Showing posts with label Dolly Kitty Aur Woh Chamakte Sitare. Show all posts
Showing posts with label Dolly Kitty Aur Woh Chamakte Sitare. Show all posts
I have been wanting to hold a gun, shout some expletives-Amol Parashar
3:27 PM
After a slew of comedies and feel-good stories, Amol Parashar shifts gears to an intense inheritance drama co-starring Nimrat Kaur
Letty Mariam Abraham (MID-DAY; April 4, 2025)
Amol Parashar was harbouring a wish for long. He wanted to wield a gun in front of the camera. Oddly, directors could not imagine the actor, who has shown his prowess in comedy with Tripling, Cash (2021) and Sweet Dreams, in such roles—until now. Parashar will soon be seen in an inheritance drama, which co-stars Nimrat Kaur and is directed by Sahir Raza, who previously helmed Illegal—Justice Out of Order.
Naturally, the actor is excited to portray an intense role after starring in a slew of feel-good stories. “It is an inheritance drama, a genre I haven’t done yet. I have been wanting to hold a gun, shout some expletives, kill someone or get killed. I was not getting any of those roles for some reason, until this,” he says of the yet-untitled series.
The show, shot over three months, was wrapped up last May. Parashar adds, “It’s the darkest story I’ve ever been a part of. I am playing such a maniac that it was liberating as an actor.”
Eager to shed the boy-next-door image, he credits Ektaa R Kapoor for imagining him in a different role when no one else did. “After Tripling, everyone said I was too urban. That’s when Ektaa approached me for Dolly Kitty Aur Woh Chamakte Sitare [2020], where I played a small-town boy,” says the actor, who also has Gram Chikitsalaya and Nausikhiye lined up.
I would like to see my face on the poster of a film someday-Kubbra Sait
8:05 AM
Onkar Kulkarni (BOMBAY TIMES; July 30, 2021)
Over the years, Kubbra Sait has learnt to strike a balance between films and web shows. The actress is happy that content makers are now offering her roles in both formats that put her acting skills to the test.
She says, “I think I have been able to make this transition from being a host to becoming an actor, beautifully. I am thankful for films like Jawaani Jaaneman and Dolly Kitty Aur Woh Chamakte Sitare as they gave me space to breathe and I got to be myself as an actor,” says Kubbra, who seemed to have got typecast in movies like Sultan and Gully Boy, where she played a host on screen. “I am looking to go beyond these roles, but if you ask me to go back and do a film with Zoya Akhtar again that has me playing a host once again, then, yes, I will do it! It is Zoya Akhtar after all! Hamari bhi toh laalach hoti hai. And yes, I am greedy to work with someone like her. Else, I would rather give a role like that a pass. I love the thought of playing someone else and I want to explore that,” says Kubbra.
The actress hopes to play a lead heroine soon. “I would like to see my face on the poster of a film someday and I will be very responsible about it (the position) too,” she says.
Considering the ever-increasing competition in the industry, does she have to work on polishing her skill set? “If I am a leading lady in a Bollywood film, it isn’t necessary that I need to just dance or do action, right? I think the one thing I need to know is how to act, which I am learning every day,” Kubbra says.
Kubbra says, “Through my past experiences, I have realised that if the makers, the script and you come together, then everything else falls into place. From learning the accent of the character, dance to action moves... sab aayega. You will take your time, be that person and deliver your best performance. What’s important is that you are open enough to learn and absorb when the time comes,” she shares.
While she’s hoping for a brighter future in showbiz, she faced a tough time at the beginning of the pandemic in 2020. Though she has now managed to wrap up the shoot of her international series in Ireland, she recalls that she had to leave the shoot abruptly and come back to India due to the lockdown. “In early 2020, I went there for the shoot. But one fine day, I got a call from the team saying the shoot was suspended. They asked me if I wanted to stay back or leave for India; I chose the latter. At that point, I started taking stock of how much money I have to live in Mumbai. I wondered if it was better to instead go to Bengaluru to stay with my folks. Eventually, I calmed myself down. Woh kehte hai na, kuch na kuch zariya nikal hi aata hai. So, when I was in Mumbai, I shot for an entire web show sitting in the confines of my house. Today, as we continue to battle the situation, I must say that I love living in this random streak of hope. It is the one thing that keeps me going. I am living in the present, being hopeful about a better tomorrow,” she signs off.
Feels Like Ishq was a way of moving out of my own circuit-Amol Parashar
9:00 AM
Amol Parashar, who features in 'Feels Like Ishq', says the Netflix anthology is his attempt to work with new people and gain fresh perspective
Mohar Basu (MID-DAY; July 20, 2021)
'Feels Like Ishq', Netflix’s upcoming anthology of love stories, has an emotional connect with its actors. The project is Seher Aly Latif’s final production before her untimely demise in June. When we get on a call with Amol Parashar, we start our chat remembering Latif. “I had known her as a casting director, having auditioned with her for years. Seher and I hadn’t worked together till this project came along. After she passed away, I was going through our texts; she had sent a text, saying, ‘We are finally working together.’ It makes me sad that she isn’t here to see what we have done together.”
In the anthology, Parashar stars alongside Radhika Madan in Save The Da(y)te, which is directed by Ruchir Arun. It’s safe to say that 'Feels Like Ishq', with its breezy treatment, is home turf for the actor. “When OTT started off in India, such light-hearted shows [were churned out] to captivate young audiences. Thereafter, [content creators switched gears] to full-blown crime and heartland stories. I want to dabble in crime dramas in the near future, but these tender stories have a way of warming your heart. For me, this project was also a way of moving out of my own circuit. On every project, I bump into people I know. But with 'Dolly Kitty Aur Woh Chamakte Sitare' and 'Feels Like Ishq', it was a new world waiting to offer fresh experiences and a fresh perspective.”
