Showing posts with label Drishyam. Show all posts
Showing posts with label Drishyam. Show all posts
Mohanlal's Drishyam 3 to be made in Hindi and Malayalam
8:24 AM
Sources say Mohanlal’s Drishyam 3 to be made in Malayalam and Hindi, which can be disadvantageous to Ajay Devgn’s Bollywood adaptation of the crime thriller
Upala KBR (MID-DAY; April 16, 2025)
A howdunnit’s biggest trick is its mystery reveal. But the success of the Drishyam franchise defied that notion. Even as each of the Hindi adaptations, led by Ajay Devgn, came almost two years after the release of Mohanlal’s Drishyam (2013) and Drishyam 2 (2021), leaving enough time for the audience to know the plot, it found wide success at the box office. But things may not be the same with the third instalment.
mid-day has exclusively learnt that Mohanlal and director Jeethu Joseph are keen to make Drishyam 3 a bilingual offering to be released in Malayalam and Hindi. With the original’s makers targeting the Hindi audience, among other sections, it may pose a problem for Devgn’s adaptation.
From what we’ve heard, Joseph and Mohanlal are working towards taking Drishyam 3 on floors by May-end.
A source says, “Buoyed by the past two editions’ success, Jeethu, Mohanlal and producer Antony Perumbavoor are keen to make the third outing a pan-India offering. This can become an issue for Ajay’s movie, as his Drishyam 3’s script is still being worked upon. One of the reasons why Ajay’s Drishyam has been successful so far is because the Malayalam original didn’t tap into the Hindi-speaking audience. But if Mohanlal’s movie releases much earlier than Ajay’s, that too in Hindi, it can be disadvantageous to the latter since they both always share story and plot points.”
Meanwhile, the unit is setting the stage for the crime thriller’s shoot, which will see Mohanlal reprise his role of Georgekutty, who has successfully evaded the police despite committing a murder. Thodupuzha in Kerala, where the first movie was also shot, will be the filming location. A set was constructed in Kudayathoor for Drishyam 2, which may also be used.
Another source adds, “Ajay’s Drishyam 3 can roll only by October as he will wrap up Dhamaal 4 and Ranger before beginning the Abhishek Pathak-directed remake. Kumar Mangat Pathak, who has produced the Hindi adaptations so far, is in talks with the makers of the original to see whether both versions can have a simultaneous release.”
Joseph, Mohanlal and Perumbavoor remained unavailable for comment.
Kumar Mangat Pathak and Abhishek Pathak set to take Drishyam to Hollywood
8:43 AM
The duo’s Panorama Studios is looking to achieve a new milestone with the franchise
BOMBAY TIMES (February 29, 2024)
After garnering massive success in India and China markets, the cult franchise, Drishyam is set to go global. Producers Kumar Mangat Pathak and Abhishek Pathak announced the Korean remake of the thriller franchise at the Cannes Film Festival 2023. Now, they are set to achieve a new milestone. Panorama Studios has joined hands with Gulfstream Pictures and JOAT Films to make Drishyam in Hollywood – a first for an Indian film.
Gulfstream Pictures is co-founded by Mike Karz and Bill Bindley, who produced Blended, starring Adam Sandler and Drew Barrymore, and Upgraded, featuring Camila Mendes, Marisa Tomei and Lena Olin. JOAT Films founder Jack Nguyen is a film industry veteran and a former Warner Bros executive supervising the Asia region’s production business. The banner specializes in cross-territorial local language remakes.
Panorama Studios has acquired the international remake rights to Drishyam 1 and 2 from the original producers, Aashirvad Cinemas. The franchise is being developed in the US and Korea, and a development deal for a Spanish-language version is being finalized. In addition, other countries are also being considered.
Kumar Mangat Pathak, Chairman and Managing Director, Panorama Studios, shared, “Drishyam’s clever narrative has a universal appeal and we are keen to celebrate this story with audiences worldwide. We are very happy with this collaboration to create this story for Hollywood. After Korea and Hollywood, our mission is to produce Drishyam in 10 countries in the next three to five years.”
Producer Abhishek Pathak, who also directed Drishyam 2, said, “We have received immense love from our Indian audiences, who have made the Drishyam franchise a massive success. The strength of Drishyam lies in its story, and we want it to be enjoyed by audiences globally.”
While the Korean and English versions are in the making, the remake of the Malayalam film has had a successful run in various languages, including Hindi, Kannada, Telugu, Tamil, Sinhala and Chinese.
‘Drishyam has a unique yet enduring story’
In a joint statement, Mike Karz and Bill Bindley of Gulfstream Pictures said, “We are very happy to collaborate on an English language adaptation of Drishyam. The film is a timeless thriller that has entranced audiences across the globe. We can’t wait to bring the movie to fans here in the US.”
Jack Nguyen, founder of JOAT Films, said, “Drishyam has a unique yet enduring story. It combines drama, emotional highs and lows in a riveting cat-and-mouse tale, and our adaptation will undoubtedly keep audiences on the edge of their seats. The story has clearly resonated with audiences worldwide, as evidenced by the numerous remakes it has spawned. We are excited to have the opportunity to present our take on this cleverly crafted thriller to audiences globally.”
My story would’ve been different if I’d started today as an actress-Shriya Saran
10:39 AM
Onkar Kulkarni (BOMBAY TIMES; December 30, 2023)
In Hindi cinema, Shriya Saran doesn’t have as many films to boast of in her filmography, but in the South film industry, the actress made a mark long before we started cheering for pan-India films. When it comes to Bollywood, it is the Drishyam franchise that the audience identifies her with. In a chat with us, Shriya talks about how she wished she had got similar recognition in Hindi cinema, the opportunities the OTT medium offers and more.
‘B-Town thought I had South Indian features’
Talking about starting her career down South, Shriya, who hails from Haridwar, says, “I wanted to do South films because I felt the industry was very welcoming. They thought my features were a mix of South and North, whereas the industry folks in Mumbai thought I looked very South Indian.” Even though she has worked with top stars from the South, Shriya points out that she didn’t get the much-needed recognition as an actor in Bollywood.”
‘My work in the South industry never reached the Hindi audience’
Explaining why her work didn’t reach a wider audience, she says, “Today we are living in the times of OTT, which wasn’t the case back then. Jo main kaam South mein kar rahi thi, woh kaam Bollywood audience tak pahuchta nahi tha. Back then, we didn’t have access to movies across languages, the way we have today, thanks to OTT platforms. And South films did not release pan-India at that time. This is why people in Mumbai didn’t know much about my work. My professors from my college in Delhi refused to accept that I was an actor down South. My father had to convince them and tell them that I was working with stars like Chiranjeevi and Nagarjuna, so that they could consider my low attendance in college and allow me to sit for my exams.”
‘Earlier, there was a lot that was lost in translation’
Shriya, who was seen in S S Rajamouli’s Oscar Award-winning pan-Indian film RRR (2022), is glad that the audience is receptive towards different kinds of cinema in various languages now. “Earlier, there was a lot that was lost in translation, which doesn’t happen today. Thanks to people like Mani Ratnam sir, who I guess was one of the first filmmakers to have released a film in multiple languages. Even Shankar sir (maker of films like Sivaji: The Boss, Enthiran and 2.0) did that. All cinema is under one umbrella today,” says Shriya, who hoped her films like Sivaji: The Boss (2007), Manam (2014), Chatrapathi (2005) and Tagore (2003) had a pan-India release.
She adds, “These films were pan-Indian films as they were not limited to one kind of audience. The subjects they revolved around were pan-India. Drishyam, too, was a pan-India story, where the idea was about protecting your family.”
‘OTT has certainly shown us a shift in storytelling’
Talking about the changes digital platforms have brought about and what she misses about the earlier times, she says, “I wish OTT platforms were there when I started off because the actors working today have such amazing opportunities. The audience base is massive, and even with one show, you can go places. OTT has certainly shown us a shift in storytelling. I feel that if I had started out in today’s times, in the presence of OTT, social media and pan-Indian films, my career would have been a different story. Having said that, those days were also magical, beautiful and raw in their own way.”
‘It’s been a major shift for my husband Andrei’
Shriya married her Russian boyfriend, Andrei Koscheev, in 2018. She shares, “It’s been a major shift for him. He’s a sales head with a corporate firm and travels from Andheri to Thane to his office every day. It’s a very different life for him. He had a countryside house overlooking a lake and mountains, drove a convertible car and even went sailing. However, he loves his time in India. He only eats Indian food now, like roti-sabzi and also loves golgappas.”
