Neha Maheshwri (BOMBAY TIMES; February 6, 2020)

Anil Kapoor will be seen as a police officer with grey shades in Mohit Suri’s Malang, which also features Disha Patani, Aditya Roy Kapur and Kunal Kemmu. The ‘evergreen’ actor says that he has a surprise or two for the audience up his khaki sleeves. While he doesn’t reveal what they are, in a chat with BT, he gets candid about his unfading popularity with the audience as well as filmmakers, and how he never aspires for any tag. Excerpts...

Many actors have said that they draw upon their inner emotions while portraying characters on screen. As an actor, who has been a part of the industry for over four decades, have you ever felt emotionally sapped while doing such a variety of roles, or the need to take a break?
Of course, I do feel the need sometimes. During the first decade of my career, there were so many factors driving me. I wanted to work as much as I could. The second decade was all about trying to maintain what I had by working in the best of films. There were financial obligations and setbacks, too, like Roop Ki Rani Choron Ka Raja (1993, home production). The third decade was all about maintaining longevity. I was focusing on adapting myself to the need of the hour and trying to make younger filmmakers notice my versatility.

During the fourth decade, I went into a transition mode. Also, God has been kind, as opportunities keep presenting themselves. How can I say no to them? It was almost after completing 35 years in the industry that Dil Dhadakne Do (2015) happened, which opened more doors. Then Ek Ladki Ko Dekha Toh Aisa Laga (2019) happened. It's not that the thought of taking a break hasn’t crossed my mind, but exciting offers keep coming my way.

Talking about Ek Ladki Ko Dekha Toh Aisa Laga, Sonam has been brave with her choices in films. Do you think you are as brave as your daughter?
I am glad that Sonam, Rhea and Harsh (Harsh Varrdhan Kapoor) are making brave choices and sticking to them. They have chosen difficult paths. I was quite brave too, but not as brave as them. That’s probably because I had a lot of financial responsibilities. My kids don’t need to think about money when making their choices. They aren’t crazy about money. They are ambitious, but to do things they believe in. In my case, I had to keep doing safe films, to get a chance to try on brave projects. It was important for my films to do great business, so that I could take a chance with films like Lamhe (1991), 1942 A Love Story (1994), Eeshwar (1989), My Wife's Murder (2005) or Nayak (2001). There was a time jab log bolte the ki yeh bada apne aap ko English actor samajhta hai, itna ‘real’ acting karta hai. And then suddenly, one day, I became a commercial actor for them. Jhakaas ho gaya! Finally, it’s all about perception.

Today, we keep talking about content-driven cinema, but you have associated yourself with such films and unconventional subjects several times in your career...
Hamesha aisa hi tha. Beta (1992), Judaai (1997), Virasat (1997), Chameli Ki Shaadi (1986), Eeshwar… they are all content-driven films, which is why they have stood the test of time. People around me would call me a big star, but I have always banked on content, not on my stardom alone. I believe that’s the reason for my longevity. For me, it’s not always necessary for a film to be a hit at the box office, but it should withstand the test of time.

It’s not easy to keep yourself relevant and going strong in this industry, which is known to be fickle. Many of your contemporaries have retired, while others are settling for smaller parts or even try to revive their careers, though not so successfully. But even after 41 years, you are still going strong...
I am just following my instinct and going with the flow. I have been fortunate that young filmmakers want to work with me. I took risks in the early stage of my career. So, they know that they can approach me with their crazy ideas. I have done films in which the heroine had a better character graph than me. Had I been slightly rigid, I would have missed out on them. There were times when I did films in which I didn’t play the lead role, like Taal (1999), Biwi No 1 (1999) and Slumdog Millionaire (2009). I did them because, as they say, ‘there are no small parts, there are only small actors’. I never cared about the length of my roles. I tell filmmakers, ‘You give me two good scenes and I will do it, but don’t use my presence just because I am Anil Kapoor’. I remember when Farhan Akhtar had approached me for Don (2006), I told him that I don’t mind playing a don in a film which features Shah Rukh Khan in the lead. There were times when I did films for friendship as well. They have told me, ‘Main yeh film bana raha hoon, main takleef mein hoon’. I had an inkling that the film won't do well and even told them ki yeh picture nahi chalegi. They turned around and said, ‘Aapko kya farak padta hai sir. Kar lo aap’. Maine kee hain woh pictures. I am not a ruthlessly self-centred person.

