, Bala -1,10,97,50,000
17. De De Pyaar De - 94,50,00,000
18. Manikarnika - The Queen Of Jhansi (Hindi) - 90,81,00,000
19. Luka Chuppi - 88,50,50,000
20. Badla - 87,56,00,000
21. Batla House - 84,99,50,000
22. Pati Patni Aur Woh - 80,41,00,000
23. Kalank - 80,03,50,000
24. Student Of The Year 2 - 65,70,50,000
25. Article 15 - 65,17,50,000

NOTE - Good Newwz is still running in week six but will not change the rankings as it has only 25-50 lakh more to come

The Central Board of Film Certification (CBFC) has been a favourite punching bag for viewers and media ever since it became ‘too Sanskari’ from 2015 onwards. It was a time when Pahlaj Nihalani took over as the Chairperson and he introduced several changes, which made the whole process very regressive. Words like ‘lesbian’ were censored while kissing scenes were chopped off by few seconds. The heights were reached during the time of 2016 release Udta Punjab. Here, some 89 changes were proposed, including deletion of the word ‘Punjab’ and names of several cities! A huge section of film industry, media and moviegoers come together collectively to voice their protest.

More than a year after Udta Punjab’s release (with just a cut or two thankfully, courtesy the Bombay High Court), Pahlaj Nihalani was asked to step down. He was replaced by adman-lyricist Prasoon Joshi. He was seen as a much progressive and sensible person and the hope was that now these outdated ways of censoring will keep to an end once and for all. Sadly, that didn’t happen. The censoring continued, but probably in a much lesser scale than in Pahlaj Nihalani era.

Some of the cuts were extreme and it rightfully made it to the news. Last year, viewers were shocked when the Hollywood film Hereditary was mercilessly butchered, despite the ‘A’ certificate. A crucial climax scene had nudity and it was cut in such a way that moviegoers couldn’t comprehend what’s going on. Another adults-only Hollywood film that faced many cuts was John Wick: Chapter 3 – Parabellum. It’s a gory action film and the scenes of violence and blood and also abuses got edited out. This film released on May 17, 2019 and the same day the romcom De De Pyaar De also hit theatres. In a bizarre move, a scene featuring Rakul Preet Singh drinking in a wedding was censored. What was amusing was that the alcohol bottle was replaced by a bunch of flowers! An industry source says, “In the same sequence, actor Ajay Devgn can be seen drinking and that bit was retained. So, I guess the CBFC just had problems with a lady drinking in a shaadi. That’s quite a regressive mindset.”



The CBFC has always had problems with depiction of alcohol on screen. For every scene involving hard drinks, a ticker mentioning that consumption of alcohol is injurious to health has to be compulsorily inserted on the bottom right of the corner. The alcohol brands are a strict no-no and it’s common to see bottles being blurred for the same reason. This is not a justified move but it’s become very common. However, what’s not common is characters consuming alcohol in a glass where no company name is visible and yet, the blurring is done! This is what happened with the recent Hollywood release Ford v Ferrari. A few days before its release on November 15, the press screening was held from where pictures were clicked of scenes where glasses containing liquor were hastily pixelated. It affected the impact of the said scenes and angered the audiences. Even Farhan Akhtar tweeted about it.

The assumption was that the CBFC yet again has come in the way to force their diktat. As expected, it earned the wrath of the fans. A week later however, Prasoon Joshi spoke about this episode and made it clear that the said cuts were done ‘voluntarily by the makers’ and that he’s disappointed with the spread of the ‘false news’. The cut list of Ford v Ferrari confirms that Prasoon Joshi is indeed right. The only censoring that was done in the film was muting of abusive words.

This brings us to the new trend adopted by studios, especially the ones distributing Hollywood films. They themselves censor stuff they feel will be asked to remove and then submit for certification. The Independence Day release Once Upon A Time In Hollywood, of Sony Pictures, also comes in the same category. There’s not a single cut done by the CBFC! Many news outlets also made news out of it that how this much awaited Hollywood flick has been passed uncut by the ‘progressive’ CBFC! However, when viewers ventured out to see the film, they realized many words have been muted. And that’s because Sony themselves played the Sanskaari card and didn’t allow the CBFC to do so!

