As told to Avinash Lohana (MUMBAI MIRROR; December 18, 2019)

I made my debut in 1995 with Barsaat, and the first shot I gave for the film was when Shekhar Kapur was directing it. It was a huge, arena-like set, where fights happen. I had to walk down the stairs calmly, with a smile on my face. However, later Shekhar had to choose between Barsaat and Bandit Queen, so Rajkumar Santoshi came on board as a director and that first scene didn’t make the final cut.

Raj made Tina (fellow debutante Twinkle Khanna) and me do some workshops and perform on songs from Andaz Apna Apna to help us open up. He is an amazing writer; I loved the dialogue he wrote for us.

We shot for my introduction sequence on the last day of the shoot, when I broke my leg while riding a horse. We had travelled all the way to London to shoot that sequence. I was on crutches for more than a year-and-a-half after that. I shot for some of the Gupt songs with a broken leg.

For my first film as leading man, we were looking for the title Badal, but we didn’t get the rights. While making my debut, I wasn’t really thinking of my family’s legacy. I never thought of my father as a superstar, he was just pappa to me. And he never made me feel like I had to prove a point or be better than him. He just told me to be myself and work hard.

Technically, my first shot was for Dharam Veer (Manmohan Desai’s 1977 directorial featuring Bobby’s actor-father Dharmendra). One day, dad asked if I’d like to play his character as a child, I instantly agreed. The team got my outfit stitched on the day of the shoot. It was a 30-second role and I had one-line of dialogue, “Yeh baat hai baba, toh yeh lo”. I played a blacksmith’s son and had to use a huge hammer. When I tried to lift it, it was too heavy for me. So, someone on the set made a fake one. I even dubbed for the role myself. Dad was surprised, maybe he had expected me to be nervous.

On our way back home from the set, when I told him, “Pappa, shooting toh kar di par paise toh diye hi nai mujhe”. He smiled and gave me a bundle of Rs 10,000, asking me to give it to my grandmother and to request her to distribute it among all the staff in the house, which I did. It was one of the nicest moments. I also went for the golden jubilee ceremony of the film at a hotel opposite the domestic (Mumbai) airport. I was given a special trophy.

Bobby Deol talks about recreating father Dharmendra's iconic avatar in Housefull 4
Sonil Dedhia (MID-DAY; October 19, 2019)

Thrilled to join the comedy franchise, Bobby Deol says Housefull 4 holds a special place in his filmography for a reason — the Diwali release, in its typical cheeky humour, sees him play Dharam Putra, a character inspired by father Dharmendra's iconic part in Dharam Veer (1977).

"My character resembles my father's [part] in terms of the outfit and the character's name but the intention was not to emulate or copy him. The franchise is known to pay tribute to many memorable characters. Here, I enjoyed playing a comic version of Dharam Veer," says Deol.

Coincidentally, the actor made his first on-screen appearance in the 1977 actioner — he played the young Dharmendra. "I was five when the film was being shot. My father wanted a child actor who looked like him. He casually asked me if I'd like to play the part, and I immediately agreed. I had only one scene, but even today, I feel proud to have worked with Manmohan Desai [director]."

The ensemble comedy sees him reunite with friend and frequent collaborator Akshay Kumar after eight years. "Akshay and Riteish [Deshmukh] have brilliant comic timing that elevates the film."

As told to Avinash Lohana (MUMBAI MIRROR; July 23, 2019)

I had joined the Summer Funk course at Shiamak Davar’s dance institute (left) when I was around 16. I had a blast and even won an award after being adjudged one of the best dancers. Unfortunately, the trophy broke while I was returning home from the performance hall. Now, that was heart-breaking. But I guess I must have caught the eye because soon after, I was selected for a special potential batch and started assisting an instructor by the name of Kunal.

We were given two options: we could teach at one of Shiamak’s commercial classes or as a part of an initiative, train the kids of sex workers in Kamathipura. I chose the latter and worked as an assistant instructor with them for almost a year. Besides dance, we would also help them with their studies. It was an incredible experience and life back then was hectic.

I remember I would catch the 5.50 am local train from Andheri to Grant Road. On the way, I would grab a samosa-pav and Rooh Afza-laced milk. The class would go on for an hour or so after which Kunal and I would go to an Irani bakery for breakfast. Then, I would leave for college while he would head towards a work commitment. In the evening, all the instructors would meet again for training. Our day never ended before 10 pm, sometimes even 11 pm. I was one of the youngest instructors, VJ Manish Anand was one of my colleagues, and I have fond memories of the time we spent with those kids.