Parashar is also hoping to slip back into the role of Chitvan for the third season of 'Tripling', a show that made him an overnight sensation. It can’t possibly be easy for writers Sumeet Vyas and Akarsh Khurana to pull off a road trip series in post-pandemic times. Quiz him on the show’s progress, and Parashar says that he stays out of the writing stage. “I don’t let Sumeet tell me about the discussions that happen at the writing stage. The character of Chitvan is such that I need a full narration to be surprised by him. Considering the [third season’s] announcement has been made, it’s certainly in the vicinity.”
Bold and edgy: OTT breaks sexual taboos
7:54 AM
The digital space is revolutionsing the portrayal of female sexuality by exploring its varied dimensions
Sugandha Rawal (HINDUSTAN TIMES; March 27, 2021)
For decades, female sexuality has remained a hushed topic onscreen, with no focus on the demands, needs or pleasure of a woman. But not anymore, as the OTT space is scripting a change in the narrative, while stripping off the taboo around such subjects, changing mindset – one show at a time.
“Female sexuality is finally being acknowledged in storytelling. This is a positive change. Women are finally being acknowledged as sexual beings and not merely as objects of male desire,” says actor Rasika Dugal, who received acclaim for her role of a sexually dissatisfied wife, who starts a relationship outside marriage in web series Mirzapur.
There was a time when the subject of sex came with a bundle of awkwardness, sometimes wrapped together with suggestive lyrics or visual metaphors like brushing of flowers. Yet, sex was hardly a female affair, and that is what the filmmakers are out to change now. Be it a story of four friends exploring their sexuality in Four More Shots Please!, or the importance of consent in Aahana Kumra’s Marzi, or a more complex look at sex play in recently launched, Bombay Begums.
And filmmaker Imtiaz Ali is pleased by this positive change in the way these subjects are being explored. “OTT platforms allow the point of view and the duration to look at women in a more multi dimensional manner,” says Ali, creator and writer of She, adding, “Sexuality is something that in our society is often used as a weapon to repress people. And being able to make a story about that was very interesting”.
Interestingly, now, the focus is not just on sex, but on exploring one’s sexual identity and owning it up without any hesitation. If there are women indulging in acts of self-pleasure, then there are also women struggling with their orientation. Some examples of redefined portrayal include shows such as Lust Stories, A Married Woman, Dolly Kitty Aur Woh Chamakte Sitare, and Made In Heaven.
Dugal finds it encouraging that “scripts are now exploring and celebrating femininity”; however, she has her concerns. “Filmmaking is a visual medium and there’s a long journey between the written words and the visual. Sometimes, even the most well-meaning scripts end up with sexualised images or visuals. Even with the best intentions we’re finding it hard to break away from those,” she rues.
Actor Shweta Tripathi Sharma, whose introduction scene in Mirzapur showed her character indulging in an act of self-pleasure, feels it’s time to normalise the conversation about women having desires. “This happens, there’s no point shying away from it. Let’s not be hypocritical,” she says. Recalling her introduction scene, Sharma says, “I didn’t think it was a big deal. But there were so many journalists who asked me about it, and I was like ‘Come on.. As actors, we put ourselves out to tell a story... toh iss ko itna bada mat banao.”
For Sharma, the intent of a story is more important than the act. “As long as that intention is correct, it should definitely be explored,” she says, adding, she’ll never associate with a scene which is done just to catch eyeballs. “We have huge responsibility as actors and as storytellers, and we shouldn’t exploit the power... Our moral compass should be in the right place,” she shares.
Director Abhishek Pathak feels that “the way the content is perceived by the audience has also changed in a positive way”. To this, Sharma adds, “The more educated we are, the better it will be. I think the audience is definitely more aware.”
A still from (L to R) She, Bombay Begums and Dolly Kitty Aur Woh Chamakte Sitare
Male gaze vs female gaze: Do female directors tell women stories better?
8:25 AM
Juhi Chakraborty (HINDUSTAN TIMES; January 31, 2021)
Female-driven stories told by female filmmakers have been gathering steam in the past few years. Films such as Lipstick Under My Burkha (2016), Raazi (2018) and Panga (2020), and the recent ones such as Dolly Kitty Aur Woh Chamakte Sitare (2020), Tribhanga and Sir have received immense love from the audience. These have been hailed mainly because of the treatment given to the stories attributed to the women directors behind them. This has also led to the discussion whether when it comes to women-centric stories, female filmmakers are more inept to tell them with sensitivity and correct treatment.
“There is something called the female gaze that comes into play. It is about how you write characters, how you shoot them and your point of view. That also changes the audiences’ point of view because they see the characters the way you present them. Right now, we are still living in cinema that is moulded by men. Everything is determined by the male gaze,” shares Alankrita Shrivastava, who has helmed Lipstick Under My Burkha and Dolly Kitty Aur Woh Chamakte Sitare.
Actor Richa Chadha, who worked with filmmaker Ashwiny Iyer Tiwary last year in Panga does not think there is much difference between how a female or a male directs a film but she says it stands true in the case of few their subjects. “In my experience, it’s not been that. But when I watch something like Dolly Kitty Aur Woh Chamakte Sitare, it appears a lot softer than other films. Even the topic of sexuality is handled sensitively,” she says.