So why are these studios doing in-house censoring? “It’s simple,” says a trade source and adds, “By now, everyone knows which scenes and words will be edited out. And it’s a long process. The producer submits the film, then the CBFC views and asks for cuts, the cuts have to be made and shown to the CBFC and then the certificate is secured. Hence, in order to save time, the studios or the distributors feel it’s better they themselves blur or mute before the CBFC does so.” With regards to the Ford v Ferrari fiasco, the same source explains, “Fox Star Studios however went too far it seems. They even got alcohol glasses blurred, which is something the CBFC would have told them to do. But they did it anyway, not wanting to take a risk. And CBFC ka toh waise bhi naam kharab hi hai. So everyone naturally assumed that Censor guys must have played mischief, like they always do. But only this time, they weren’t to blame.”

Yet, Prasoon Joshi can’t walk away scot-free. There’s no guarantee that the Examining Committee of CBFC would have let the alcohol scenes go censor-free if those scenes weren’t blurred. He and CBFC have created this atmosphere because of which Fox and Sony are going the extra length of getting the censoring done themselves. To give credit where it’s due, Prasoon has indeed been progressive at times. For instance, he allowed the Sonia Gandhi reference and a reference related to Ram Mandir in The Sky Is Pink and Bala respectively. In one crucial scene of Article 15, the characters are discussing various logos of political parties and even here, no cut or mute was enforced. However, consistency is needed.

Sadly for moviegoers, no significant change can be expected in this regard. In the Ford v Ferrari controversy, Prasoon has proclaimed his innocence. He’ll also use this episode in future to show how progressive CBFC has become and that it’s not his fault if people are censoring and then submitting films for certification. And unlike how it was in Pahlaj Nihalani era, the industry is not up in arms against these cuts. And there’s a reason for that, it seems. In an exclusive interview to Bollywood Hungama last year, Pahlaj had alleged that “Prasoon Joshi has added a new clause that whatever modifications asked by the CBFC should remain confidential between the CBFC and the applicant. And if they don’t adhere to it, the certificate can even get revoked. Now tell me which filmmaker would stand the risk of revoking his film’s certificate.” To verify this huge claim has been a task but it won’t be surprising if it’s indeed true. In the last one year, this writer has tried to get a few filmmakers on record after their films got censored but they refused to speak about it at all. As a result, without the much-needed support of the industry, the sanskaari ways of CBFC will continue.

Neha Maheshwri (BOMBAY TIMES; November 10, 2019)

When Rakul Preet Singh entered Bollywood with Yaariyan in 2014, many thought of her as just another South actress testing waters in Hindi cinema. However, over the years, slowly but steadily, she has proven that she is here to stay. The actress is now geared up for the release of her next — director Milap Milan Zaveri’s Marjaavaan. Ahead of the film’s release, she talks to BT about juggling South and Hindi films, what she looks for in a film and her definition of love. Excerpts...

You were hugely successful in South films before you entered Bollywood, and continue to be so. Juggling two industries can be quite demanding, but you seem to have pulled it off. How do you manage to do that?
I am going crazy with the juggling act. In fact, people down South feel that I am not doing enough work there. If I am dividing my time between Hyderabad and Mumbai, I can’t take up four (South) films a year like before. I am still doing two Tamil films and one Telugu movie, running back and forth the entire time. It is back-breaking. Bollywood demands a lot of your time, and even when you are not shooting, you need to make your presence felt. In the South, your manager does the talking for you, but here, it’s critical to add a personal touch.

Are you saying that networking, socialising and attending filmi parties are necessary to bag opportunities in Bollywood?
No, that’s not what I meant. In Bollywood, it’s more about the personal touch you have with people, you reach out yourself for the kind of films you want to be a part of. Also, let me tell you, nobody is going to give you work just because you attended a party. It helps to touch base with everyone, but only good work begets more work. Today, content is what matters and because of that, there is an increasing demand for talent. If you are talented, it might take time, but at the end of the day, you will find your place. Mumbai and Hyderabad are both very welcoming that way. They also appreciate hard-work. If you are hard-working, people are ready to give you a chance.

Over the past few years, you have been dividing your time between Mumbai and Hyderabad. Does living out of your suitcase leave you with a sense of rootlessness?
I am an Indian at heart. Ours is a diverse country with multiple cultures, languages and religions, and I feel the same everywhere. I have always said that Hyderabad is my home, and Mumbai is my house. And, if I am shooting at some other location, I will belong there for some time. I am an Army kid, and I have lived out of suitcases and cartons all my life.