I would chase Sujoy Ghosh every year, telling him to make Jaane Jaan-Jay Shewakramani
9:34 AM
Producer of Hindi cinematic adaptation of The Devotion of Suspect X says novel’s emotional crux is why its multiple adaptations have been lapped up by cine-watchers across the globe
Mohar Basu (MID-DAY; September 5, 2023)
Engrossing as its narrative is, Keigo Higashino’s Japanese mystery novel The Devotion Of Suspect X has inspired four cinematic adaptations—the 2008 Japanese movie, Suspect X, the south Korean edition, Perfect Number, that followed two years later, the 2019 Tamil offering, Kolaigaran, and the Chinese version. Even as an English adaptation is expected to be underway, film aficionados will be able to enjoy the Hindi version, Jaane Jaan, this month.
Producer Jay Shewakramani couldn’t put his faith in anyone other than Sujoy Ghosh when it came to adapting the story for an Indian setting.
“The beauty of this narrative is that, inherently, it is a love story. Emotions are universal. Sujoy [Ghosh] adapted it to be based in the mysterious town of Kalimpong. Pick any Sujoy-film, and you’ll see how easily he roots his characters in the local setting. For instance, [his previous film] Badla was adapted from a Spanish movie, and was shot in Scotland. Even then, it was steeped in Indian values. He knows how to make a true-blue Indian story,” says Shewakramani.
Higashino’s tale explores the lengths to which one can go to protect those they love. It follows a brilliant mathematician, Yasuko Hanaoka, who inadvertently becomes involved in a murder. Consumed by her love, her neighbour, Ishigami, a fellow mathematician, deftly plans to help her cover up the crime. As the police investigation ensues, a riveting battle of wits between Ishigami and the brilliant detective Kusanagi unfolds. Call it fate, or a stroke of luck that the film that now stars Kareena Kapoor Khan was initially set to feature her actor-husband Saif Ali Khan in a narrative that was expected to have the protagonist’s gender reversed.
“Saif and I had just [come up with] the idea of the film, Jawaani Jaaneman. Sujoy was to do the film then [with producer Ekta Kapoor], but it never materialized. I would chase Sujoy every year, telling him to make the film,” he says, as subsequent reports of the film’s narrative being all too similar to Ajay Devgn’s Drishyam began to make their way online.
Khan had expressed his apprehensions at the time. However, during the lockdown, Shewakramani says he finally managed to get Ghosh’s nod to roll with it. This time, they took the film to Kapoor, who had heard about it from Khan for several years.
“She loved it instantly. The story convincingly fits into the Indian milieu. We started the film towards the end of the lockdown. The story begins in Kalimpong and Darjeeling. Because hill stations are socially distant, the larger chunk of the shoot was wrapped up, smoothly. In Bombay, we had a shorter schedule.”
While a Sujay Ghosh-directed venture that features Kapoor would be considered an offering apt for a theatrical release, Shewakramani says he found the perfect home for the film on the web platform. “It was always planned as a Netflix movie. There is a thrill that we experience when our film simultaneously releases in 250 countries at once.”
You draw a line between lewdness and love-Sujoy Ghosh
8:23 AM
Serving up a thriller in Lust Stories 2, director Sujoy Ghosh on how he relied on his judgment at every step while exploring the subject of lust
Mohar Basu (MID-DAY; June 28, 2023)
In a tender scene in Sujoy Ghosh’s segment from Lust Stories 2, leading man Vijay Varma plants a kiss on the forehead of his ladylove, played by Tamannaah Bhatia. How does that fit in an anthology with lust as its central theme?
“Kissing a forehead can go down south too, pun intended,” says the director, who has whipped up a thriller within the premise. The Netflix anthology brings together directors Ghosh, R Balki, Konkona Sen Sharma and Amit R Sharma.
Telling a story about lust foremost requires sensitivity. Ghosh says he was mindful of his interpretation of the subject. “At every step during the writing process, you are taking judgment calls, drawing the line between lewdness and love. We shouldn’t do things just because we can. That’s what I kept telling myself. That’s my only censorship during the writing period.”
Did he have to curb his instinct at any point, given the immense scrutiny on OTT offerings now? “We did all that our characters had to. Every creator is a slave to their story. For example, if I feel a story demands nudity and I can’t show that for some reason, I will skip making that film. I will look for another story. There is no middle ground. Fortunately, the CBFC and I have had a pleasant run so far.”
Early on, the director knew that creating a safe space for his actors was of utmost importance while filming the intimate scenes. “We brought in intimacy coordinators to correctly choreograph the scenes. If there isn’t an on-paper mandate, there should be one. I want to provide a sense of security to my actors and give them a safe space to perform.”
After the short film, Ghosh —known to have a knack for thrillers—will display his skills in the adaptation of Keigo Higashino’s bestseller The Devotion Of Suspect X. The Kareena Kapoor Khan, Jaideep Ahlawat and Varma-starrer comes years after Drishyam, which had glaring similarities with the Japanese novel.
Considering Drishyam has become a successful franchise over the years, is there a pressure to make his offering different? “I won’t comment on other people’s films. We have worked on our script to make a film that hopefully everyone will love.”
Drishyam franchise gears up for a Korean remake
8:20 AM
BOMBAY TIMES (May 22, 2023)
During the Cannes Film Festival, Kumar Mangat Pathak’s Panorama Studios and Anthology Studios, founded by former Warner Bros. local Korean production head Jay Choi, Parasite actor Song Kang-ho and director Kim Jee-woon made an exciting announcement. The two studios will join hands to produce the Drishyam franchise in Korean language. The announcement was made at India Pavilion in Cannes in the presence of the studio heads. This would be the first-ever collaboration between an Indian and a Korean studio and the first time a Hindi film is being officially remade in Korean.
Drishyam, an Indian franchise, proved successful in many Indian languages – Malayalam, Tamil, Kannada, Telugu and Hindi. The Hindi sequel, directed by Abhishek Pathak, which released last year, became a huge success. The Chinese remake, Sheep Without A Shepherd, too, won the audience’s appreciation. Ajay Devgn and Tabu headlined the franchise in Hindi.
Kumar Mangat Pathak says, “I’m excited that the Drishyam franchise is being made in Korean, a first for a Hindi film. This will not only increase its reach outside India, but will also put Hindi cinema on the global map. All these years, we have been inspired by Korean fare, and now they have found a muse in one of our films. What can be a bigger achievement for the Indian film fraternity.”
Jay Choi added, “We are thrilled to have an opportunity to remake a successful Hindi film with a touch of originality from Korean cinema. The remake has greater significance as the first major co-production between Korea and India. Through our partnership, we will be able to bring the best of both Indian and Korean cinema and make a meaningful remake that is as excellent as the original.”
Pathak is confident that the Drishyam franchise will find an audience in Korea and around the world. “This is the beginning of a valuable cultural exchange between both countries and film industries,” he says.
US-based Jack Nguyen will serve as the executive producer of the project. He had collaborated with Pathak on Atithi Tum Kab Jaoge and with Jay Choi and his team to produce a slate of Korean films.
Jack Nguyen says, “I have a history with and utmost respect for these highly-regarded producers, so it was a natural fit for me to bring them together to collaborate on a great story in Drishyam. I’m excited to help them make history with this first-of-its-kind Indian-Korean co-production.”
Some people say thriller genre is not theatre friendly, but we proved them wrong-Abhishek Pathak
8:35 AM
Onkar Kulkarni (BOMBAY TIMES; December 27, 2022)
The audience welcomed Vijay Salgaonkar with open arms once again at the theatres in Drishyam 2. At a time when many were questioning the relevance of remakes as they were failing to work at the box office, Drishyam 2 saw impressive footfall and went on to become a massive hit. The film pitted Ajay Devgn against Tabu and Akshaye Khanna. In a conversation with BT, producer Kumar Mangat Pathak and his son, director of the film Abhishek Pathak talk about the movie’s success, how they handle remakes and Drishyam 3. Excerpts:
Drishyam 2 worked at a time when Hindi films were struggling to bring the audience to the theatres. Were you expecting the kind of response it got at the box office?
Abhishek Pathak (AP): Drishyam is a brand we have always been happy about. The script and cast of Drishyam 2 were fantastic. From the word go, we were very confident that it would do extremely well. The response I got from the focus groups (during trial screenings) was fabulous, and so we knew where we were heading.
Kumar Mangat Pathak (KMP): Haan, mujhe pura confidence tha. I am happy that not just nationally, the film has worked well in international markets, too. In the coming days, we will release the movie in some other countries. Abhishek and the team put in a lot of effort. Toh yeh sab dekhke bharosa tha ki yeh film successful hogi hi.