There was a time when you were hailed as a superstar, and now, you are called ‘evergreen’. Today, when we talk about superstars in Bollywood, only very few names feature on that list. How seriously do you take these tags?
My tags change every decade. At first, it was ‘Yeh actor hai, star nahi hai’, which changed to ‘He is not just a star, but a superstar’. Then people said that he tried to replace Bachchan, but he couldn’t. Now, the tag is around my fitness and good health. I never aspire for a tag and don’t work towards earning one. They keep on changing from ‘Forever Young’, ‘Star’, ‘Superstar’, ‘Evergreen’, ‘The next Amitabh Bachchan’, ‘The next Sanjeev Kumar’ and ‘Jhakaas’. However, the one tag that remains to be my favourite and has been bestowed upon me by respected directors, is that of a ‘Chameleon’. I would strive for it to remain with me.

You will be seen with your son Harsh in the Abhinav Bindra biopic. There were rumours that you were initially hesitant to share screen space with him as you did not want any unfair comparisons...
These are all rumours. I can play anybody’s father, grandfather or even great grandfather. That has never been an issue. I had, in fact, almost played Sridevi’s father in Lamhe. I have played father to many actors, so why would I have a problem playing Sonam and Harsh’s father? My children are more worried about me than I am for them, because they are very sure of their work. Fortunately, like me, both Sonam and Harsh don’t worry about the length of the character. I have also done cameos. Similarly, Harsh is doing a cameo in AK Vs AK. It’s not ‘I, Me, Myself’ for any of us. Nobody is anybody’s fan or harbours superiority or inferiority complex. That’s the atmosphere in the house.

When Harsh’s first two films didn’t work, did he come up to you for advice? For any actor, box-office failure can be quite upsetting...
In fact, he advises me on every film, including Malang. He suggested that I watch Harvey Keitel’s character in Bad Lieutenant (1992). We (Sonam, Harsh and I) don’t advise each other, but throw ideas. Of course, box-office success is very important and it does affect you, but you have to move on. Harsh was upset, too, when his films didn’t do well. He is a normal human being. Success and failure are a part of life and our profession.

Lastly, is there anything that makes the ‘evergreen’ Anil Kapoor insecure? Does the thought of ageing play on your mind, at least at times?
What do you think? Everybody has to age and that, too, gracefully, die. There is no sequel to youth, old age and death. You experience it only once.

Times are changing and more and more novel and unconventional topics are being tackled in our films. But homosexuality is one such subject where we have slightly lagged behind. Here, we are not talking about caricature gay characters inserted in films for cheap laughs but realistic depiction of such people. Interestingly, Hollywood and many of our web series too are based on this idea. Even regional films on homosexuality have thrived. However, a handful of Hindi films have had protagonists playing gays.

So what’s stopping Bollywood for getting into it full throttle like its contemporaries? The biggest problem is that despite Supreme Court decriminalizing homosexuality and increase in awareness, it’s something that still remains a taboo. And films made on taboo topics can be detrimental. Akshay Kumar’s film on sanitation, Toilet – Ek Prem Katha, worked very well as this was a still a topic that can be discussed. But when he attempted to spread awareness about sanitary pads in Pad Man, the desired result was not achieved. Toilet – Ek Prem Katha earned Rs. 132.07 crore while Pad Man, despite having better word of mouth, could reach only till Rs. 78.22 crore.

Shockingly, none of the LGBT film of Bollywood has even seen a commercial success. Fire was the first such film in this genre. However, it was met with violent protests due to which the film was withdrawn. Sometime later, it was re-released after the Censor Board imposed cuts. Though it ran without any problem, the earnings were paltry.