Rohena Gera, who handled the story about a romance between a domestic help and employer in Sir, says it is difficult to say whether it is about gender.
She says, “Who is to say that as a sensitive man wouldn’t make a sensitive female-centric story. The stories one tells as a filmmaker is also because of his/her exposure to things. I find it difficult to categorize things as gender.”
Having worked with a female director in one of her most notable films, Tanuja Chandra’s Dushman (1998), Kajol recently collaborated with Renuka Shahane on her directorial venture, Tribhanga. The actor says, “I didn’t consider Renuka as a director. She knew what she wanted, her gender notwithstanding.”
Shrivastava feels that the onus is also on women directors. “That’s because not all have that female gaze. And, because the place is so lonely they prefer to perpetuate the status quo that just continues this male, patriarchal gaze,” she adds.
Amol Parashar, Cyrus Sahukar to navigate terrains of Manali in adventure reality show Feelin Alive
8:11 AM
Amol Parashar of Dolly Kitty Aur Woh Chamakte Sitare fame hosts adventure reality show Feelin Alive
Mohar Basu (MID-DAY; January 5, 2021)
After winning love for his act in Alankrita Shrivastava's Dolly Kitty Aur Woh Chamakte Sitare (2020), Amol Parashar dives into the familiar world of non-fiction with Feelin Alive. The Discovery Plus reality series sees Parashar and co-host Cyrus Sahukar navigate the unforgiving terrains of Manali as they go snowboarding at Solang Valley and slacklining at Jagat Sukh, among other adventures. Understandably, the show comes as a respite for the actor-host who, like most of us, has spent the better part of 2020 cooped up at home.
"I did this show because I was curious about the format, and was excited to go to places and do things that I wouldn't have done otherwise. Such shows don't require much pre-shoot prep, but they demand extreme focus and effort during the shoot. You have to think on your feet constantly and find solutions to all the uncertainties that this format throws up regularly. It can get tiring at times, but you can't let it show on camera," says the actor. Finding his way around the tough terrain of Himachal Pradesh was a joyride for Parashar, who shot the series in August. "I love the hills; the terrain gets particularly difficult when it snows, but it also adds to the fun."
On the acting front, one would assume that the love Parashar garnered for Dolly Kitty… has translated into more opportunities, but he has a different take. "You can't always measure benefits tangibly, but the response it got definitely [changed] how people look at me and my work. It gives me satisfaction that I held my own among artistes of such high calibre."
The award shows of our country should include films that are releasing on digital platforms-Bhumi Pednekar
8:09 AM
With Durgamati poised for a digital premiere after Dolly Kitty, Bhumi Pednekar encourages Indian award galas to consider OTT films for top honours
Mohar Basu (MID-DAY; November 27, 2020)
A day after the trailer of Durgamati dropped online, Bhumi Pednekar is basking in the love coming her way. The horror film, which was originally supposed to release in theatres, is poised for a digital premiere on Amazon Prime Video. "Due to the Coronavirus pandemic, movies directly releasing on digital platforms is a unique scenario that we are all living with," states the actor.
The Ashok-directed venture marks her second OTT release after Dolly Kitty Aur Woh Chamakte Sitare. At a time when the content consumption pattern has witnessed a dramatic shift the world over, Bhumi Pednekar is hopeful that the award galas in the country will consider films that have enjoyed a straight-to-OTT release for top honours.
The Academy of Motion Picture Arts and Sciences too changed its criterion for Oscars 2021 in light of the pandemic — movies that had planned a theatrical release but had to be streamed on an OTT platform due to the lockdown will now be eligible for the golden statuette.
Making a case for the change, she emphasises, "Dolly Kitty... was appreciated by critics as well as the audience. I'm hoping they will love Durgamati too. In such an environment, the award shows of our country should include films that are releasing on digital platforms. It will be a necessary step to acknowledge the hard work that artistes and filmmakers have put into making these movies. It will benefit the industry to push the envelope and make more clutter-breaking films. The award shows in the West have started recognizing digital content. "
Bullish about Durgamati, the actor promises that the horror outing will leave the audience gratified. "I have probably worked the hardest on this film; it drained me."
The industry has embraced me with open arms-Vikrant Massey
2:25 PM
Juhi Chakraborty (HINDUSTAN TIMES; October 23, 2020)
Nepotism in Bollywood has been a hot topic for a while now. But actor Vikrant Massey has a different take on the insiders vs outsiders debate. “I am a firm believer of the power of hard work and potential. The industry has welcomed and embraced me with open arms, and I cannot complain. From doing TV, to playing smaller parts, to being hero ka dost and then to be part of critically acclaimed films and also dabble in commercial space as lead, I think I have done it all,” he shares.
Massey adds that what we get to see and get to hear today is rather unfortunate but everyone can see through it and not pay any heed to the larger agendas at play. “Any sensible head on a shoulder would gauge as to which direction this conversation is heading and it is very disheartening to see that. Thankfully the people I am around know the ulterior motives. They know the larger picture and are not affected by it,” he points out.
Massey says that his journey so far has been, “incredible”. “I am grateful for the life I lead; everything that I have is because of this industry,” adds the actor, 33, who has had three back-to-back OTT film releases — Dolly Kitty Aur Woh Chamakte Sitare, Cargo and Ginny Weds Sunny — in the last few months. “The last 7 months have been difficult for all of us. To be able to do things that you love, which in my case is entertaining people through my stories, is great,” he says.