What do you think has clicked with the audience?
AP: Drishyam is a cult film and a cult brand. Vijay Salgaonkar has a huge fan following. The way Ajay Devgn has played the part, the audience felt that they are part of his family. Also, I think the trailer clicked big time with the audience. Some people say that the thriller genre is not theatre-friendly, but we proved them wrong. I visited a theatre on the Friday and Saturday after its release to see the reaction and I could see people of all age groups and genders enjoying it thoroughly.
KMP: Bahut dino baad audiences ko ek aisi film mili jo woh poore family ke saath dekh sakte hain. There has been a lot of repeat audience, too. I believe that after the success of Drishyam, the audience was eagerly waiting for Drishyam 2 and as soon as it released, the love just poured in.
One of the reasons remakes are not working is because they are easily accessible online. The original Drishyam 2, starring Mohanlal, was already streaming, did that make you doubt the feasibility of making it in another language?
AP: I was a bit nervous, but the Malayalam version was available online without Hindi subtitles and was not dubbed in Hindi. I believe that people don’t really enjoy watching films with subtitles. Also, after seeing Drishyam, the Hindi audience wanted to see the journey of Vijay Salgaonkar and his family. That apart, I introduced a few changes to the original script. The idea behind remaking a film is not to redo it the way it has already been made. The idea is you tell the same story in a different way to a different audience. If you don’t have that perspective, then there is no point in remaking a film. Instead of the easy cut-copy-paste job, you can just buy dubbing rights, which are comparatively cheaper and dub it in your preferred language. The idea of a remake is that you love a story, and you want to tell the story in your own way. Today, a copy-paste job won’t work as there is easy access to films of all languages on the internet.
KMP: Yes, the key is to give your own twist. I believe when a film is made in a certain language, the filmmaker should make it as per the sensibility of that audience.
There is a buzz that unlike the previous parts, Drishyam 3 in Malayalam and Hindi will release on the same date to maintain that suspense factor since it’s a thriller film...
AP: We have just started discussing how to collaborate in terms of writing. Once that is sorted, we will think about when to start the shoot and how to go about it. The idea is that we want to collaborate. We are going to write, shoot and eventually release the film together. This way, Drishyam 3 will become a very big franchise coming into theatres together in Malayalam and Hindi.
My husband loves the Drishyam franchise. He cried a little after watching Tadka-Shriya Saran
8:02 AM
Having moved to Spain in 2018 after marriage, Drishyam 2 actor Shriya says daughter’s arrival and post-pandemic perspective made her return to Mumbai for good
Hiren Kotwani (MID-DAY; November 23, 2022)
In Shriya Saran’s words, she was a “bohemian” spirit, calling different parts of the world her home. If she spent her formative years in Haridwar, her subsequent years brought her to Mumbai. The actor felt equally at home in Spain, where she moved after tying the knot with Russian beau Andrei Koscheev in April 2018. But motherhood brings with it unexpected pangs. After giving birth to daughter Radha in January 2021, Saran felt an urge to return to her roots in Mumbai.
“It was almost an overnight decision after Radha’s birth. Before she was born, I was a bohemian, gallivanting from one place to another with Andrei. The Coronavirus pandemic changed a lot of things for us, as it did for most people. I needed family, a home to come back to,” she smiles.
When in Spain, Saran was initially happy to take things slow on the work front. But the artiste in her soon started missing the frenetic pace of shoots. A month after Radha’s birth in January 2021, Jeethu Joseph’s Drishyam 2 dropped online. That set the ball rolling on the Hindi sequel, which would star her alongside Ajay Devgn and Tabu. Radha was seven-and-a-half months old when Saran started prepping to get back to work.
“Andrei used to take care of her while I would go for my yoga and workouts. We first stayed in Madrid, then Barcelona. When I wanted to return to acting, Andrei supported me. He decided to move to Mumbai and start his import-export business here.”
The couple, who returned to the city in the second half of 2021, first stayed in Bandra, then moved to Lokhandwala, where her parents stay. “I needed my mom’s help. If she has to go out, and Andrei has his meetings, I stay with Radha. Plus, COVID has been hard. So, it’s great to have your family around.”
How has Koscheev adapted to the change? “He loves challenges. He was excited about moving to Mumbai. He loves that I am independent, and always encourages me.” What does he say about her performances? “He loves the Drishyam franchise. He cried a little after watching Tadka,” shares Saran, who has Kannada film Kabzaa, and the Telugu movie, Music School, in the pipeline.
The meme campaign and other constant chatter about Drishyam has kept the film alive in the audience’s memory-Ajay Devgn
7:46 AM
Harshada Rege (BOMBAY TIMES; November 17, 2022)
Ajay Devgn is known to be a man of few words, but he is also one with varied interests. His filmography, which clocks over 100 films, includes movies of various genres. Extremely passionate about cinema, he is one of the few actors among his contemporaries who ventured into not just film production, but also direction. Among the most-loved films starring the actor is Drishyam, which had him playing Vijay Salgaonkar, a protective father who will do anything to protect his family. He locked horns on screen with Tabu, a combination that created some serious movie magic. With Drishyam 2, which releases on Friday, Ajay returns to the thriller space, this time, taking on Tabu as well as Akshaye Khanna.
In a conversation with Bombay Times, the three-time National Award-winner talks about the annual meme fest on October 2 that has kept the Drishyam franchise fresh in people’s minds, the relevance of remakes in today’s time and telling the stories he wants to as a director. Read on…
Every year on October 2, there is a meme fest online about the events that pan out in Vijay Salgaonkar’s life on October 2-3 in Drishyam. That has, in a way, kept the film fresh in people’s minds, though the film released in 2015. Are you aware of those memes, and do you feel that it has added to the anticipation about the film?
I am fully aware of the memes on social media about October 2-3. You are right. This meme campaign and other constant chatter about Drishyam has kept the film alive in the audience’s memory. Even if I miss the memes, a friend or co-worker ends up forwarding them to me. Drishyam is associated with good memories for the most part. It was a very good film; it dealt with the right emotions of a man going to any length to protect his family. Tabu and I are both very invested in this film. The only sad thing is that our director Nishikant Kamat is not with us. The director of Drishyam 2, Abhishek Pathak, has also done a good job of taking the franchise forward efficiently.
While Tabu and you were seen sparring in Drishyam, at the core of both the characters is the love for their family — Vijay is protecting his family, while Meera is trying to seek revenge for her son’s death. Would you say that both are correct in their own space and grey in certain zones?
Tabu and I are at loggerheads in the film because she’s a cop and I’m a suspect. However, she’s a mother first and is absolutely right in being concerned about her own family. Likewise, I’m a father. For me as well, family comes first. The interesting thing about Vijay Salgaonkar is that, for him, the actual truth is just one — he will protect his family at any cost. He is not thinking of himself as virtuous or as a hero. He is a father who has chosen to handle a sensitive situation in a way he deems correct. For him, his wife and two daughters come first. Drishyam 2 helps define Vijay Salgaonkar better.
Drishyam 2 featuring Mohanlal was released at a time when people had started watching a lot of content in other languages on OTT platforms during the pandemic. Is that one of the reasons to introduce new characters in this film, like that of Akshaye Khanna?
It was Abhishek’s (Pathak) idea to bring in the additional character of Akshaye Khanna. When he narrated the script to me with the addition of Akshaye, I thought it was very good. I have no idea why some changes were made to the script. I am an actor and if I am convinced that something is working for a script, I go along with it. Akshaye is a fabulous co-star and a stupendous actor. Working with him has always been worthwhile.
We are at a point where the thrust is on pan-India movies, with actors who have done films in certain languages now exploring other film industries. In such a scenario, how relevant will remakes be?
Remakes are not a new phenomenon. They have been made since the 50s-60s. Questioning their relevance in the time of pan-India films is valid. But to say remakes don’t work or will not work is invalid. When a movie is remade with an equally favourite big star from their own region, the actor’s faithful audience or fan base will flock to see the remake. Hollywood remakes so many films with a different set of actors after a gap of a few years. People see both versions. The debate is not whether the film is a remake or not, but whether the film is a good one or not.
Your first worked with Tabu in Vijaypath (1994). In recent times, you have explored various genres together — be it the thriller space in Drishyam (2015) or comedy in De De Pyaar De (2019). As actors and as friends, how do you reflect on your equation?