Then, Split Wide Open, Rahul Bose-starrer, came next in this genre. But it was so niche that it went unnoticed. Karan Razdan’s 2004 flick, Girlfriend, was a story of an obsessive lesbian. It had immediately come after Murder, which popularized the idea of films with intimate scenes. It had loads of steamy and sleazy scenes and hence, it didn’t do much for the LGBT movement. And it was an average grosser at the ticket window.

Many other films then came up but were mostly small-budget. My Brother Nikhil, Onir’s first directorial, came all of a sudden, and as expected sank without a trace. Margarita With A Straw got a bit noticed but didn’t have any commercial trappings. Same happened with Aligarh. Angry Indian Goddesses was a fine piece of cinema and had an unexpected lesbian angle but viewers couldn’t give it a chance because of its very elite feel. Dunno Y Na Jaane Kyun, meanwhile, is considered to be a success story, and even has a sequel. But those who have seen it call it shoddy piece of cinema. And in cinemas, it was a big time disaster.

Karan Johar made two films and both have done a lot to make homosexuality mainstream. His 2008 flick Dostana was an average grosser and many even criticized for being cheap. However, homosexuals call this film a blessing as it at least ignited the conversation. During 10th anniversary of Dostana, prominent LGBTQ rights activist Harrish Iyer had told this writer, “Dostana broke the taboo. It was a landmark film as it mainstreamed the issue. It brought the conversation to the dining table. Dostana almost became a word for gays. People would say ‘Yeh log dono Dostana karte hai’ instead of saying ‘Yeh dono gay hai’!” He futher adds, “Karan Johar has done a lot of service to the homosexual community by bringing the conversation out from the closet into the open.” 8 years later, Karan Johar produced Kapoor & Sons. This was a hit film but homosexuality formed a very small part of the flick.

Last year, a lot of expectations were rested on Ek Ladki Ko Dekha Toh Aisa Laga. It featured a mainstream actor like Sonam K Ahuja in the role of a lesbian. What’s more, her real life father Anil Kapoor played the part of her dad, and there was also Rajkummar Rao and two popular songs too add to the impact. Sadly, the film received mixed response. On top of that, the taboo topic obviously and also the serious nature of the film kept audiences away.

But now, we have a film that can finally emerge as the first box office success in this space - Shubh Mangal Zyada Saavdhan. It stars Ayushmann Khurrana and Jitendra Kumar as the lovers with Neena Gupta, Gajraj Rao, Manu Rishi Chadha and Maanvi Gagroo playing supporting parts. The trailer was unveiled few days back and has been loved for its clever writing and the feel good mood of the film. What’s great is that someone like Ayushmann Khurrana has backed it and that too at this stage of his career. Right now, he’s on a roll and how. He has had 6 back-to-back hits, and it all started with the first part of this film, called Shubh Mangal Saavdhan, which was based on performance anxiety. Ayushmann is known to take up such topics in his films like sperm donation, late pregnancy etc in his films and these movies are family entertainers, without too many embarrassing moments for the traditional audiences.

Due to these reasons, Shubh Mangal Zyada Saavdhan has a very high chance of becoming a hit at the box office. The costs also seem limited and even if it does a business of around Rs. 55-60 crore, it’ll be in the safe zone. One might argue that a value of a film should not be judged by the amount of money it makes. After all, films like My Brother Nikhil, Fire etc also have been significant films of this movement, notwithstanding their box office outcome. But when a film on gays becomes a hit and gets whole-hearted acceptance, it’ll encourage more and more producers and even mainstream actors to back such projects. And this, in turn, will serve the larger cause and bring social acceptance to LGBT in a small but significant way. Hence, here’s hoping that Shubh Mangal Zyada Saavdhan turns out to be a great fare and that it gets the success it deserves!

Dhaval Mehta (DNA; July 12, 2019)

The first half of 2019 has been quite productive as far as Bollywood BO numbers go. While films like URI: The Surgical Strike, Gully Boy, Bharat and Kabir Singh have done exceedingly well, many big-budget projects didn’t click with the audiences. Trade analyst Taran Adarsh observes, “The first half of 2019 has been quite good. We’ve had many successes and if we compare it with the previous years, the ratio of hits have gone up.” And content has been king in masala as well as off-beat outings. Taran corroborates, “The films that have clicked are all content-driven, entertaining and within commercial parameters. Films like Luka Chuppi, PM Narendra Modi, Bharat and Kabir Singh, for instance.”