Bhumi Pednekar is for theatre reopening, but with audience safety
8:05 AM
Shreya Mukherjee (HINDUSTAN TIMES; September 29, 2020)
In love with the big screen experience, Bhumi Pednekar is all for theatres to reopen soon. Even as most countries are working to find a solution, closer home, the West Bengal government’s announcement that it will allow limited reopening of cinemas from October, has raised hope.
“I completely miss the big screen experience. Being one in the audience, I’ve always enjoyed the universal emotion towards something that’s happening on screen. Nothing can match that. So, I really hope for theatres to open soon but not the cost of audience safety,” she says, adding, “I’m not an expert, so I don’t know the right way of doing it. But we must remember that the virus is still spreading.”
The actor also urges people to help showbiz stakeholders in dire need. “We need to address the suffering of daily wagers in every way possible,” says Pednekar, whose latest film Dolly Kitty Aur Woh Chamakte Sitare took the OTT route recently.
This shifting of platforms has also been a talking point. While some are fine with the arrangement, many feel otherwise especially when it comes to bigger films.
Pednekar feels theatre and OTT can’t be compared. “Watching a film in a theatre will always be special. But I feel that Dolly Kitty… got the kind of audience it deserved on OTT. The film had travelled a lot internationally and garnered love. So, this arrangement worked in its favour as it got the deserved global release,” she adds.
People look at delivery boys in new light after Dolly Kitty Aur Woh Chamakte Sitare-Amol Parashar
8:25 AM
Shaheen Parkar (MID-DAY; September 27, 2020)
Best remembered as Chitvan from the web series, Tripling, Amol Parashar finds himself in the spotlight again. He is winning accolades for his act of a food delivery boy hoping to get a five-star rating from customers in Dolly Kitty Aur Woh Chamakte Sitare. "People tell me they are looking at them in new light. These guys come at our doorstep, deliver and disappear. Most of us don't even think about their profession. I liked how Alankrita [Shrivastava; writer-director] penned my character. He had a story to tell beyond doing just home deliveries," says Parashar of the Netflix film.
He admits he was initially "nervous" about shooting with co-actor Konkana Sensharma. "I had never met her before. She's someone I admired. I feared being caught [as someone] who knows nothing about the craft." But his fears were put to rest quickly as both Shrivastava and Sensharma made him comfortable. "It has a lot to do with where they came from. They were open to suggestions, questions and discussions."
It has been a long trek for Parashar to find a toehold in Bollywood. He made his debut in Shimit Amin's Rocket Singh: Salesman Of The Year (2009) featuring Ranbir Kapoor. "It happened by accident. It was surreal to be part of a YRF production. I still remember Yash ji [Chopra] on the set." Parashar then went on to do Rajesh Pillai's Traffic (2016) starring Manoj Bajpayee and Parambrata Chattopadhyay.
Post Dolly Kitty Aur Woh Chamakte Sitare, he is now hoping to find "interesting stories with interesting characters and interesting makers in the web and film world".
Fenil's Bollywood Talk # 640
10:39 AM
HOW FILMS DISAPPEAR FROM PUBLIC MEMORY IN NO TIME THANKS TO OTT!
When films release in cinemas, the entire promotional exercise and even the situation naturally used to be such that those films would get talked about for a couple of weeks at least post its arrival in cinemas. Pre-release, the buzz would be maximum thanks to elaborate publicity strategy. Even if promotion was minimal, there used to be a discussion about the films on social media and even offline. Once the film would release, the promotions from the part of the producer used to reduce. But the reviews, daily box office reports etc used to keep the film in news or at least in discussion among netizens.
Today, with theatres shut and many films releasing directly on streaming platforms, the scenario has altered drastically. The films make minimal noise when the trailer is out. The promotions are limited because the producers don’t feel the need as they have already got the money from the OTT giant. This was not the case earlier when the makers went with the belief the more you promote, the more the chances of film catching the attention of the viewers and the more the chances of it becoming a box office success. And once the film releases on OTT, there’s a bit of noise surrounding it because of the reviews and moviegoers sharing their views. However, in 3 or 4 days, the movie gets forgotten, as if it’s wiped off from public memory!
The first major release on OTT was Gulabo Sitabo, starring Ayushmann Khurrana and Amitabh Bachchan. It was released on Friday June 12 and it hardly made waves on day 1 and day 2. On day 3, it was totally forgotten as the same day, Sushant Singh Rajput passed away and it dominated the headlines (and still continues to do so). Hence, a benefit of doubt was given to it. But the same happened with the other films as well. On July 31, 3 films released on different platforms – Shakuntala Devi, Lootcase and Raat Akeli Hai. All three were acclaimed but got discussed just for 48 or at best 72 hours.
August 12 saw the release of Gunjan Saxena – The Kargil Girl, starring Janhvi Kapoor. It is the story of India’s first woman combat pilot and it got into controversy because of the portrayal of Indian Air Force. This is the only film that was discussed for more than 3 days and that too due to these issues. Again, a week later, it faded into oblivion. Same with Sadak 2. It was in the news as its trailer got the most number of dislikes on YouTube. The film was widely panned and usually such films do stay relevant for being trashy. Sadak 2 proved to be an exception.