The good thing about my friendship with Tabu is that we do not need to reflect on it. The bond is deep, and we can pick up from where we leave it each time. On screen, I share a wonderful equation with her because she is a brilliant performer.
Hardly any of your contemporaries have directed films, something that you have been doing consistently, along with your acting assignments. What drives you to get into the director’s chair?
I started my film career as an actor, but at heart, I am a director. I love the process of filmmaking. There is no planned interval between my making films. If a story compels me to tell it, I will.
Recently on National Cinema Day, when the ticket prices were lowered, we witnessed massive footfalls at the theatres. As a producer, would you consider adopting that strategy for one of your films?
I own a chain of theatres. If it is economical and if all theatres across the country reach a price consensus, then perhaps my theatre chain may also think about it. These are business decisions. I do not wish to say something without giving deeper thought to it. Besides, the ones who run my business should answer this.
Would you consider directing your daughter Nysa in a film if she told you that she wants to pursue a career in acting?
My daughter has not mentioned to me (at least yet) that she wishes to join the movies. So, everything else is hypothetical.
I couldn’t even bring myself to look at Ajay Devgn, but he is so sweet and easy to work with-Ishita Dutta
8:11 AM
Neha Maheshwri (BOMBAY TIMES; November 15, 2022)
Ishita Dutta, who started her career as a TV actress and continues to be a part of the entertainment industry, says that the first instalment of Drishyam (2015) changed a lot for her as an artiste. The actress, who will now feature in the sequel Drishyam 2, helmed by Abhishek Pathak, also starring Ajay Devgn, Tabu and Akshaye Khanna, elaborates on her experience of working with Ajay Devgn, how she still believes in TV as a medium and the kind of offers she wants to take on going ahead. Read on...
You have been a part of films and TV shows, but you are best remembered for your stint in Drishyam . How did the film change the course of your career?
The first instalment of Drishyam marked my debut in Hindi cinema. I was quite young then and had just done one TV show (Ek Ghar Banaunga). The film opened many doors for me, and people recognized me as an actor because of it. I am glad that I bagged the film because it changed a lot for me as an artiste. I had not seen the Malayalam version of the film while shooting for it. In fact, my director (Nishikant Kamat) told me not to watch it because they wanted me to bring my own take on the character. While people do recognize me for my characters in TV shows, Drishyam has earned pan-India recognition. No matter what they say about TV and the web, films have a different feel to them, in terms of how the audience perceives you. I am very happy with the journey so far and I hope it continues the same way.
Anju, the character that you play in both the instalments of Drishyam, is an integral part of the story. How much has it progressed between both films?
It has progressed a lot. In the previous film, something traumatic happened to Anju. Seven years later, the audience will see how the incident has impacted her. She isn’t stable and suffers from fits and nightmares. She needs medical help and her father (played by Ajay Devgn) tries his best to protect her even more. As a character, that’s been a major shift. It was quite challenging personally. I had to perform a scene in which I suffered from an episode of convulsion and Abhishek (Pathak, the director) told me that it was probably the most important scene for me and had to look natural. Making that scene look as real as possible was quite challenging. I watched a lot of videos and did workshops to get it right.
Your husband, Vatsal Sheth and you have known Ajay Devgn for many years now. How was your experience of shooting with him?
During the first film, I was obviously intimidated by Ajay sir. I couldn’t have just walked up to him and interacted. Coming from a small town like Jamshedpur, one tends to be in awe of every actor. When I saw Ajay sir, I couldn’t even bring myself to look at him. I was that scared, but he is so sweet and easy to work with. He makes you feel comfortable despite being such a big star. That’s why the father-daughter bond came out so well in the film. I think a lot of credit for that goes to him.
Even after the success of the first instalment, you continued to actively be a part of TV. You never quit the small screen and have balanced the two mediums, especially when a lot of TV actors complain about not getting their due in cinema...
I had decided that I would choose the best from what I was offered, irrespective of the medium. So, I tend to take up a project that helps my growth as an actor. I got a lot of film offers, but they were very similar to what I was doing. I am glad I didn’t take up just any role as that wouldn’t have made any difference to my career. While acting on TV, I realized that I was liking the process and got to learn immensely at the same time. In fact, I will take up a good project, be it on TV, the web or film, instead of waiting for something extraordinary to fall into my lap. I like being busy, so I would not want to wait for that perfect opportunity. I believe in taking up the best from what is being offered to me and moving ahead.
So, you have no intention of giving up television for films? Or is it that you don’t wish to be tied down by any medium?
A lot of people warned me against starting my career with TV. I was told that my sister (Tanushree Dutta) was already a part of Bollywood, so I should wait and start with films. However, she said that I should learn rather than wait for something that may not happen. I am glad about the choices I have made. Had I not done TV, I wouldn’t have been prepared for Drishyam. No other medium can teach the things that TV teaches you. I didn’t even know how to face the camera or deliver dialogues. A year-and-a-half later, if I could play the part where I was five years younger than my original age in Drishyam, it was because of my learnings while shooting for a TV show. People also told me that I wouldn’t be able to make a transition from TV to films because we didn’t have any examples to quote. I don’t differentiate between mediums. While I love doing movies, I will continue to dabble in TV. I feel people should give it a little more credit and not demean it, especially not in 2022 when you have seen big actors taking up TV shows and small-screen actors going on to do films. Actors should focus on the craft more than the medium.
Tabu's character in Drishyam is the one I inspire to be like, in Thadam-Mrunal Thakur
7:59 AM
Set to essay a cop for the first time on screen, Mrunal Thakur says actor’s Drishyam character forms her template
Uma Ramasubramanian (MID-DAY; January 12, 2022)
After a couple of acts as the protagonist’s love interest behind her, Mrunal Thakur is set to play a cop in the Hindi remake of the Tamil film, Thadam.
To play the part in the Aditya Roy Kapur-starrer, Thakur didn’t have to look too far for inspiration. “I loved the way Tabu performed in Drishyam. The first thing that came to my mind was how fierce and feisty the character in the uniform was. Her character is the one I inspire to be like. Donning a uniform comes with a responsibility. I can’t wait to [take it up,]” says the actor.
Magizh Thirumeni’s 2019 original movie is inspired by true events, and follows the murder of a young man. It featured Arun Vijay in a double role, alongside Tanya Hope, Smruthi Venkat and Vidya Pradeep. Vardhan Ketkar takes charge as director for this version.
While prep work for the film is expected to commence this month, Thakur will not be seen pulling off action sequences. “To play this character, I need to focus on the performance. I need to nab the body language.”
Surely, understanding the psyche of the character couldn’t have been a mean feat for the actor, who hails from a family of police officials. “Apart from my father, everyone in the family was an ACP or DC. I grew up with my uncles, so it is nice to [showcase their lifestyle].”
While she has watched the original, she finds promise in Ketkar’s fresh vision. “This is also Vardhan’s first film, so I am excited to begin this project. And as far as working with Aditya is concerned, we met only briefly, but I am looking forward to collaborating with him.”
Drishyam 2 copyright row: Warring studios to discuss copyright issues with Malayalam original’s producer
8:07 AM
After Viacom18 files restraining order against team of Drishyam 2 remake, warring studios to discuss copyright issues with Malayalam original’s producer
Mohar Basu (MID-DAY; May 12, 2021)
On May 4, Kumar Mangat Pathak’s Panorama Studios announced that it had acquired the Hindi remake rights of the Malayalam movie, Drishyam 2: The Resumption, unaware that it would trigger a chain of events. Soon, Viacom18 Motion Pictures — which had produced the Hindi remake, Drishyam (2015), featuring Ajay Devgn and Tabu — approached the Bombay High Court seeking a restraining order against the studio. Pathak then assured the HC that he will not kick off shooting till the copyright suit is pending in court. Now, mid-day has learnt that the two warring studios are set to have a discussion with the original’s producer, Antony Perumbavoor, regarding its copyright.
When Mohanlal’s Drishyam [2013] was being adapted into Hindi, Viacom was the producer while Pathak and his company served as the line producers. A source reveals, “At the time, [Viacom] had formulated a remake rights agreement whereby it owned the intellectual property [IP] rights, should a franchise be created in Hindi. After Mohanlal’s Drishyam 2 released, while Viacom was gearing up for its Hindi adaptation with Devgn, Pathak bought the rights from Antony, claiming that he is treating it as a standalone film. Last week, the HC prima facie observed that if Pathak proceeds with the production, it will be at his own peril.”