Marjaavaan will see you reuniting on screen with your Aiyaary (2018) co-star, Sidharth Malhotra. While you share a good rapport with him, this film also features Tara Sutaria. Did you guys try hard to make her feel a part of your group?
Sidharth and I hit it off really well during Aiyaary. It’s always fun to work with someone you share a rapport with. You do not really have to worry about whether he would like certain things you do during the shoot. You just have to give your best to the scene. With Tara, though, I shot only for a couple of days, as we did not have too many scenes together. But we shared a friendly equation during those couple of days.

So far, we have seen you in two-heroine projects in Bollywood. In such a scenario, do you ever worry about whether you are paired opposite the hero, or your screen time?
I look at everything — the script, role and the director. I will not take up a role, which is neither opposite the hero nor meaty. To be honest, the first few projects choose you. I would be lying if I said that I chose De De Pyaar De. The makers chose me and I am grateful for that. So far, I am happy with what I have done in Bollywood, since all of them have been performance-oriented roles. For me, it’s important that my character is part of the main plot. I don’t want to be there for just four songs and four scenes. I am not saying that I don’t want to do typical commercial films. I love the naach-gaana, but having said that, I also want to start filtering the offers. I am doing a Telugu film in which I play a criminal lawyer. Indian 2 (Tamil), too, is on the floors. I have also signed four Bollywood films recently. I am just looking for opportunities to showcase my versatility. It is my strength and I want to play to that. And, it’s not easy to sell versatility. Someone had asked me long back, ‘How do we categorise you? Hot? Cute? Girl next door?’ I replied, ‘If you can’t sell my versatility, that’s a problem.’ Why do you need to slot me into a category? Let me be hot, cute, the girl next door, and the girl kicking some mean butt, all in one.

Tell us about your role in Marjaavaan...
I have a special appearance in Marjaavaan, but my character (Arzoo), is paired opposite Sidharth. Also, the character, that of a prostitute, was so interesting that I just wanted to play it. Milap’s (director) selling point was, ‘Yeh meri Rekha hai Muqaddar Ka Sikandar (1978) ki, Tabu from Jeet (1996), and Chandramukhi from Devdas . He told me that there are some vanilla roles, which are of a conventional heroine, and there others that are powerful. I realised that this character is different; in fact, such roles were mostly written in the 90s.

The film has been described as a ‘violent love story’. What is your take on love?
Love, for me, is a selfless emotion. But I feel that it has somehow lost its way in today’s time. We have started misusing it. I believe in the kind of love where you don’t really try to possess the object of your affection. You just love with your whole being. I know it’s deep and probably, that’s why I am single (laughs!).

Tabu is glad that female actors are getting the fee they demand nowadays, but believes there is scope for improvement
Pooja Sharma (HINDUSTAN TIMES; November 8, 2019)

After three back-to-back hits, Tabu feels she is in the most gratifying phase of her career. The actor, who has delivered hits such as Andhadhun (2018) and De De Pyaar De, in the recent past, says, “I am happy about the growth that I have seen in movies, and myself. To get the opportunities, to grow with your work, and have your growth reflect in your work is an amazing thing.” Being in a fulfilling stage in her career, she is more open to push the creative envelope even further. Excerpts from an interview:

After playing intense roles in the past few years, were comedies such as Golmaal Again (2017) and De De Pyaar De a breather?
I did what was required of me as an actor. Having said that, aisi type ki filmein beech mein nahi ban rahi thi. My presence in the serious films worked well. But people have not forgotten my roles in Chachi 420 (1997), Biwi No 1 (1999), or Hera Pheri (2000). When people cast you, they want to give you roles which you are good at. But at that time, these films were being made and so everything worked out in tandem. But my approach for every film has been the same. Every project has a different requirement of course. So, you try to fit into that and do justice to what is required of you.

Now, do you want to charge double after the success of your last few films?
(Laughs) I really should charge double! I am sure the makers who come to me will have that respect for what I deserve and will give me my due.

Are female actors now getting the fee that they demand?
I think so. A lot of demands are being met. I am sure the makers are smart enough to understand that if an actress is bringing them that kind of revenue and is pulling the crowd, they will give her the due. Actors are also intelligent; they know their position and demand accordingly. Of course, it’s a business so everyone will try to get the best deal. But, it is better now.