In case of films which don’t face a controversy, the condition is horrible. Khuda Haafiz, an actioner starring Vidyut Jammwal, got praise from critics. But it just didn’t make any sort of noise. It may have got viewership but it’s sad such a nice film was ignored on social media. If it had been released in cinemas, this wouldn’t have been the case. A similar example is of Dolly Kitty Aur Woh Chamakte Sitare. It stars Konkona Sen Sharma and Bhumi Pednekar and is directed by Alankrita Srivastava of Lipstick Under My Burkha fame. This flick raises some important issues of patriarchy, feminism, a woman trapped in unsatisfied marriage, cross dressing etc. There’s no doubt it would have stirred a huge discussion if it was a theatrical release, notwithstanding its box office fate. But it was released online and didn’t really have the traction it deserved. It’s not even uncommon to see many moviegoers not even being aware that Dolly Kitty Aur Woh Chamakte Sitare and Khuda Haafiz have even been released.
The upcoming few months will see the release of big films online like Laxmmi Bomb, Coolie No 1 and Bhuj – The Pride Of India, starring biggest of names in the star cast. It remains to be seen if these films also get royally ignored or do they manage to be talked about for at least a week after it’s digital release.
I have played strong morally upright characters for too long and it can get boring-Konkona Sen Sharma
8:46 AM
Konkona Sensharma talks about what drew her to Alankrita Shrivastava's Dolly Kitty Aur Woh Chamakte Sitare
Shaheen Parkar (MID-DAY; September 23, 2020)
Konkona Sensharma's recent outing Dolly Kitty Aur Woh Chamakte Sitare on Netflix garnered her rave reviews from critics, audiences and her mother, Aparna Sen. She says, "Mum is critical and honest, so for her to say something [positive] means a lot." The actor accepts that while her choice of roles have always been varied, she has always played the quintessential good girl in films and Alankrita Shrivastava's directorial venture was a welcome change from that.
The actor said she found something new in the role of a woman living a seemingly perfect life in a messed up situation. "In most of my films, I have played strong morally upright characters and it can get boring. So, when I got the chance to play Dolly, a smart and intelligent woman who can also make bad choices, I grabbed it. The character transition is something I've never done before," explains Sensharma, adding that the choice became easier as Shrivastava was helming the project. After 2016's Lipstick Under My Burkha, the Bhumi Pednekar-starrer is Sensharma's second outing with the director. She says, "There is a trust, respect and a comfort factor working with Alankrita. We share a similar world-view and our ideologies match. Cinematically, the world she inhabits is unusual and distinct; something I would love to be part of."
Though known for her acting chops, the director-actor is not seen in too many projects. "I have not got irresistible offers. While some are not great, a few I do not connect with. Taking care of a small child [son, Haroon] is another reason I opt for fewer projects." At nine, Haroon registers her as an actor, but is displeased that he cannot see any of his mother's on-screen work. "Most of my films have an A certification. Haroon cannot even watch my directorial, A Death In The Gunj as it is meant for adults. He tells me I should do more kid-friendly films, so he can watch them," added Sensharma, who has wrapped up Nikkhil Advani's web series 26/11 Mumbai and Seema Pahwa's directorial debut, Ramprasad Ki Tehrvi. "I am also collaborating for a digital show, but it's in the initial stages and too early to talk about."
(Crisp) Movie Review: DOLLY KITTY AUR WOH CHAMAKTE SITARE by FENIL SETA
4:29 PM
Dolly Kitty Aur Woh Chamakte Sitare tries to make an important comment about patriarchy in our society and is also laced with some great characters. A few scenes are exceptional but overall, the impact is minimal. This is mainly because there are too many unconvincing moments and situations in the film. The subplots are aplenty and not all of them reach a logical conclusion. The finale is bizarre. Performances however are too good. Konkona Sen Sharma is terrific as always and she proves yet again why she deserves to be seen more. Bhumi Pednekar also gives her best. Vikrant Massey’s screen time is limited but he leaves a huge mark. Amol Parashar is endearing while Aamir Bashir is okay. Kubbra Sait is quite dependable. Karan Kundrra gets no scope. Kalp Shah, as Dolly’s son Pappu, pulls off a challenging role with ease. Neelima Azeem is too good in the cameo. All in all, Dolly Kitty Aur Woh Chamakte Sitare is embellished with some bravura performances but because of scattered and unconvincing narrative, it turns out to be an average fare.
My rating - ** ½ out of 5!
My rating - ** ½ out of 5!
Did Netflix buy Dolly Kitty Aur Woh Chamakte Sitare and Ludo for Rs 40 crore and Rs 50 crore respectively?
2:48 PM
Ready to announce its slate of films, sources say Netflix picked up Konkona Sensharma-Bhumi Pednekar's Dolly Kitty Aur Woh Chamakte Sitare for Rs 40 crore, Rajkummar Rao's Ludo for Rs 50 crore
Mohar Basu (MID-DAY; July 16, 2020)
As Netflix gears up to announce its slate of movies, all eyes are on Anurag Basu's Ludo and Konkona Sensharma-Bhumi Pednekar starrer Dolly Kitty Aur Woh Chamakte Sitare. Buzz in the trade circles is that both films have been sold to the streaming giant at hefty prices, thus busting the myth that direct-to-web releases result in a raw deal for producers.A trade insider reveals, "Dolly Kitty... fetched its makers a cool Rs 40 crore approximately whereas the makers of Ludo — starring Abhishek Bachchan and Rajkummar Rao, among others — sealed the deal at over Rs 50 crore. The films' music and TV rights have been negotiated over and above that. The top brass at Netflix felt the asking price was justified as Ludo is one of the most awaited releases of the year. Similarly, Alankrita Shrivastava's film received glowing reviews at the Busan International Film Festival and will grab eyeballs around the globe."
mid-day reached out to T-Series and Balaji Motion Pictures, which did not respond till press time.