Even as they await the next hearing scheduled for June 18, buzz in the inner circles is that Perumbavoor should have offered complete clarity before shaking hands with Pathak. “The original copyright deal was signed between Viacom and Antony. Now, he has sold the Hindi remake rights to Pathak. So, the onus of overlapping copyright is on Antony. The court will have the final word,” says a source close to Pathak.
mid-day texted Viacom and Panorama Studios. Both remained unavailable for comment.
We hope to watch Drishyam 2 in Chinese and other languages-Mohanlal
8:03 AM
As Drishyam 2 gears up for release, South superstar Mohanlal proud that the original spawned Chinese adaptation in 2019
Uma Ramasubramanian (MID-DAY; February 10, 2021)
Almost eight years after Drishyam caught everyone’s attention with its howdunit narrative, Mohanlal is set to reprise his role as George Kutty, the prime suspect in the murder of the inspector general’s son. Picking up from where the first part ended, Drishyam 2 raises the stakes as the murder investigation returns to haunt Kutty’s family.
“George Kutty’s only objective is to protect his family. For me, he is a mystery because he suppresses his real emotions. That said, it was easy to portray the character because of the script and the situations it provided,” says the Malayalam superstar.
Though detractors pointed out that it was loosely inspired by Japanese novel The Devotion Of Suspect X, the 2013 Jeethu Joseph-directed crime thriller was widely appreciated for its gripping plot and spawned a string of remakes. Ajay Devgn had headlined the 2015 Hindi adaptation with Tabu playing the cop. The thriller had also led to the official Chinese remake, Sheep Without A Shepherd (2019).
“It has been remade in Tamil, Telugu, Kannada and Hindi. Each of these versions has been solid because the storyline is so strong. Now, we hope to watch Drishyam 2 in Chinese and other languages,” says Mohanlal.
The director recounts being stunned when he was approached for the Chinese remake rights. “It was a proud moment for Malayalam cinema. I had never thought Drishyam would go to this level,” says Joseph.
With the sequel slated to drop on Amazon Prime Video next week, Mohanlal doesn’t dismiss the possibility of a third instalment. “It took us six to seven years for Drishyam 2, so we will hopefully bring the third part in another six years.”
Film director Nishikant Kamat passes away
8:29 AM
Avijit Ghosh & Bella Jaisinghani | TNN (THE TIMES OF INDIA; August 18, 2020)
New Delhi/Mumbai: Director Nishikant Kamat, best known as the maker of commended and compelling films such as Dombivli Fast, Mumbai Meri Jaan and Drishyam, breathed his last at a Hyderabad hospital on Monday. He was 50.
Kamat was admitted on July 31. “He was suffering from liver cirrhosis for the past two years ...since yesterday, he developed respiratory failure... eventually leading to multi-organ failure-…at 16:24 hrs he succumbed to his illness,” a press release issued by AIG hospital, Hyderabad, said.
Much earlier in the afternoon, several film personalities had erroneously tweeted the news of his passing away.
As a director, Kamat displayed a sureness of craft, an ability to draw the best out of actors and a felicity with psychological thrillers. He was born in Mumbai, knew its mind and crafted two fascinating portraits of the city, warts and all.
He commanded attention with his edgy award-winning debut venture, Dombivali Fast (2005), chronicling a citizen’s descent to disturbia in a world where the honest and the meek are mocked at, rather than valued and feted. The movie, inspired by Joel Schumacher’s Falling Down, won the national award for best feature film in Marathi, and penciled Kamat as a director to watch out for.
He lived up to the challenge in his debut Hindi feature, Mumbai Meri Jaan (2008), a bittersweet ode to the city that wrapped its arms around the 2006 train blast survivors, their loss and their method of coping. Mumbai Meri Jaan received the Filmfare Critics Award for best movie.
Kamat changed tack thereafter. Force (2011) was a slick action yarn. The director, who also acted in several movies such as Rocky Handsome (2016), also helmed Irrfan Khan’s tense Madaari (2018). In between, he directed Drishyam (2015), a cat and mouse thriller, remade from a Malayalam film of the same name. The movie was a masterclass in mindgames; its ingenious twists and unusual morality choices were loved by the audience, making it a cash counter success.
Actor Riteish Deshmukh who starred in his Marathi film Lai Bhaari tweeted: “I will miss you my friend Nishikant Kamat. Rest in peace.”
Actor Ajay Devgn, who featured in Drishyam, took to Twitter too to post: “My equation with Nishikant was not just about Drishyam, a film which he directed with Tabu and me. It was an association that I cherished. He was bright; ever-smiling. He has gone too soon. RIP Nishikant.”
John Abraham had worked with Kamat in Force and Rocky Handsome. He posted photos with his director and wrote, “Will not get over this.... Rest In Peace.”
Film director Ashutosh Gowarikar posted: “You’ve gone too soon, Nishikant! There were still so many stories that needed to be told! You will be remembered through your creations! Especially #MumbaiMeriJaan which is sheer brilliance! Your CINEMA will be missed! Farewell.”
Producers refused to back my film as it didn’t have stars-Seema Pahwa
7:38 AM
As her directorial debut, Ramprasad Ki Tehrvi premieres at the city film fest, Seema Pahwa on star-obsessed industry
Sonil Dedhia (MID-DAY; October 18, 2019)
The quirky comedy — that revolves around a family that comes together for a funeral — boasts of a stellar ensemble cast, including Naseeruddin Shah, Konkona Sen Sharma and Vikrant Massey. Was she nervous directing such powerhouse performers? "I was surprised when each actor I reached out to agreed to come on board. I hope our film exemplifies that good content, not a popular face, is the real star of a movie."
Most men see me as a fellow man and not a woman refusing them-Tabu
8:11 AM
Priyanka Dasgupta (BOMBAY TIMES; November 24, 2018)
Fresh from the success of AndhaDhun, Tabu was in Kolkata as the special guest at the 24th Kolkata International Film Festival’s closing ceremony. During her stay in the city, she talked to us about Gulzar saab’s influence on her career, her equation with Irrfan and her current priorities:
After AndhaDhun,there have been talks about your portrayal of strong women characters. How do you portray dark characters effortlessly?
For me, every character takes the same amount of immersion. I don’t have any special approach for playing dark characters. That’s because I never looked at them as dark characters per se. For me, they were real people.
Simi in AndhaDhun is the cheating wife of a has-been star who is at once a seductress, an aspiring actor, a step-mother and an accomplice in a crime. Despite being the primary antagonist who is deeply flawed, it is difficult to hate her. So it is for Nimmi in Maqbool,Ghazala Meer in Haider and Anne Mathew in Golmaal Again. Do you consciously create empathy for grey characters?
I don’t think of people as out-and-out black or white. I don’t see people as good or bad, though some deserve to be seen as purely dark (laughs). I think it is easier for me to diminish the evil in people and be able to see the good. I never thought that these characters should get empathy from the audience. They live their lives and do what comes to them, according to the script. If people have empathy or hatred, then that’s their perception. That’s what I am bringing out in them.
Do you ever revisit your own films?
Rarely. I don’t think I can be my own audience as long as the film is not complete. I come from a generation that had no monitors on the sets. You had to go with the director’s conviction and be happy with it. I still work like that. But yes, there are a few scenes that speak to me. In AndhaDhun, there are many such scenes. Like, when I first go to Ayushmann Khurrana’s house to see if he is wearing a mask. Then, there is the ‘tu toh bohot bundle aurat hai’ scene. I also love the car scene in the climax. What I like about Sriram (Raghavan) is that nothing of his craft is manufactured. He is never trying to be dark and morose. He never manipulates a response. That is why people liked his AndhaDhun and I enjoyed acting in it, too. I also revisit the chinar scene from Haider. There are some really nicely written scenes in Maqbool — especially the Meri Jaan scene with Irrfan.
Haider and Golmaal Again are from two completely different spaces. Have you asked directors why they cast you in films from such diametrically opposite genres?
It’s the faith of the directors. They haven’t stereotyped me in their heads. Rohit Shetty must have believed that I can carry off Golmaal Again even after Haider and Drishyam. Gulzar saab came to me with Maachis when Ruk Ruk Ruk was on TV. I had asked him how he visualised me in such a role but he never replied. Both Sajan Chale Sasural and Maachis had released the same year (1996). Maqbool came to me after I did Biwi No. 1 in 2000. That was also the time I did Astitva and Chandni Bar.
Maqbool is one of the rare instances in Indian cinema where the leading lady was so dark and conniving. Yet, there was love and romance. I wonder what Vishal (Bhardwaj) saw in me that he felt I would be able to bring that layer. In Haider, which I did in 2014, my character had so much of internal silence. Physically, too, she was so different from the cop I played in Drishyam the next year.