Are you ever unnerved on the first day of any shoot?
There’s a lot of excitement but no apprehension. Since you have done it for long, so you know the pattern. But, when you go on sets, it takes a day or two to settle, unless you know the people or have worked with them earlier.

How important is it for you to take breaks between movies?
Long enough breaks toh nahi, thoda sa just to regroup, because the process of making a film tires you. I like to take some time off because I like to prep for the film. By prep I mean like costumes etc. I don’t like last minute things such as fittings theek nahi hai, etc., because it distracts you from the shooting process. There are last minute changes, but if we can keep things in order, it saves time.

Happy to bag a pivotal part in Marjaavaan, South star Rakul Preet Singh on how Bollywood warmed up to her after De De Pyaar De
Sonil Dedhia (MID-DAY; November 4, 2019)

One of the leading actors in the South industry, Rakul Preet Singh is now focussing on finding her feet in Bollywood. The year has been lucky for her so far — while her last release, De De Pyaar De, was a box-office success, she has another promising outing in Marjaavaan. Unperturbed that she has an extended cameo in the Sidharth Malhotra-Riteish Deshmukh starrer, Singh emphasises that screen time is not a criterion while selecting projects.

"I play a sex worker, who is headstrong and often indulges in shayari. When Milap [Zaveri, director] approached me, he said that my character is like that of Rekha in Muqaddar Ka Sikandar [1978] or Tabu in Jeet [1997]. He explained that it was a powerful role. The screen time didn't bother me as I didn't want to go by perception; instead, I wanted to take the risk," says the actor.

After making her Bollywood debut with Yaariyaan (2014), the actor found herself gravitating towards Tamil and Telugu offerings. But she says the Ajay Devgn and Tabu starrer gave her the much-needed impetus in Bollywood. "I have signed four films post the release of De De... The film chose me and I am forever grateful for it. I kept getting calls and messages from the film fraternity after it released; the response from the industry has been overwhelming since then. People noticed me in the film because it was a commercial [fare] that had everything, from dance to drama and emotions."

KABIR SINGH remains the top grosser of the year but it is a must for at least one of the bigger films in the last quarter to beat this film. It would be great if the three big holiday releases (WAR, HOUSEFULL 4 and DABANGG 3) all go over this film but if this film is still standing at number one position at the end of the year, then no doubt it means another bad year for the film industry.

The top stars for the year are Akshay Kumar and Ajay Devgn and with a couple of releases to come its pretty much certain that the year will belong to Akshay Kumar. KABIR SINGH and URI put up the big numbers but these films did it without the big names. The top actresses have not really had releases this year and so far its Shraddha Kapoor who has had the best year with SAAHO (Hindi) and CHHICHHORE.

The top twenty NETT grossers of 2019 are as follows.
1. Kabir Singh - 2,76,34,00,000
2. Uri - The Surgical Strike - 2,44,00,50,000
3. Bharat - 1,97,34,50,000
4. Mission Mangal - 1,93,25,00,000 apprx (35 days)
5. Kesari - 1,51,87,50,000
6. Total Dhamaal - 1,50,07,50,000
7. Saaho (Hindi) - 1,48,25,00,000 (21 days)
8. Super 30 - 1,47,00,00,000
9. Gully Boy - 1,34,21,50,000
10. Chhichhore - 1,24,50,00,000 (20 days)
11. Dream Girl - 1,05,00,00,000 (13 days)
12. De De Pyaar De - 94,50,00,000
13. Manikarnika - The Queen Of Jhansi - 90,81,00,000
14. Luka Chuppi - 88,50,00,000
15. Batla House - 88,00,00,000 apprx (35 days)
16. Badla - 87,56,00,000
17. Kalank - 80,03,50,000
18. Student Of The Year 2 - 65,70,50,000
19. Article 15 - 65,17,50,000
20. Romeo Akbar Walter - 38,88,50,000

DE DE PYAAR DE has managed just about fair ratings one television with a little over 65 lakh impressions. The film was a urban comedy so did not have really have much of a reach but still the television premiere is better than films like URI and GULLY BOY which also did the bulk of there business in urban centres though to a varying degree. The television rating is probably better because Ajay Devgn has a bigger reach than the actor of GULLY BOY or URI and the comedy factor even though the comedy is not the type lapped up by the Hindi belt.