The notion of catfights is made up by insecure men-Bhumi Pednekar
8:18 AM
Kavita Awaasthi (HINDUSTAN TIMES; December 28, 2019)
Balancing heartland cinema with masala films, Bhumi Pednekar says 2019 has given her confidence and security. “People’s recognition has instilled confidence in me. My choices have increased; I’ve become more secure, which is natural when you are on the path to achieve what you want,” says the Saand Ki Aankh (SKA) actor.
Success, for Bhumi, is the ability to choose varied roles and get more opportunities. “In personal life, everything is the same. I get shouted at by my mum, my sisters, and I’ve silly fights with them. People appreciate my acting and remember my characters, which is a huge compliment,” says the 30-year-old. This year, she worked with three female actors in her three releases, and had a ball in all of them. “Ananya (Panday), Taapsee (Pannu) and Yami (Gautam) have been amazing. Women have always been secure. I think the notion that female co-stars have cat-fights was started by a group of insecure men. Getting along with someone is about how they think and their personalities. Taapsee and I developed a great bond while working on SKA. She is ambitious, hard-working, and I appreciate these traits,” she explains.
After a high 2019, Bhumi is looking forward to director Alankrita Shrivastava’s Dolly Kitty Aur Woh Chamakte Sitare. The film was praised in the Busan International Film Festival. “There were 233 films from 80 nations and Dolly represented India. Alankrita is a fantastic person. In the film, I play a 20-year-old girl, trying to figure out life. In the past 13 months, I’ve played from a 20-something to an 80-year-old woman, which is a fantastic. From the beginning of my career, I’ve been fortunate that every film I’ve done, has been a choice, not a compromise.”
Gone are the days when heroines were only a tool of glamour in films-Bhumi Pednekar
10:30 AM
Proud to be part of the woman-led film, Dolly Kitty Aur Woh Chamakte Sitare, Bhumi Pednekar says the tide is turning for female actors in Hindi cinema
Sonil Dedhia (MID-DAY; December 9, 2019)
Only a month after she relished the success of Bala, Bhumi Pednekar has hit the bull's eye again with Pati Patni Aur Woh. But she is not one to rest on her laurels; the actor is itching to share her next, Dolly Kitty Aur Woh Chamakte Sitare, with the audience. Describing the Alankrita Shrivastava-directed venture as "one of the best scripts" she has read in recent times, Pednekar says her act as one half of the two firebrand sisters required her to take cues from her personal life. "My character has high aspirations; that is how I was at 19. I had certain dreams, and I started working towards realising them early on. So, Kitty's coming-of-age story resonated with me. I realised that all my personal experiences will come in handy to play this character," says the actor.Keeping her company in the satire is another powerhouse performer, Konkona Sen Sharma. Mention her co-star, and Pednekar's face lights up as she gushes, "I am a big fan of Konkona and sharing screen space with her was an amazing experience. Ekta Kapoor [producer], Alankrita and the two of us like to play on the front foot. That is why we got along. I want this film to travel the world. We recently went to Busan International Film Festival; it was my first screening at a global platform and the audience's reaction was beautiful."
She may be only four years old in the industry, but Pednekar has been instrumental in changing the narrative for women in Hindi cinema. Right from her debut vehicle Dum Laga Ke Haisha (2015) to her latest release, she has portrayed strong, individualistic characters. "Gone are the days when heroines were only a tool of glamour in films. The society is changing, and strong female characters are being written. I am not saying that earlier, actresses didn't have substantial parts to play, but those opportunities were far and few."
Let’s not forget that there simply aren’t enough meaty roles written for women-Bhumi Pednekar
8:19 AM
Bhumi Pednekar, adding she is here for the long run
Suktara Ghosh (MUMBAI MIRROR; November 29, 2019)
Not many leading men and women of Bollywood can rival Bhumi Pednekar’s resume. The actor, armed with a kitty of six films, has proven her craft as well as her mettle in only four years. From piling on nearly 30 kilos—quite unheard of in this part of the world—for her debut Dum Laga Ke Haisha (DLKH), to playing a 60-year-old in Saand Ki Aankh, and soon a 19-year-old in the upcoming Dolly Kitty Aur Woh Chamakte Sitare, Bhumi seems to have already done it all.2019 indeed, has been a special year. She’s had three releases, of which two are hits, and a fourth film, Pati Patni Aur Woh, is set to release on December 6. “I’m still processing it, but I’m more confident about my choices as an actor now,” says the 30-year-old.
Bhumi, in fact, oozes confidence. “I’m very ambitious, I want it all,” she says. And when she opens up on her craft, one doesn’t need to make much of an effort to spot the clear eye and steady head at work. Quiz her on the recent flak she received for playing a shooter double her age and using makeup to play a dark skinned lawyer in Saand Ki Aankh and Bala respectively, and she retorts: “By that logic, a naturally fuller woman should have played Sandhya in DLKH.”
“I’m an actor. It’s my job to transform into different characters,” she points out. “I respect people’s opinion, and I did take a step back to think about what they were saying. But I think I will continue to pick such roles because I like challenging myself. And let’s not forget that there simply aren’t enough meaty roles written for women.”
Bhumi though, seems to find her way to those that are. She almost hops with excitement while talking about Dolly Kitty…, Alankrita Shrivastava’s upcoming film co-starring Konkona Sensharma. “It’s a celebration of womanhood and I had a blast filming it,” she says. She’s also consciously looking to impart some of her real-life glam to her onscreen avatars. While she’s tight-lipped about how she’s prepping for Karan Johar’s magnum opus Takht, she has thoroughly enjoyed playing Vedika in Pati, Patni Aur Woh. “She is a strong woman who’s very aware of her beauty and the power she has over the opposite sex. I want to do these glam roles too. I have grown up on ’90s Bollywood… I love all the dancing and nakhras!” she laughs.