With Indian cinema celebrating women whose beauty lies in their vulnerability, how did your portrayal of conniving women gain acceptance?
Acceptance isn’t in my hands. Acting isn’t a mechanical or technical job and I can’t dissect the process. On a lighter note, perhaps from a Vishal to a Rohit, everyone is seeing a planner and a manipulator in me (laughs out loud).
Irrfan had once described you as someone ‘deeply spiritual, who straddles many ends’…
It’s only after I read this interview of his that I realised how deeply and aptly he understands me. He always says that there is a comedian in me that very few know about. I am looking forward to having him back and doing a comedy with him.
You’ve refused more offers than you have accepted. Didn’t that hurt egos in a male dominated industry?
(Laughs) I think most men see me as a fellow man and not a woman refusing them. I have never done this gender-segregation in the workplace. How does gender matter if a person is doing right or wrong? I have worked from a young age and lived like a man.
There are no heroes or villains in AndhaDhun-Tabu
8:19 AM
Deepali Singh (DNA; September 6, 2018)
Tabu loves a good laugh. And that comes as a pleasant surprise for anyone who speaks to her for the first time. After all, the National Award-winning actress is known for her intense performances in movies such as Maachis (1996), Astitva (2000), Chandni Bar (2001), Maqbool (2003) and Drishyam (2015).
During the 20-minute phone conversation, she often breaks out into peals of laughter. Tell her that we expected a much more serious conversation, and she responds, “Main aise hi sabko ullu banati hoon. If I make you laugh, then you won’t ask me any serious questions.”
The powerhouse performer has had a busy last few months, with Golmaal Again, Missing and a cameo in Sanju. Now, she will be seen in Sriram Raghavan’s AndhaDhun along with Ayushmann Khurrana and Radhika Apte. The trailer, which released on September 1, has piqued everyone’s interest, but Tabu is guarded when she speaks about her role and the plot. “It’s a film that one really can’t say anything about because saying even one thing will be a spoiler,” she says. Over to the actress...
This is the first time you’re working with director Sriram Raghavan. How was the experience?
He is a fabulous director. You can’t encapsulate the stories of his films and put them in just one line. His movies are about people who are stuck in certain situations and their journeys. What’s unusual is the way he conceives the characters and the material he gives them to do because the characters are as real as they are bizarre.
How important is your role to the plot?
Importance toh I can’t say; I hope it’s very important (laughs). But in all of his films, you cannot pinpoint and say that the story is about these one or two central characters. Every character is crucial to the plot, even if they are there for one scene or from the beginning to the end. All I can say is that Sriram Raghavan has a very interesting take on my role.
Would you classify it as a thriller?
We can’t put AndhaDhun in this genre. I don’t believe in classifying so much. However, movies do get classified, especially with Sriram because he’s a master in that zone. But this film is like a rabbit hole, which goes from here to there and you don’t know where the story is going to go.
A bit like Badlapur, would you say?
Correct. There are no heroes or villains in this movie either. They are just being themselves, carrying out their own desires or aspirations and doing the best in the situation that they are in.
You did a lot of comedy films in the initial years of your career, but it was after a series of serious roles that one saw you in Golmaal Again last year...
Yes, and it was one of the best experiences I’ve had in a really long time. I always wanted to be a part of the Golmaal franchise, even if it was a cameo and told Rohit (Shetty) about it whenever we met. I enjoyed watching those films, especially Tusshar’s character. My role turned out to be quite interesting and intense. And I had so much to do. The other guys have been there for 11 years. I was the new entrant, though I’ve known Ajay (Devgn) and the others for so long. It was a win-win situation for me. I knew them all, it was a fantastic set-up, it was so crazy. You can imagine the fun that we must have had on sets. There was Johny (Lever) bhai whose side I did not leave during the entire film! I was only sitting with him and laughing all day. It was fantastic to work with Rohit and the movie became such a huge hit. I have a great connection with Golmaal.
You’ve worked with Salman Khan earlier in films such as Hum Saath Saath Hain (1999) and Jai Ho (2014). Now, you’re working with him again in Bharat. However, you have never been cast opposite him...
I’ve never been offered a film opposite Salman. But we have done some great work together and I’m happy with it. When you enjoy working with someone and share a comfort factor, it’s like being with family. For me, the experience is more important than who I’m paired opposite.
You like taking sabbaticals, but now, you have quite a few films back-to-back after a long time...
Yes. A lot of good work, mere matlab ka kaam, has been offered to me (smiles). The type of roles I have done in the past four-five years were the kind I really wanted to do. I don’t think anybody would have said no to those characters, whether it was Life Of Pi (2012), Haider (2014), Fitoor (2016), Drishyam (2015) or now, AndhaDhun and Luv Ranjan’s next. For me, it’s always been exciting to play multi-layered characters who have their own strength and personality. I’m so glad that in the past few years, these varied roles have come to me that have so much to contribute to a story. In a film like Golmaal Again, my character was the sutradhar while in Fitoor, I had an intense role that loomed large over the love story of two young people. Vishal (Bhardwaj) has given me the two best roles of my career (Maqbool and Haider) (smiles).
Was your character in Drishyam a tough one, too…
It was so powerful and had so many shades. And yes, it was really difficult to pull it off. It was about knowing how much to let go and how much to hold back. She could easily look like the villain. But if you don’t play on her power and strength, she would look weak and you cannot afford to do that. She needs a powerful mind to combat exactly what the hero is trying to pull off on her. So, it was a combination of all those traits and was written beautifully. I think it was one of the most well-written characters for female actors.
So will the sabbatical come later?
No ya, I’m busy till March. But I don’t intend to take a sabbatical. Kitne loon yaar (laughs)! I’ll take small breaks instead. Actually, one gets time in between because everything is so well organised now. The style of working has changed and it allows you to do your own thing as well. Anyway, I like to do my own thing (smiles).
I didn't understand what I was doing in Maachis. I couldn't understand anything-Tabu
8:16 AM
Known to be reticent, naturally shying away from public glare, one of India's finest film actors opens up on her sabbaticals, cinema, and the showbiz sense of humour
Mayank Shekhar (MID-DAY; January 31, 2018)
It's rather easy to hold a free-wheeling conversation with Tabu. Here's why. She's been around for over three decades, having done over 80 films, which would mean, a fair number of post-release rounds of press interviews across news/entertainment media. And yet, it's incredible how little we know about her. The mystique, aura, whether planned or not, remains. And we can actually begin the chat with the most basic query, on her name. Hence the first question, and similar ones that follow!
Excerpts from the conversation
You're Tabassum Fatima Hashmi, which is a beautiful name. How and why did you choose to call yourself Tabu in the first place?
It's my pet name.
Sure, but it's like Govinda calling himself Chi Chi on screen.
Tabu works though, you think? When I was working on my first film, as a child artiste [in Hum Naujawan, 1985], Dev [Anand] Saab thought Tabu was beautiful too, and that I should adopt it as my screen name, and that just never changed. Nobody had ever called me Tabassum, except for my teachers and school friends. And I came to Bombay right after school.
A common perception is that you started out as an outsider [from Hyderabad] to showbiz, Bombay. Goldie Anand's wife was your mom's friend. Shabana Azmi is your aunt [mum's first cousin]. You've worked with Dev Anand. Shekhar Kapur wished to cast you as a debuting lead [Shekhar himself is Dev Anand's nephew]. Clearly you're an insider!
That's right. I think the impression of me being an 'outsider' comes from the fact that I never intended to be in the movies. I showed up here by circumstance, accident, you can say. I went back to school after finishing my first film, and I never wanted to come back.
Were you holidaying in Bombay when you got your first part?
We used to come every summer for our holidays, because my mum's older brother, Ishaan Arya, was a DoP, he shot Garm Hava [1973], Bazaar [1982]. I grew up with his sons Sameer and Sagar, we were like siblings. My sister [Farah] and I were at Dev Saab's office, where he was taking a screen test, and because he thought she was so beautiful, he took her screen test as well. I did the movie. We forgot her screen test. She was 16.
And one day, we got a call from Yash Chopra. He told my mother about wanting to cast my sister [for the film Faasle, 1985], since Dev Saab had showed him her screen test. My mum didn't know who Yash Chopra was, she checked with my aunt [Shabana], everyone was really excited. This is how my sister and mom moved to Bombay, and I was too attached to Hyderabad and my school, so I stayed back with my aunt for three years. By then my sister had done a thousand films, and become a big star. And due to my sister, there was natural curiosity in the industry if I'd like to act in films too.