DE DE PYAAR DE may not have hit the target on television but TOTAL DHAMAAL is on a phenomenal run as it racks up close to 5 crore impressions in just five peak screenings. That is almost an average of 1 crore impressions per screening and very few films even manage 1 crore impressions on their premiere. The film is one up on GOLMAAL AGAIN and is probably the biggest film on television after BAAHUBALI 2: THE CONCLUSION and TIGER ZINDA HAI, that is, of all the films released in the last few years. If it keeps on going like this then it would become bigger than TIGER ZINDA HAI. TOTAL DHAMAAL is by far the most watched film of 2019.

The top ten television premieres of 2019 are as follows.
1. Total Dhamaal - 1,67,93,000 (Star)
2. 2.0 (Hindi) - 1,65,13,000 (Zee)
3. Kesari - 1,56,66,000 (Zee)
4. Luka Chuppi  - 1,25,00,000 (Star)
5. Junglee - 1,11,77,000 (Star)
6. Simmba - 1,11,02,000 (Zee)
7. Zero - 92,60,000 (Zee)
8. Kedarnath - 72,88,000 (Zee)
9. Race 3 - 70,85,000 (Zee)
10. De De Pyaar De - 66,33,000 (Star)

Below are the figures for peak TOTAL DHAMAAL screenings till date.
1st - 1,67,93,000
2nd - 84,58,000
3rd - 73,06,000
4th - 79,84,000
5th- 84,36,000
TOTAL - 4,89,77,000

Smita Poojary (DNA; August 10, 2019)

After delivering three superhit albums this year — De De Pyaar De, Badla and Kabir Singh, Amaal Mallik has added another feather to his cap as he become the second Indian composer to perform with the world-famous Melbourne Symphony Orchestra after AR Rahman. Says Amaal, “It feels really good. This is a prestigious moment for me and my family. It’s like a dream come true to perform with such great musicians, so it feels incredible.” About being the second Indian composer to perform with the band he states, “When I heard about this, it was unbelievable. It feels amazing as I started my journey about five years ago and now, I’m in Melbourne with my music representing India. My parents, especially my dad is really proud because in his family no one has ever performed at this scale.”

Excerpts from the chat:

While composing songs for movies, does the star factor ever affect you?
In India, films are considered big if there are big actors but nowadays, people are not really keen on that as sometimes movies featuring big stars do not do well. Obviously, it’s fun to compose for big stars, but so far in my career, I have done songs for the younger heroes only. I never choose films because of its starcast, the director and the story are the most important factors for me. I’ve worked with big stars like Akshay Kumar, Sushant Singh Rajput, Salman Khan who had good directors like Raja Krishna Menon, Neeraj Pandey or Sujoy Ghosh. Their films have done really well on-screen. So for me, it’s always the script, if I think the story is good I jump on the project.

Having worked with Armaan Malik quite often, is it an easy or a difficult process for you?
I think it’s very easy as I’m the elder one so I get to boss him. It’s also fun as he is a very talented and hard-working singer. But everyone needs to know that Armaan and I have a very special combination. Whenever we have collaborated it has been a magnificent hit, so the pressure rises every time we work together. We both work even harder, as each time we have to give a better song than the previous one. Together we work very well even though we almost kill each other during the process, but it’s fun (laughs).

What are your thoughts about the trend of remix in Bollywood?
It has always been there, but now it’s been overdone. It used to be done even in the 90s, but they were non-filmi and that was a fun way of paying a tribute, but now makers are too dependent on remixes. For Kabir Singh, an entirely original album had to be done and that’s how music should be made, but unfortunately that does not happen as the labels and the producers are more interested in fast food music. They do not have the time and patience to sit and create good music, but according to me, this trend will stay for two-three years more as it has reached a point where people are getting slightly irritated. Even I have done few remixes, but I did it respectfully. I do not do a remix without crediting the original makers. For me, that is what is most important. So, if I’m working on a remix, I never promote the song as my song, I always say it’s a tribute to the original makers. Ghar Se Nikalte Hi was a tribute to Rajesh Roshan, Javed Akhtar, and Udit Narayan. I’m very clear about that and I do not enjoy doing a remix, but if I can add a good element to the song from my side, that’s the only time I pick it up.