I earned my first salary from a school assignment. Some people had flown down from New Zealand and were working on a catalogue. They needed a still photographer for their project and zeroed in on me. I was paid Rs 200 for those pictures and I used the money to play video games.

While I was dabbling in all this, I knew deep down that I wanted to be an actor but the plan was to get into it after completing my education. But when I was 17, I was working at the dance institute where I met this producer who offered me a TV show. It was Diwali night. I grabbed the offer and shot for it, waiting impatiently for the show to air. But because of some legal issues between the producers and the broadcasters, it was stuck. It finally released after six years in the 2 am slot. And my mother would stay awake to watch it.

However, while I was waiting for it, I worked in the same producer’s office for two-three months as an assistant in the creative team. I would conduct auditions. After that I tried but since no offers were coming my way, I joined a coffee shop in Juhu. I was the cleaner-cum-worker. The idea of starting work at such an early age was to support myself and my family in whatever way I could. I worked at the coffee shop for six to seven months. My job included monitoring the restrooms to see that they were cleaned every few hours. I had to check if the soap and the tissue paper were there, among other things. Sometimes my friends would show up and order a cappuccino, leaving behind a Rs 10-Rs 20 tip for me.

Occasionally, I would see people giving me the ‘look’, wondering why a well-spoken guy like me was working at a coffee shop. One of my seniors there knew I had acting aspirations and would encourage me a lot. He called me “sundar ladka” and believed good things were in store for me.

I hung on to my acting dream and eventually Dharam Veer (below) happened in 2008. This TV show was a fictional story of two princes set in 13th century Aryanagar with me playing the righteous and dutiful Dharam and Rajat Tokas as Veer. This was followed by Balika Vadhu a year later, followed by other TV shows like Baba Aiso Varr Dhoondo and Qubool Hai, followed by my big Bollywood break in Lootera in which I played Ranveer Singh’s friend. I have just wrapped up Meghna Gulzar’s Chhapaak with Deepika Padukone.

Bobby Deol on playing young Dharam, the similarities between him and his father, and reuniting with him and brother to take the Yamal Pagla Deewana franchise forward
Roshmila Bhattacharya (MUMBAI MIRROR; August 9, 2018) 

What was it like to reunite with dad Dharmendra and brother Sunny for the Yamla Pagla Deewana franchise?
It’s always exciting working with dad and my brother. I wish I could do more work with them but it takes time to find good a script. This franchise itself is returning after four years.

This is the fourth film, if you include Apne, to feature the three Deols. Does it get easier working together over time?
During Apne there was some nervousness because I was facing someone I’d looked up to all my life, someone who is a father before an actor to me. But dad is an amazing co-star. He motivates you, gives you space and encourages you to improvise. He’s full of surprises as an actor.

Apne wasn’t your first film together. You had played the young Dharam in Dharam-Veer in 1977...
(Laughs) I was around six then. Dad was looking for someone to play his character as a child, someone fit, with strong legs, and since it was difficult to find one, asked if I’d play the role. I was game, completely uninhibited. I just wanted to be an actor and was really excited to go on the set. I remember picking up the hammer which was too heavy for little me. They reassured me, saying, “Don’t worry, they have made a lighter one for you.” It was a fleeting appearance, not even 30 seconds, but it made me feel on top of the world. I dubbed my own lines and during the golden jubilee celebrations, since dad was not in town, I went with my chachaji to collected his trophy. They gave me one too.

In the first Yamla Pagla Deewana you had recreated your dad’s iconic scene from Sholay, lurching drunkenly and threatening to commit suicide. Director Navaniat Singh informs that you have recreated it thrice in Part 3.
This time it was different. Yes, there are moments that resembled what dad had done in his films, including Sholay. It’s fun, who better than his sons to do what he has done before We look alike and there are similarities…

How similar are you?
(Chuckles) I’m as gullible as dad. My brother too is a lot like him, at times.

There are moments in the film when you’re upset with him for not paying rent. What makes you angry for real?
I don’t like people who lie and who are fake. Humans get angry easily (laughs). We are more angry than happy, we only need reasons to get upset.

Earlier, we knew Bobby as the Deol who could dance and was good in action films. Now, we are getting to see your comic timing too.
Given a choice I’d still like to do more action films and thrillers. Even as a viewer that’s what I enjoy. Comedy was the third choice but it’s the flavour of the industry today and I don’t want to be left behind. I enjoy the genre. Dad’s comic timing is on another level and that motivates me. It can be difficult or easy depending on how you feel and the script. Some scripts are not funny and you wonder why you’re doing what you are. It works when the writer, director and the actors work as a team.