Shekhar [Kapur] Uncle saw me, said I had to debut in [his film] Prem, which I said no to. He insisted that I do just this one film, and that he would then send me abroad for further studies. Which never happened. In fact, I did the film, and he ran away [from the project].
That was a massive debut.
Yeah, it was huge.
Rather early in your career Gulzar called you a combination of Nutan, Meena Kumari and Nargis! Anyone would fall off their chair hearing that.
(Long pause) I don't know what to say, I try and see it from the outside, and then hope to do my job well.
And ideally stay from the traps of showbiz?
My life is [in the] showbiz, it isn't so separate from my work. Yet, regardless of my profession, I would still remain the same person — someone whose internal life, is distinct from the madness outside. And I've always been like this, through school, college. It takes me a long time to open up with people, media, work-associates… It's just a personality type. I don't have the bandwidth to be out there, be everything, to everyone.
You're more the 'board-game night with close friends' kinda person?
I do that. I essentially like being with people I can laugh a lot with. And people in the movies [unlike in many other professions] generally have a sense of humour. There's a common thread of jokes that exist in the film industry, with a very specific language.
Give us an example.
"'Cut to' usne aise bol diya." "Maine aise bola aur woh 'stop block' mein gayab ho gaya!" This is still '90s, but there are really specific terms. "Arrey yar, yeh toh bahut bada twist aa gaya teri kahani mein!" "Yar, kya 'game' kiya usne girlfriend ki life mein!" "Uski band baj gayi…"
What I find amazing is how film critics go gaga analyzing your performances, sub-text in your work, etc. But when you're asked about films that you loved doing, you say Saajan Chale Sasural [1996], Biwi No. 1 [1999], and in a recent interview you said Jaal: The Trap [2003]. Have not even seen Jaal: The Trap, what's this finest movie you've ever made?
(Laughs) Don't exaggerate, I didn't say Jaal: The Trap was the finest film ever! I think it was a great role for me to do, back in 2000, so early in my career, nobody had cast me like that. Mere role mein twist aa gaya! You just haven't seen the movie, and so you don't know. Didn't it look like I was having fun in Biwi No. 1?
In Saajan Chale Sasural, the audience had fun, I had fun, the producers made money, it was a fun experience! It was a treat to watch Govinda take a scene to other levels. On paper, it would look like, okay, this is what's going to happen, and it's funny. But you would never be able to imagine the flavour Govinda would bring to a scene, turning it into something so tasty. And that's his forté.
I know someone who hung out with you on the sets of Chandni Bar [2001]. What amazed him is that he'd be chatting with you, you'd go off, do an intense scene, and just come back to continue the chat. Does that switching on-off come naturally to you?
Gulzar Saab also used to say the same thing. Actually, I don't know, I've really not been able to decode the process of acting. I've tried. I still don't think I'd be able to articulate it [the process] into a few lines or paragraph. At all times, there have been too many factors determining what I was doing, or how I was doing it — the inspirations, people I was surrounded by, what kind of access I had regarding a role. I also don't think you can carry around what you've given in a shot, because there's a finish point with 'cut', and a beginning with 'action'. And I don't know what happens between the 'action' and 'cut'. It's just in front of the camera, after which the moment is over.
Do you rehearse for that moment though?
The lines and movement, of course, you have to rehearse. But I really don't know what'll happen in the 'take'. Even the director might give you different instructions in subsequent takes. I remember Ang [Lee] doing that [for Life Of Pi, 2012]. He would try the same shot with different interpretations to arrive at what he wants from a scene. For different actors, different kinds of briefs work. I don't know what kind of actor I am. Only someone who's observed me may be able to answer this. Also I've come to the conclusion that there is no right or wrong way of doing anything in life — as people as well, we're evolving. In action sequences, you obviously have to rehearse a lot. You can't just show up and slap someone. Otherwise, sometimes you just lose it when you rehearse a lot, and at other times, you can only get it right once you rehearse a lot.
Can you recall a character that you rehearsed extensively for?
You're taking my exam.
Okay, did you rehearse a lot for Ashima's role in The Namesake [2006]?
We just had one reading in New York. I got into the film just two weeks before the shoot's start, which took me by surprise, and I was so not prepared for it. To my advantage, I had already done a film in Bangla [Abar Aranye, 2003], with Gautam [Ghose] Da, which I had dubbed myself. I had a certain understanding of the culture, people, and place — that really helped a lot during The Namesake. I also had a lot of friends to refer to, especially since there was no dubbing involved. The dialect was Bengali accented English specific to someone, who's lived in New York from 1977-2005!
But The Namesake was an experience that changed a lot in me. There are milestones that you can look back on, and this film would be one of them. I was in America and didn't know anyone except Irrfan [Khan]. The entire unit was American — no one making any filmy jokes! I lived in an apartment in New York, and the first 10 days were devastating. It was cold, snowing, my sisters were in California and Chicago, and I would call them and cry, because I could not get my favourite brand of corn flakes in the supermarket. I would ask them: How come the tea doesn't taste like in California? This was my struggle.
Those are serious first world problems. We feel sorry for you.
No, I thought it would've been better if I could bring my team along. But once we started shoot, came into a routine, it turned out to be the most valuable experience of my life. I made friends. We worked five days a week. I also learnt the way America approaches cinema, acting, style of shooting, contracts. The Screen Actors' Guild [reps] would come and check on us. I still get residuals from The Namesake, almost twice or thrice a year, in dollars!
Every time we watch The Namesake on TV, something goes in your pocket.
Yes, you are paying me. That's the way it should be, and I really respect that.
What are the other milestones you can think of?
From the beginning? Then it has to be Maachis [1996], Astitva [2000], Hu Tu Tu [1999], Chandni Bar [2001], and The Namesake, because of geographical exploration. Then Life Of Pi, and Cheeni Kum [2007], in a very nice way.
You've said that of all the characters, the one in Cheeni Kum has been the closest to you. What do you mean by that?
That is one character that I can identify with, in the sense that I could be that person.
Means you could fall for Amitabh Bachchan?
Of course. That is why I did the movie! I could totally fall for somebody like that, but has to be exactly like him. I could totally understand my character's headspace, and I guess that's why R Balki wrote the film keeping me in mind. Coming back to milestones: Haider [2014], and Maqbool [2003], definitely.
The first milestone for you, one imagines, would be Maachis, and your association with Gulzar. The two of you share a fabulous relationship. How did you first meet?
I still don't know what made him [Gulzar] cast me in Maachis, and I still ask him that. At the time, my song, Ruk Ruk Ruk [from Vijaypath, 1994] and trailers of Pehla Pehla Pyar were on air — full-on dancing. But he still does not answer my question. It is now that I understand that the director, and the cinematographer, has a completely different perspective on an actor. They have an eye.
Vishal [Bhardwaj] has had the ability to see me in a very different light. I was caught off guard, when he approached me with Maqbool. It was like a drug to feel that someone looks at you like that. He could see the deep layers of madness, sexuality, lust. I felt completely bare with him. With Maqbool and Haider, I saw and met myself in so many different ways than I had ever known.
So Gulzar saw you in the promos of Pehla Pehla Pyar and called you up?
He called up Shabana aunty. I said, of course, I'd give anything to be a part of his film. He's made films like Mausam [1975] and Angoor [1982] in which his characters are so real, and still they are the leads. So I went to meet him at his house. I always narrate this incident, as it is the strongest memory that I have: So he had a cold, and he kept sniffing into his handkerchief, I went and sat. We both just sat for an hour. And I was thinking, "Kya bolenge yeh mujhe. Main kya jawaab doongi [What'll he say]." I was completely tongue-tied.
He's sitting across you, sniffing, and you are just sitting too. I'm sure he must be reading something.
I think he was writing something, and I kept waiting. After an hour, I said, "Achha Gulzar saab." And he was like, "Achha thik hai." It was his way of saying that you are doing the film. Two-three days later, he handed me the script, which was such an 'Oh My God' moment. It was the first time I was holding a script.
First time holding a script. What are you saying?
Yes, after Prem.
Vijaypath didn't have a script? They just told you, 'Aap madam udhar se ayenge, or Ruk Ruk Ruk karenge'?
Aise dance karne ka, aur romace karne ka. I was like, "Yay, very good. Feels nice to dress up. Ajay Devgn is my friend [Laughs]. Outdoor main mazaa karenge [will have fun]. Pehla Pehla Pyar was shot in Switzerland, so I was jumping with joy.
You're not making this up.