What is the one thing about Indian music industry that you would like to change?
I think the work process — composers do not get enough time to make a good song. That’s the one thing which needs to be changed.

What is tough, singing or composing?
I think both come naturally to me, but composing comes with a little ease as I think I was born to do this. Writing music and thinking on the music section, instruments and melody comes easily to me but luckily I’m not that bad at singing, so it works (laughs).

What’s next?
I have been in Bollywood for five years and now it is time for me to do something new in music for my audience. They have always wanted to see me in music videos, so I’m working towards that now, more towards non-filmi music. And in films, I’m reading few stories, I’m happy that this year I did three really big films — De De Pyaar De, Badla and Kabir Singh. I’m just a year away from thirty and I do not want to reach there without enjoying my life. In the past four to five years, I have given a lot to the film music industry and now I want to do more non-filmi things where people get to see me and enjoy more of my music.

Rachana Dubey (BOMBAY TIMES; August 7, 2019)

Her social media profile describes her as, ‘Actor! In the process of turning dreams into reality!’ Even after six years and over 25 films in Hindi, Tamil and Telugu cinema, Rakul comes across as a fresh, relatively lesser-exposed face. De De Pyaar De, her recent Bollywood outing with Tabu and Ajay Devgn, got her noticed for her ability to balance the complexities of her character. With three more films — one each in Hindi, Tamil and Telugu — ready for release this year, Rakul is truly living her dream.

The actress spoke to BT about finding her feet in the movie business, and her journey so far. Excerpts...

You were noticed and appreciated for your performance in De De Pyaar De (DDPD), which is your third film in Bollywood. Have you had the time to soak in the attention?
I don’t know what it means to soak in the attention. Even the fact that I am an actor hasn’t sunk in easily. I am overwhelmed that the audience and the critics have liked my performance, and it felt great that I could hold my own in a film with Tabu and Ajay sir (Ajay Devgn). Honestly, I didn’t expect such good reviews while acting with these two stalwarts, I just knew that my role was fantastic. I saw DDPD a night before its release, and received messages from many people in the industry the same night. I thanked everyone the next day, starting with the director and the producer. They asked me why I was getting so dramatic. I wasn’t! I was happy that they considered me for the part. I’ve barely been seen in Hindi films, but they trusted me to pull it off. The conversations that have now begun are promising, and I hope things will change. I think you don’t really ‘arrive’; not here, not anywhere else in life. There’s a constant hustle and work that you have to do.

It’s been just six years since you began your journey in showbiz. However, looking back, does it feel like a long struggle, given that you had no background in films when you started out?
I started at the age of 18. For me, it’s been a long, but a good journey. The good part is that a film like DDPD came to me at a time when I could understand its emotional complexities. I don’t think I would have been ready to play a part like this in 2014 when I did Yaariyan and moved to Telugu cinema. I understood the business by being a part of it; I had no one who could explain things or show me the way. There was a time when I went for meetings in sports shoes; that changed with time. When you don’t get success overnight, you value it more, you stay grounded and work hard to sustain it. My first Telugu film opened many doors for me. I thought I might as well do the work coming my way than leave it and chase what’s evading me.

While you have done over a dozen films in South, you have had only three outings in Bollywood so far. Do you think that post DDPD, your career in Hindi cinema will steer in a new direction?
(Laughs!) I don’t know. I am okay with the fact that people didn’t know much about my work before they saw me in my last Hindi film (DDPD) because most of my Telugu films haven’t released here. It’s like actors who go to Hollywood; they may be fantastic here, but it takes time for people over there to notice them. There’s no point in saying, ‘Kaash jaldi ho jata’. I didn’t know much about Telugu films when I got my first offer. But that’s okay, it’s never too late to do anything. Look at the brighter side, if certain roles had come my way earlier, I would not have been as good. You need to have the maturity and ability to grasp the emotional arc required for some roles. Things always happen the way they are meant to. Today, I work for 300 out of 365 days in a year. In all these years, I was never sitting and looking for something. I just worked. About 18 months ago, when I started getting offers from Bollywood again, I felt that I could take some time off from my South films. I did Aiyaary (2018) for the experience of working in a Neeraj Pandey film. Even before it had released, I had signed DDPD and Marjaavaan; I hope the picture remains balanced henceforth.