But it’s in her rooted-in-life roles that the actor undoubtedly finds her mojo. “My life has become infinitely more enriched since I began acting, and it’s because of these roles,” Bhumi says. “I realised I am so privileged that I can’t even imagine not having access to a toilet. Or take what Chandro and Prakashi Dadi have achieved—that is real feminism.”
Working with directors such as Abhishek Chaubey (for the hard-hitting Sonchiriya; incidentally, her only film that failed at the box office) too adds to her actor’s arsenal. The avant-garde filmmaker asked her not to emote through her eyes while playing a rape survivor in brutal Chambal. “It was very tough but it taught me a new tool,” she says, adding that she facetimes with the child actor, Khushi and 500 other kids, who are cared for by a Madhya Pradesh NGO, every Sunday. “They have become a huge part of my life.”
Given that most of her characters are from heartland India, Bhumi works hard to ensure their authenticity. “I read, do workshops, watch videos, try spending time in that region, talk to locals, read their literature, try learning songs,” she shares. “It’s a lot of homework. But the moment you start thinking like the character, a lot of things automatically fall into place.”
Her biggest school, however, was her time behind the camera—she began working as a casting director at 17 with one of B-town’s leading studios before switching sides. “The first thing you learn is that every person on the set contributes to your work. Actors are usually full of themselves, and think they are the fulcrum of a film. That’s not true,” she says. Those six years also taught her to be a professional. “I absolutely hate being late for work commitments. I’d get up at 2.30 am to get ready for the long makeup schedules of Saand Ki Aankh and Bala because I didn’t want to be late,” says the self-confessed workaholic, who feels guilty about not working one Sunday.
She also credits her parents and her growing up years between Juhu and Jaipur—where she spent idyllic holidays with her grandparents—for her intuitive understanding of people and characters. “My sister and I have been brought up in a secular, empathising environment. I’m a people’s person too. I used to chat with the didis and bhaiyas in school. I talk to my staff or people I meet along the way—it’s who I am,” she shares.
And does her empathy ever collide with her privacy? Bhumi says she enjoys her stardom and knows what comes with the territory. But she did find herself floundering when a fan began clicking selfies without asking her as she sat crying outside her grandfather’s hospital room in Chandigarh. “I was a mess. My nose was running, I couldn’t breathe. I didn’t know how to react. I simply walked off,” she says.
Bhumi has, by and large, managed to steer clear off the other bane of a celeb’s life these days—trolls. That is, till she started an online campaign to raise environmental awareness. “People tell me some very nasty things,” she laughs, adding that it’s her way to do a little bit for the world. She has brought in small changes in her personal life as well. “I used to be a shopaholic and loved hoarding makeup, for instance. Now, I know how much of our resources go into making these, and I’m really ashamed,” she says.
The actor also feels she has become a better person. “I’ve matured a lot, I take responsibilities and have de-cluttered my life. The people I have met have widened my horizons.” And what does the ‘future leader’ in her Twitter bio signify? “I want to be someone who has enough sensibility and brains to be emulated.” This girl’s sure got places to go.
I will do a rethink when viewers find my roles repetitive-Bhumi Pednekar
8:00 AM
Playing a small-town girl again in Pati Patni Aur Woh, Bhumi Pednekar argues her characters have been distinct despite a similar milieu
Sonil Dedhia (MID-DAY; November 9, 2019)
Bhumi Pednekar has had a busy year with as many as three movies hitting screens. While each film has underlined her acting prowess, detractors have argued that she rarely goes beyond the small-town woman act. A case in point being the upcoming Pati Patni Aur Woh that sees her as a Lucknow-based homemaker.Point this out to Pednekar, and she says that the coincidence hasn't missed her notice. "I am a desi girl and I will celebrate it because, in my real life, I am nothing like my characters. So, I am proud that I can transform myself for these roles. I have played a 70-year-old woman in Saand Ki Aankh, a 20-year old in Dolly Kitty Aur Woh Chamakte Sitare, and a 28-year-old mother in Sonchiriya. In Pati Patni Aur Woh, my character breaks the stereotype of how a patni is shown on screen," she reasons, adding that she has chosen parts that are markedly different from one another despite a similar milieu. "As of now, the audience hasn't found it repetitive. The day that happens, I will have to rethink [my choices]."
For now though, Pednekar is enjoying her moment in the sun. While Bala is being lapped up by the audience, Saand Ki Aankh continues to find takers in its third week. The Tushar Hiranandani-directed drama came alongside two Diwali releases, but has managed to hold its own at the box office.
"[I am overwhelmed] by the love showered on Saand Ki Aankh. I am not a trade analyst, but I have observed that despite its rocky start, the film's collections are slowly and steadily rising. It's a motivating factor for me."
With every film, I become more humble-Bhumi Pednekar
8:39 AM
The actor says portraying small-town characters was an eye-opener, but now she’d like to go beyond those
Pooja Sharma (HINDUSTAN TIMES; October 21, 2019)
In just four years, actor Bhumi Pednekar has established herself as a worthy artist. Her effortless portrayal of characters from small-town milieu and strong women on screen has impressed the audience and the critics alike. With hits such as Shubh Mangal Saavdhan and Toilet - Ek Prem Katha (both 2017) in her kitty, the 30-year-old is more confident to push the envelope in her upcoming five films, and take on the creative challenges. Excerpts:
You have been working on five films back-to-back. Do you feel overwhelmed?