Here’s a low-down on what was hot and what was not.

1. TOP GROSSERS

Vicky Kaushal’s Uri: The Surgical Strike became one of the biggest hits of 2019 and marked a positive beginning of the year. The Aditya Dhar-directorial was based on India’s surgical strikes on Pakistan in 2016. Vicky also proved that he can carry the film on his shoulders and he is in it for the long haul. The patriotic project raked in a mind-boggling Rs 244.50 crore.

Ranveer Singh’s successful streak continues. If it was Padmaavat and Simmba last year, this year the 34-year-old actor won hearts as rapper Murad in Zoya Akhtar’s Gully Boy, which also featured Alia Bhatt in a leading role and set the ticket windows on fire with a collection of Rs 134.21 crore.

That Akshay Kumar is one of the most consistent actors when it comes to delivering hits goes without saying. Khiladi Kumar’s war drama Kesari wowed the audiences and proved why he is one of the most bankable names in the industry. The movie made Rs 151 crore.

Salman Khan’s annual Eid release, Bharat, was one of the most-anticipated projects and it did not disappoint fans one bit. Dabangg Khan’s portrayal as Bharat was the soul of the film and yet again showed his prowess. The larger-than-life extravaganza earned Rs 197.26 crore.

Ajay Devgn and Madhuri Dixit’s ensemble comedy Total Dhamaal once again proved that comedy always works. The third part in the Dhamaal franchise did superbly at the box-office and collected a whopping approx Rs 150 crore.

However, the biggest surprise yet this year has been Shahid Kapoor-starrer, Kabir Singh. The official remake of Telugu blockbuster Arjun Reddy has had polarised reviews but it is emerging as one of the highest-grossing films of 2019. It has already minted Rs 240 crore and shows no signs of slowing down.


2. BIG ONES

Kartik Aaryan and Kriti Sanon’s Luka Chuppi, which revolved around live-in relationships, collected Rs 88.50 crore at the BO.

Ajay Devgn has got a unique connection with comedies and even those outside of the Golmaal franchise work for him. De De Pyaar De was one such film this year with Rs 94 crore collections.

Amitabh Bachchan and Taapsee Pannu’s Badla turned out to be a hit as well as the actors recreated the magic of Pink (2016). The mystery thriller generated a big buzz and filled the coffers with Rs 87.56 crore.

If it was AndhaDhun for Ayushmann Khurrana last year, this time Article 15 became the talk of the town as it focussed on caste conflict. It was off to a good start and has collected nearly Rs 50 crore.

Manikarnika - The Queen Of Jhansi almost touched the Rs 100-crore mark.

3. THE BUMMERS

Sonam K Ahuja’s same-sex relationship drama Ek Ladki Ko Dekha Toh Aisa Laga (ELKDTAL) was appreciated for its bold and progressive content. She shared the screen space with her dad Anil Kapoor for the first time, too. Despite this, ELKDTAL tanked and could only collect Rs 19.31 crore.

Arjun Kapoor’s latest release, India’s Most Wanted, was panned by critics and viewers alike. The drama barely reached double figures with Rs 10.62 crore.

Karan Johar’s magnum opus Kalank featured a heavyweight line-up of Varun Dhawan, Alia Bhatt, Sonakshi Sinha, Madhuri Dixit, Sanjay Dutt and Aditya Roy Kapur. Despite a good opening, it soon fizzled out and earned Rs 80 crore at the cash registers.

Ananya Panday and Tara Sutaria’s Bollywood launchpad, Student Of The Year 2, also starring Tiger Shroff, was criticised for its content. It could not capitalise on the buzz and did a business of Rs 65 crore.

Sushant Singh Rajput's dacoit drama Sonchiriya was a shocker at the box-office and didn’t even cross Rs 6 crore.

John Abraham is trying to create a niche for himself by doing content-driven cinema. The handsome hunk’s Romeo Akbar Walter did an average business of close to Rs 39 crore.