No, I was just too happy to be on sets. Chintu ji [Rishi Kapoor] would offer me chocolate. Later he would instruct, "Seedhe khade reh [stand straight]!" But then Gulzaar Saab happened. So he read the script to Chandrachur Singh, and me. I didn't understand what I was doing in the film. I couldn't understand anything.
Were you intimidated?
The subject was so heavy, and deeply political, which you would get now. You can figure what the film meant to him, and what it was saying. Gulzaar Saab was obviously there like a father-figure, and he made it feel like a picnic. Then of course, my relationship with Gulzar Saab impacted me the most in life. I found a home in him. He's somebody completely divorced from the craziness and predictability of the movie industry. He also encouraged me to write. He would give me blank notebooks, and after few months would ask me if the book was over.
What kind of writing?
Observations, encounters, experiences, and I would read to him. And he'd say, "Bohot achhe beta!" That meant everything to me.
In that sense, you'd say Maachis probably turned around how you perceived show-business in the first place. If we see your films before that, you really wanted to go to Switzerland, and have fun.
I still want to go to Switzerland. I think when you experience everything, you can enjoy everything. You can't do that if you are putting yourself out there for one kind of experience alone. It's going to exhaust you, and burn you out.
Is that why you take long sabbaticals?
This line is always thrown at me as an accusation. It's a good thing though. I recommend it.
Is there another sabbatical coming up?
No. There's so much time between films that I don't have to consciously take a sabbatical. Anyway, films are so spaced out these days — nobody does 10, five, or even two films at a time.
But you've done that. In 1996, if I'm not mistaken, you had eight releases.
Yes, [I was doing] three shifts a day. I once had four releases on the same day. It was crazy, but it was the way it was. Also, you're much younger and you have much more enthusiasm, and energy, to be everywhere, doing all that a young girl loves — wearing good clothes, romancing, acting.
What are the biggest changes you've seen in showbiz since the time you entered?
Social media. That's the biggest change.
Can't imagine you being active on social media.
I'm on Instagram. You don't have to engage, opine, listen, and it doesn't take up that much time. Another change is that everything, except the actual shoot, has become a project. It's not just about the film, or the product anymore. The quality of preparation you put in post-shoot, and everything else, has also come into focus. So you don't know where your actual energies are getting distributed.
Speaking of distributing energies, there was a time that you took a really long break to learn Spanish. Were you able to master it?
That was over 10 years ago, in 2004. I planned to finish everything in a year-and-half, and not work for a year — just not do movies for some time. But no, I've forgotten Spanish. [It's] Only when I go to California and order food in a restaurant that I get to practice it.
How many languages do you know?
Telugu. I can speak Marathi; little bit of Tamil, and Malayalam. And Bengali, fluently.
For people who love your work, and have only seen your Hindi movies — could you recommend some of your non-Hindi films [a retrospective if you may]?
Ninne Pelladata [1996, Telugu], Kandukondain Kandukondain [2000, Tamil], Iruvar [1997, Tamil], Kaalapani [1996, Malayalam], Rakkilipattu [2007, Malayalam], Andarivaadu [2005, Telugu], Abar Aranye [2003, Bengali].
Audience Questions:
Did you plan how you wish to chalk out your career — follow a serious film with a light-hearted one?
I don't think my generation of actors was the planning type. Because so much was happening, I was just doing what I wanted to do — sometimes because the money is good, or the role is great. I did Aamdani Atthani Kharcha Rupaiyaa [2001], for instance, especially because Raghavendra Rao was making it. That was my second film with him. I consider him my guru. My first film, Coolie No 1, was with him. I learnt stuff from him — that you should have your own house, own money. Be careful with your time. Always be punctual. Do your work, and not think about anything else. He's taught me so many things about conduct: Always walk properly, dress well, look nice, and beautiful. Sleep on time. Enjoy life. Also he packs up at 5.30 pm, and would take us on picnics in Singapore!
Now we know how you can be cajoled into signing up for a film. Picnic pe chalte hai, picture banayenge!
Shopping karenge. Mall mein jayenge.
I was thinking about Drishyam [2015]. There was such a brilliant shift in your character — you had to be tough, still looking for your missing son.
I must say Drishyam is one of the most difficult characters I have done in recent times. I knew it was difficult for me to crack, because of the conflict in her personalities. She had to be this person [strict cop], and yet the vulnerable mother. And there was a danger of her becoming completely dark and negative. Which of course was not required, because you also have to see the vulnerability. I don't think I've played somebody like her — so strong and correct. As an audience also you're conflicted between wanting to hate her, but also understanding the pain. I don't know how I did the role, but it was a journey.
-Transcribed by Mohar Basu, Sonil Dedhia and Sonia Lulla
Superstars and girl power ruled 2015 in Bollywood
8:34 AM
Meena Iyer (BOMBAY TIMES; December 27, 2015)
The year 2015 has been a
remark able one for Bollywood for varied reasons. At the start itself,
films like Dum Laga Ke Haisha (a romcom), Baby (an espionage drama) and
NH10 (a thriller) were noticed. Anushka Sharma, who turned producer with
it, gave a commendable performance in the movie. Fifty-eight films
released in the first quarter and netted a business of around Rs 391
crore.
However, optimism reigned in the second quarter (Q2)
(April-June) when only 49 films
released and the monies saw a jump when the net collections for Q2 went
up to Rs 576 crore. As a popular trade magazine said, “Fortunes changed
with Akshay Kumar's Gabbar is Back on May 1 and Varun Dhawan's ABCD 2 on
June 19. Following closely were four actresses who rewrote the box
office rules. Yes, Deepika Padukone's Piku and Kangana Ranaut's Tanu
Weds Manu Returns along with Priyanka Chopra and Anushka Sharma's Dil
Dhadakne Do got people to sit up and notice that the girls were as good
at the game as were their male counterparts.“
The third quarter or Q3 (July-September) saw 51 releases and
netted a staggering Rs 885 crore, according to trade sources. The man
spearheading the collections was none other than the darling of the
masses, Salman Khan, who kept his Ramzan Eid date with Bajrangi
Bhaijaan. This Kabir Khan directorial crossed the Rs 300-crore mark
despite having the stiffest competition from SS Rajamouli's Baahubali:
The Beginning, the first dubbed film to cross the Rs 100-crore mark in
Hindi. Welcome Back was a super hit at the box office.
Drishyam, a riveting drama between a cop and a common man, was a sleeper hit. Meghna Gulzar's
Talvar, which dealt with the Aarushi Talwar murder case, won accolades
and set the cash registers ringing as it proved that good cinema
rightfully deserves its due at the ticket windows.Typically the last quarter (October-December), which is considered the most important in the trade because it sees the Diwali and Christmas releases, has also kept the Bollywood flag flying high. Pyaar Ka Punchnama 2, a rib-tickling comedy, was a hit, especially with the youngsters. Salman Khan-Sooraj Barjatya's Prem Ratan Dhan Payo has reached approximately Rs 188 crore, while the Christmas releases - Sanjay Leela Bhansali's Bajirao Mastani and Rohit Shetty's Dilwale are both sitting pretty in the Rs 100-crore club already only in the domestic market. What's more, they are still counting big numbers. While Bajirao Mastani has received a terrific word of mouth, Dilwale is leaning big on Shah Rukh Khan and Varun Dhawan's charisma. This entertainer has kids and families cheering for it. Where the final tally of the two December 18 releases ends is anyone's guess at this point.
Aamir Khan had no release this year
but he still had reason to cheer. His PK (2014) was the highest domestic
earner, sitting pretty at around Rs 324.30 crore. It also went on to
break records in the Chinese market as it became the highest grossing
Hindi film till date. HOLLYWOOD GAVE BOLLYWOOD A RUN FOR ITS MONEY THIS YEAR
If daddy can do it, Big Daddy can do it better. Yes, Hollywood, which at one time contributed to a mere 13 per cent of the cinema ticket sales in India each year, showed the desi market that it knows the art of multiplication better than us.
Deepika Padukone may have bagged her next with Vin Diesel but she seriously made a blunder by dropping out of his April 2015 release, Furious 7 (F7). The film crossed the Rs 100-crore mark in India leaving many Bollywood films behind. Three weeks after F7 came another Hollywood biggie - Avengers: Age of Ultron. This one netted around Rs 72-odd crore in our domestic market.
Now Bollywood knows that distant Hollywood is not to be taken lightly. So, they have started to clear the decks when the likes of a James Bond 007 (Spectre) or the latest instalment of a huge franchise like Star Wars comes.
The force has awakened.
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