Honestly, it has so happened that everything has come one after the other. I have been promoting Saand Ki Aankh. Then, I went to Korea for the premiere of Dolly Kitty Aur Woh Chamakte Sitare. Bala is also releasing soon, then I am finishing Pati Patni Aur Woh... Yes, I am a little stretched, but this is a fantastic phase, this is what I always wanted. It’s hectic but it’s a great time, I am not complaining at all.
If not acting, then what would you choose as your profession?
I definitely would have been doing something related to film-making, may be directing. But the kind of person I am, I would be doing something humanitarian for sure.
Was it difficult to play an older woman in your upcoming film, Saand Ki Aankh?
It’s extremely difficult, because the story starts at the age of 55. It was difficult to get into their mindset. How do you experience those years that you have not lived? They have lived life for 30 more years than us, how do you go through the experience of being a mother or grandmother, just how mature you become with age? It’s difficult to bring that in the character and that is the most challenging part. You can work the body language and makeup, but you can’t work the mindset. That’s something you have to do on your own. These dadis have positivity and a spirit to live life.
In Bala, you play a dusky girl. Is it challenging to make sure you give out a social message in a comedy, and do you feel it might go haywire, too?
I think there is a thin line in everything that you pick up which is not run-of-the-mill. You have to be extremely sensitive when you are speaking of human complexes. So, it could be me gaining weight in Dum Laga Ke Haisha or ageing for Saand ki Aankh, or it could be what I have done in Bala. As an actor, I feel as far as a character is not propagating the negativity attached to certain aspects of society, and is actually trying to clear that out, I would get on board. There are always two sides to a coin, but be it balding or skin colour – everything has been dealt with a lot of sensitivity. At the end of it, it’s the makers’ prerogative as to what their vision is for the film. As an actor, there’s only so much that I can do.
Does Playing small-town roles when you come from an urban background, change perspective in general?
100%. With every film, I become more humble. I have more gratitude for what God has given me. All these girls that I have played, are survivors. Their life has never been easy, but just their attitude of making their life better and caring about people in the toughest situations and not being ignorant... I can’t be ignorant towards what people are going through. I’ve always had a voice but now that I am an actor and a voice that people will listen to, I need to use my voice responsibly. That is what I’ve learnt in the last four years. Also, our country is so diverse and we’ve different kinds of worlds within. There are so many unexplored stories in small-town India that people want to watch and I want to tell. So, yes, I want to break away (from small-town characters) but definitely not at the cost of a good script.
Working with Deepika Padukone was an incredible experience-Vikrant Massey
7:42 AM
Smita Poojary (DNA; October 1, 2019)
Whether Balika Vadhu on television, Broken But Beautiful on the web or A Death In The Gunj on the big screen, Vikrant Massey is known for portraying powerful roles. The actor who began his career in Bollywood with a supporting act in Lootera (2013), is now all set to star opposite Deepika Padukone in Meghna Gulzar’s Chhapaak. He describes the experience of working with the two women as heartwarming. “Few get the opportunity to fulfill their wish list and they both were definitely on mine. I never knew that this would happen so early in my career. I’m just six years old in the industry. It was an incredible experience working with Deepika and Meghna both.”
Here, Vikrant also speaks about his upcoming movie Ginny Weds Sunny, playing a lead role in a commercial movie for the first time and the reason he has mostly been part of women-centric movies so far. Over to him...
Were you aware of Laxmi Agarwal’s story when you signed Chhapaak?
Yes, I was but I’d rather not say anything but wait for the film to come out. I can just tell you I’m proud to be associated with the incredible team and subject.
After Chhapaak, you have Ginny Weds Sunny — your first commercial movie as a lead...
I’ve been fortunate to play central parts. But commercially, this is the first time I’m playing the lead. I have grown up watching movies and have been a dancer but I’ve never shaken a leg in front of the camera. I also wanted to try different things that would challenge me. People tell me that I only do serious cinema but that’s not the case. I have an alternate personality. I wanted to tap into it. Then this came along.
How is your character in this movie different?
He is impulsive and sort of having adulting issues. It’s a sweet love story between Ginny and Sunny; they share wonderful dynamics. The film is set in Delhi and I had never got a chance to play someone from there. I really look forward to doing this completely classic Bollywood film.
You started with small roles in movies. What do you consider the turning point?
Every single thing I have done has led to something significant. I started off at the age of 16 and I’m 32 today, so, I have been working literally half my life. It would be unfair if I sat back and said there was one particular thing that was the turning point. Yes, you can zero in on A Death In The Gunj because my collaboration with Konkona Sen Sharma did play a huge part, but Balika Vadhu was equally responsible for me getting the film.
You have mostly been part of women-centric movies like Lipstick Under My Burkha, Chhapaak and Dolly Kitty Aur Woh Chamakte Sitare)...
There’s little space for subjects related to women not just in our movies but also society. It’s a patriarchal world with highly toxic masculinity that we live in. Bahut si auroton ki awaz dabaai jaati hai. So, I feel fortunate about whatever little way I can contribute to reflect the society through my work. This is the least I can do as an artiste and I will continue to do stories that need to be heard. That’s primarily the reason why I love associating with women directors and the length of the part has never been a dominating factor in my career so far. Even though I have supporting parts in the films I’ve done, I’m proud to be speaking for the larger cause.
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