Taran points out, “Films like Kalank and Student Of The Year 2 did badly at the box-office. Only big names won’t succeed and it boils down to powerful content. Total Dhamaal, Kesari and Gully Boy had big stars as well as content, that’s why they worked well.”

The year also had Hollywood biggies such as Avengers: Endgame and Spider-Man: Far From Home that bolstered the footfalls. Taran states, “Both these movies have done really well, too. So, it has been a landmark year for the industry. If we compare it to 2018, the number of hits has been higher.”

DISCLAIMER: Approximate India Nett Box Office figures from Box Office India, till the time of going to press.

Window dressing no more. A new wave of female screenwriters is bringing real and relatable women characters to films and web shows
Sonam Joshi (THE TIMES OF INDIA; June 30, 2019)

When Gazal Dhaliwal began working on a film script about a Punjabi girl who falls in love with another girl at a wedding, she took a trip down memory lane. Many of Dhaliwal’s own experiences of being bullied in school for being an effeminate male child, ragged in college, and her father’s support when she came out as a transwoman found their way into the Sonam Kapoor-starrer Ek Ladki Ko Dekha Toh Aisa Laga.

After the film released this year, Dhaliwal received several messages from lesbian women in India and Pakistan. “Many of them had taken their parents to watch the film, and they came out ready to talk to their daughters,” says Dhaliwal.

Dhaliwal is among a growing number of female writers in Bollywood writing stories about real women, and breaking conventions in a film industry that objectifies female actors or presents them as flat supporting characters to the male hero.

In recent years, there have been a growing number of successful films with women screenwriters at the helm: Juhi Chaturvedi for October and Piku, Kanika Dhillon for Manmarziyaan, Dhaliwal for Ek Ladki Ko Dekha..., Nidhi Mehra and Mehul Suri for Veere Di Wedding, Zeenat Lakhani for Hindi Medium, and Pooja Dhala Surti for Andhadhun. “These movies tell women that their stories are worthy of being told. It makes them feel validated,” Dhaliwal says.

“Gone are the days when female characters were just prototypes,” says Kanika Dhillon, who most recently wrote Manmarziyaan and drew upon her own early life in Amritsar to create the spitfire lead Rumi. “The women that I write are real”. One reason for this change is that more actresses are turning producers, says Bhavani Iyer, who co-wrote the 2018 film Raazi. “They want the story to be about them and not just be window dressing.”

The overall representation of Indian women’s stories has been dismal, but there are signs of change. According to a study on gender bias in popular films by the Geena Davis Media Foundation in 2015, only 12.1% of writers in Bollywood were women, lower than the global figure of 19.7%. In 2018, only 19.6 % of the 102 Hindi films released on the big screen were written by women, according to a study by Arre.

These skewed demographics also affect on-screen representations of women. According to a 2017 study of 4,000 Wikipedia pages of Hindi movies released since 1970 by researchers from IBM, The Indian Institute of Information Technology and Delhi Technological University, 80% of movie plots had more mentions of male characters than than female ones.

The credit for change also goes to streaming platforms that offer more opportunities and freedom to women writers. For instance, five out of 11 Netflix Originals and four of the five Hotstar Specials announced so far have at least one woman writer on board.

“The film industry believes they are creating their films for middle India, and most of their audience is male,” says Devika Bhagat, co-writer of the Amazon series Four More Shots Please. Bhagat says it still wouldn’t be possible to make a show like FMSP, which explores themes like bisexuality, one night stands and dating after divorce.

Though a lot has changed, there is still considerable inequality, says Alankrita Srivastava, who co-wrote and co-directed the acclaimed web series Made in Heaven with three other women. “This inequality is systemic and historic. The male gaze has shaped popular culture, the way we watch films, the way films are made,” she says. This extends to the roles women are given and the boxes they’re put in — the slutty vamp, the virtuous wife, or the virginal pure girl — and the lack of interiority in their characters. “The more women there are on set, not just directors but also writers, producers and technicians, the more it will change cinema narratives,” she says.