With more offers coming from Hindi cinema, do you now plan to shuttle between the two industries (Bollywood and Tollywood)? The perception right now is that you are a South star trying to make in-roads here...
Hopefully, I will divide my time between Hyderabad and Mumbai throughout the year. It’s somewhat like Ajay Devgn’s famous leg split in his debut, Phool Aur Kaante (1991). Last year, I went crazy trying to manage my film schedules in both the industries. Bollywood works differently from South; it demands more time from an artiste. So, I have already slowed down my run in the South. I am trying to space out my films and focus more on my work here. Talking about perceptions, I have never been bothered about what others think. If there were misconstrued perceptions about me, I wouldn’t have landed a film like DDPD. There were no pre-set parameters in terms of what I could deliver in that film. The makers trusted me, and I made sure that I didn’t break their trust. That’s the least I could do as an actor.

Considering the fact that you didn’t have anyone to guide you, did you ever feel apprehensive about the professional decisions that you took?
Never, because I landed some good Telugu films. In any case, what did I really come here with? Nothing, except an army background, a family that runs on a fixed salary and Rs 2,000 as pocket money every month. I’ve only grown from that point; so, there has been no reason to feel apprehensive about the decisions I took in my career. Of course, people can sulk over the could-have-beens, but I have always trusted my gut instinct, and it has paid off. Having said that, I’ve not had the time to sit back and analyse these things. I’ve had three-four films releasing a year. So, I’d rather work hard and see the results.

So, who do you turn to for advice?
I seek suggestions from my parents and friends, but all the decisions are always mine. I think one should explore everything, because you just have one life. I am comfortable being all by myself. I find peace, and often, my answers in silence. Over the last four years, I’ve read a lot of spiritual books, which have drawn me to this state of being. Today, come what may, I am happy. My work doesn’t define my state of mind. The most honest answers for the most difficult questions come from within; you just have to be able to accept them.

Today, an actor is not just judged on the basis of their films. With the growing paparazzi culture and the pressure to look good at all times, do you fear being scrutinized? How do you deal with it?
We are scrutinized every minute; how much can you let these things affect you? I have never felt conscious, not even when I once stumbled and fell before the paps. I’m comfortable in my skin and don’t let anything affect me. Mostly, we are well turned-out, but at the end of the day, aren’t we just normal girls, who work in this industry? I don’t want to lose touch with the real me. It’s very easy to lose yourself in the noise around you. Believing in yourself and being comfortable with who you are, is the only way to sustain in this industry.

Being comfortable with who you are is commendable, but at the same time, one cannot overlook the fact that showbiz is a highly competitive world. With a constant influx of new faces and a limited number of projects, there is a lot of competition. Do you think not being overtly ambitious could work against you in the long run?
I didn’t set out to become No 1, and I don’t see the need to place a benchmark for where I want to reach eventually. That will happen if and when it has to. How can I say that this is where I have to be when I haven’t explored or experienced enough in my life? There’s so much to do. Maybe I am meant to go higher than a set target. Competition is great because it pushes you and doesn’t let you become lax. I’m competitive, but I don’t compete with others. It makes the whole picture negative. I play golf, and one can draw a clear parallel between the sport and life. It’s always your game; so, concentrate on the shot in hand, never get overconfident and never lose hope, because flukes can help you win. That’s how I lead my life.

Chaya Unnikrishnan (DNA; August 4, 2019)

Ever since its release in October 2018, AndhaDhun has been breaking records. This Sriram Raghavan-directorial has not only received critical acclaim but it also did extremely well at the box office, crossing the Rs 200-crore mark in China. It is also the top Indian movie on the list of IMDB (Internet Movie Data Base) 2018. The film, starring Ayushmann Khurrana, Tabu and Radhika Apte, will now have a special screening at the Indian Film Festival of Melbourne (IFFM). Tabu and Sriram will head to Australia and hold a masterclass on August 11. “That’s the place where you will practically and physically connect with the people and understand what they think about the film. It will be really nice to understand what they have to say; it’s an organic process. I’m sure more questions will be addressed to Sriram but it will be interesting to listen to the people first-hand,” says Tabu.

Though it’s almost a year since the film’s release, it hasn’t dimmed the actress’s enthusiasm in talking about it. “It’s exciting because of the fact that people still discuss and debate about it. They are curious about the ending — what actually happened, who was telling the truth, who was lying, especially in the second half. That’s the most interesting part, which has kept this film alive,” she says attributing it to the skill of the writer and director.