You’ve just returned from the first schedule of Housefull 3. That must have been fun.
I’ve known Akshay (Kumar) and Riteish (Deshmukh) for years, Sajid Nadiadwala since my first film and Sajid Khan since college. All of them have great chemistry having done a lot of films together and it was fun being a part of that. It was fun understanding and learning their brand of comedy during those 12 days. The main shooting will start in September in India.   

Do you believe in punar janam now, given that the film deals with reincarnation?
(Laughs) As a kid someone told me a story about rebirth and it upset me. I insisted I’d only return as my mum and dad’s son as I couldn’t live without them.

Twinkle, your first co-star in Barsaat, is now married to Akshay. Did you find time to catch up when in London?
Tina hardly comes to the sets but my wife (Tanya) and she went with the kids to Hyde Park. Aarav (Akshay, Twinkle’s son) and Aryaman are around the same age and bonded well. I was working most of the time and Tina was doing her art course.

Are your sons, Aryaman and Dharam, showing an interest in the craft?
There is no business like showbiz and my sons are definitely inclined towards it. But at the moment I want them to concentrate on their studies so that they have options open to them.

Sunny’s son Karan is gearing up for his launch. Any advice for your nephew?
Nobody likes advice. As a youngster even I thought I knew everything. As long as they listen to what you say and follow it, it’s okay. Everyone learns from their own experiences. I just tell the kids to be focussed on their work, everything else will fall in place.

In a song with Kriti Kharbanda “Nazar Battu”, you don’t look older than 20. What have you done to set the clock back?
(Laughs) I’ve just started taking better care of myself — eating right, working out, being focussed. Luckily, I have great genes, my dad doesn’t look 80. And when you are positive from within, the energy makes you look younger and fresher.

Race 3 brought Salman Khan into your life. Any other collaborations on the way?
I hope so. We are constantly in touch, he’s monitoring my workouts. He is always so concerned and motivating. He’s such a superstar, yet he cares so much for others. I don’t have words to express what I feel for him.

Karan Johar is all set to revive the Dostana franchise. What memories does the 2008 film bring back for you?
Karan is a great producer. He took such good care of us. And it was so much fun being on the set with John (Abraham), Abhishek (Bachchan), Priyanka (Chopra) and the director, Tarun Mansukhani. I was wondering why it’s taking them so long to spin a sequel and now finally they have a script. I’m looking forward to seeing Dostana 2.

Avinash Lohana (MUMBAI MIRROR; November 13, 2017)

Four years after the release of Mrighdeep Singh Lamba’s coming-of-age comedy Fukrey, Ali Fazal, Varun Sharma, Pulkit Samrat, Manjot Singh and Richa Chadha are set to return with the sequel. Mirror has now learnt that producers Farhan Akhtar and Ritesh Sidhwani have recreated the iconic song, “O meri Mehboobo”, from Manmohan Desai’s 1977 fantasy-adventure, Dharam Veer, which had featured Dharmendra, Jeetendra, Zeenat Aman and Neetu Singh.

“It’s the first song in the film and comes at a crucial point in the narrative as Part 2 starts exactly one year after the original ended. Richa’s lady don, Bholi Punjaban, is in jail and Hunny, Choocha, Lali and Zafar are enjoying life, believing the past is behind them, when lives spirals downwards. It is picturised on the four boys,” informs Ritesh, adding that composer Prem Hardeep who had scored “Kala Chashma” for Nitya Mehra’s Baar Baar Dekho sent them scratch with the hook line being “O meri mehbooba”.

Ritesh loved the song and Raftaar has rapped for the recreated “Mehbooba”. The makers have retained the original hook line, “O meri mehbooba mehbooba mehbooba, tujhey jaana hai toh jaa teri marji mera kya.” “We are even trying to retain Mohd. Rafi’s voice, it’s a great song and I hope everyone likes this version,” says Ritesh.

With so many classic numbers like “Tamma Tamma”, “Humma Humma”, “Tu Cheez Badi Hai Mast Mast” and “Hawa Hawaii” among many others being recreated, has reworking old classics become the new trend? “I don’t know about trend as it depends on the film and it’s requirement. It worked for “Kala Chashma” and for Judwaa 2. Even in Don we kept “Khaike Paan” and “Yeh Mera Dil”. Thanks to technology we can retain the melody while making it slightly more contemporary,” the filmmaker explains.