While OTT platforms are more open and inclusive, women should have equal representation on all mediums, says Srivastava. There remain deep-rooted challenges such as casual misogyny, unequal pay and the pigeonholing of women into certain genres. While the pay gap has been shrinking, Bhagat points out that there is still a 10-15% difference between male and female screenwriters. “I was once told by a line producer that the male dialogue writer deserved more money because he had a family to support and I was single and could just ask my dad for money,” she recalls. Pooja Varma, a co-writer on the second season of Netflix’s Sacred Games, seconds this. “During negotiations, people have asked me to accept a lower fee because I have been assured that I will be protected on set,” she says.

Dhaliwal recalls how a director once refused to hire her for a project though he liked her work “because it’s a man’s story and you wouldn’t be able to write it.” Yet, some writers such as Iyer, who is working on Amazon’s crime drama web series Breathe after Raazi, are breaking this norm. “It makes a lot of sense to subvert the genre if you get a woman writer to do an action film or a male writer to write a saas bahu story,” she says.

Some male directors rely on a collaborative process such as director Sriram Raghavan who worked with writer and editor Pooja Ladha Surti since his debut, most recently in the 2018 film Andhadun. “When we discuss female characters, I rely on her for certain insights I may not have,” he says.

It’s still far from a level playing field but Atika Chohan, who is writing the script for Deepika Padukone’s forthcoming biopic Chhapaak on the life of acid attack survivor Laxmi Agarwal, says there’s a distinct change in what writers like her could have done a few years ago. “It has been a time of transition. Talented female writers and directors who have waited in the wings for a long time are now getting a chance.”

Deepali Singh (DNA; June 9, 2019)

Just two days short of her birthday, Sonam Kapoor aka Sonam K Ahuja found herself being trolled for her comment on the recent Aligarh murder case. But the fiesty actress, who’s known to speak her mind, believes trolls don’t deserve her attention or time. “Do they change what I believe in? No. Then why should I waste my energy dealing with them? Trolls are pests. If they were offering constructive criticism, I would take it up and educate myself. I will speak my mind no matter what and no one should tell me to shut up. They can have their opinion, I can have mine,” the Veere Di Wedding actress states defiantly.

In control of her life
Moving on to happier things, Sonam, who turns 34 today, informs that birthdays at her house have always been a family affair. “It would start with mom and dad pampering us with our favourite treats, followed by a truckload of gifts and friends coming over to wish me. I am so thankful to the universe that there’s nothing much that’s changed for me. There is abundance of love coming my way, more each day, and I am just lapping it up,” she says. This year, her husband Anand and sister Rhea have planned something, so it will be another intimate family do.

Ask her how different is the 34-year-old from say, the 28-year-old Sonam and she says, “Principally, not much but then we all grow up to be in better control of who we are. The 34-year-old me is more self-assured. She holds on to what she believes in and doesn’t take criticism to heart. She is headstrong, fierce, will debate with knowledge and cares a damn about anyone who doesn’t matter. At 28, I was far more vulnerable and wary of the world,” she replies.

The multi-tasker
On the work front, Sonam had Ek Ladki Ko Dekha Toh Aisa Laga in the beginning of the year, which was appreciated for being the first mainstream movie to showcase a lesbian relationship. Even though it was not a box-office success, the actress states that it is the most special movie she has ever been offered. “We live in a society that has negated the LGBTQ community from the mainstream narrative for so long. That film was made to establish that these voices are out in the open, the laws against the community have been banished and actors will do films about them. Till date, I don’t see Ek Ladki... as an off-beat venture. It was a sweet, emotional love story. Those who watched it had only one thing to say — the film is all heart. We won at that,” she adds.

Not content doing just one thing — she is an actor, producer, invests in art and jewellery and owns a clothing line — Sonam believes that multitasking is necessary for an artiste. “I want to use my voice for more things that I take keen interest in. Rhea and I are discussing to start something new. I will also be producing a documentary this year about global warming and I am looking to back more environmental issues that are being sidelined,” she signs off.