What is her take on the ending? “I also want to understand what really happened, but Sriram is not ready to reveal. He is okay with any theory about the story. I also believe what you see is what you think. As far as I am concerned, Simi (her character) died and Ayushmann is actually blind in the end. Whether he is lying or telling the truth we don’t know,” she explains.

Immense growth as an actor
The powerhouse performer says that working with Sriram and his team has led to her growth as an actor. “I hadn’t played this kind of a character before, nor worked in this format. It was challenging and enjoyable. We didn’t do the film with a specific object ki acchi chalni chahiye — least of all Sriram — it was purely the passion of working and enjoying the whole process. The memories I have with this film are so personal — it’s really made me richer as an actor and person,” adds Tabu.

Want to be part of all Sriram’s films
So, will she be a part of Sriram’s next? “Only Sriram knows when he will make his movie next. The whole experience of working with him and his team has been so enjoyable, democratic and intimate that I would love to be a part of all his films. My character (despite being negative) got so much love — it’s a rare phenomenon,” says the Golmaal Again star.

Cameo in Saif’s film
The actress will be seen next in Jawaani Jaaneman, toplined by Saif Ali Khan. “It is not a normal run-of-the-mill straight character. It is different and it’s a small cameo. I hope it is interesting,” says Tabu. About working with the Nawab of Pataudi, she says it’s always fun. “I have known him for so many years. He has one of the best sense of humours and wit. Even working with him is fun. He is a fantastic conversationalist and talking to him is an intellectually engaging process,” says she.   

Year of reuniting and reconnecting
Besides Ajay Devgn, with whom she was seen in De De Pyaar De this year, and Saif, with whom she reunites after two decades, Tabu is also doing a Telugu film after a decade. “I am doing a film with Trivikram Srinivas and Allu Arjun, who is the actor in it. I am reconnecting with the Telugu world after 11 years. I recently shot for a week and it was like a breather for me. I have known everyone there for so long and it is relatively a close-knit industry. I am going back to touch base with my roots, so yeah it is a year of reuniting and reconnecting,” she says signing off.

After sharing the screen with him in Sooraj Barjatya’s family drama, actress wraps up a special turn in his home production
Himesh Mankad (MUMBAI MIRROR; July 31, 2019)

Tabu has just returned from London where she shot a cameo for Saif Ali Khan’s home production Jawaani Jaaneman. The coming-of-age film features the actor in the lead and introduces Pooja Bedi’s daughter Alaia F as his daughter. Visibly in a happy space, the actress quips when asked about the experience, “How was it working with them or how was London?”

She goes on to inform that she has a special connect with the Queen’s City as it holds memories of two other films, R Balki’s off-beat love story Cheeni Kum with Amitabh Bachchan, and Luv Ranjan’s more recent De De Pyaar De with Ajay Devgn. “This is an altogether different film, and it’s amazing to work with Saif after so many years.” Their last collaboration, Hum Saath Saath Hain, released in 1999. “We did Biwi No 1 after that but didn’t have any scenes together. Saif has a great sense of humour and I was looking forward to doing this kind of a film with him,” she adds.

Prod her on the role and she says, “It’s a nice and open spirited space for me. Golmaal Again, De De Pyaar De and now Jawaani Jaaneman are all energetic characters, and in this space, you get to do something fun with the clothes and create a look. It’s different from the serious dramas that I had been doing.”

She recounts that Jay Shewakramani who is producing the film with Saif and Jackky Bhagnani, called her one day with this special appearance. “Since he is an old friend, working with him was sentimental and when I heard the story, I discovered that it is a fun space and was instantly game,” she reasons.

Buzz is, she plays Alaia’s mother. “More than being anybody’s mother or sister, it is a character. I like the way my track has been conceptualised, there’s a correct balance of humour but I don’t want to say more. We want it to come as a surprise,” Tabu keeps it short.

Incidentally, another one of her ’90s films, Vijaypath (right), completes 25 years next week and holds a special place for Tabu as it was her first hit. “It’s a coincidence that Ajay and I did a film in the year our first film together completes 25 years, it speaks a lot about our friendship and the work we have done. Twenty five looks like a big number when you write it, but it doesn’t feel so long when it’s Ajay,” she concludes with another laugh.