Asserting that Ek Ladki Ko Dekha Toh Aisa Laga can change the way love stories are depicted, Anil Kapoor is thrilled that the film's screenplay is chosen for Oscars library
Mohar Basu (MID-DAY; February 9, 2019)

In the week since it has released, Ek Ladki Ko Dekha Toh Aisa Laga has been widely appreciated for bringing a same-sex love story into the mainstream. In another well-deserved honour, the Academy of Motion Picture Arts & Sciences has requested for a copy of the screenplay of the Sonam K Ahuja and Anil Kapoor starrer to include in the Core Collection at The Margaret Herrick Library. Source materials - including scripts, production records and photographs - in the Core Collection are available for study for filmmakers, writers and students of cinema.

"The story was so powerful and its message, so important that we, as artistes, had to support it," smiles Kapoor, elated at the development. The drama sees Ahuja play a closeted homosexual struggling to come out to her father - essayed by Kapoor.

The senior actor adds that in triggering a much-needed conversation, the film goes beyond the myopic, commerce-driven approach to cinema. "When I did 1942: A Love Story (1994), people questioned why I was doing the movie. Back then too, I knew that films are for posterity. Ek Ladki is a film with long legs. Such movies have an impact that lasts longer than the money earned over a weekend."

The wisdom he accumulated over his 40-year-long run in the movies prompted him to greenlight the script, regardless of its box office outcome. "It will stay with people for the concept and the social change it triggered. I hadn't done anything like this before. I knew it will prove its merit."

Regina Cassandra, love interest of Sonam Kapoor’s Sweety in Ek Ladki Ko Dekha Toh Aisa Laga, on why she didn’t negotiate for more screen time
Mohar Basu (MID-DAY; February 7, 2019)

A quick glance at the reviews of Ek Ladki Ko Dekha Toh Aisa Laga will reveal that both cinephiles and critics alike would have liked to see more of Sonam Kapoor’s on-screen love interest. Seated before us days after her movie hit screens, we ask Regina Cassandra why she chose against negotiating for more screen time. “When we started discussing [the film] there was some talk of giving Kuhu [her character] more to do in it. But, at the end of the day, it is Sweety’s [Kapoor’s character] story and is narrated from her perspective. I am glad I could add to it,” she says, certain that director Shelly Chopra Dhar and writer Gazal Dhaliwal sketched her part with “great love and care”.

There may have been apprehensions, we presume, when a film on same-sex love was to mark the Bollywood debut of the celebrated South actor. Yet, Cassandra can only cherish the fact that the “fun film” is a step further in making the taboo subject, part of everyday conversation. She confesses she didn’t have to look too far when finding reference points for her role. “I have friends who are lesbians; they’re bold and outgoing, and openly hit on women. They are also unabashed and unapologetic, and that’s also how my character is. She grew up with the confidence [and freedom] to be who she wants to be. So, it was important to show Kuhu as someone who is comfortable in her skin. It wasn’t about portraying a lesbian relationship, but, more of showcasing a love story. That it involved two women was incidental. No one calls a regular love story a heterosexual love story.”

The actor was to make her debut in this industry with the upcoming thriller Aankhen 2, which is yet to go on floors. “I was game to be part of that film. But it wasn’t working out. This [offer] came out of nowhere. Shelly was determined to get me on board. I am proud of this choice. These stories need to be told.”

As told to Aastha Atray Banan (MID-DAY; February 3, 2019)

"When I started writing this movie, I thought of all the straight romances I had seen. There was nothing explicit in them. When it comes to the LGBTQi community, it becomes about sexuality.

We wanted to make a movie about love and feelings. We wanted family audiences to come to the movie hall and watch it, just like they would go watch any other movie. I also wanted it to be far-reaching, because that's the way it will have impact. If more and more people watch it, then more and more people would be affected by it.

I also wanted to focus on the woman, as even in LGBTQi, a gay man has more agency than his female counterpart. Women are still invisible, and we wanted to get their voices across.

If you ask me, this movie is homosexuality 101. As we made it, we had to walk a thin line: we had to give the LGBTQi community a sense of romance and identification, and also convert the non-believer. To do that, we focused on family as much as the love between the two women.

I hope that the LGBTQi community enjoys the movie. It's the first mainstream movie, showing a gay lead's experiences with family, society and their lover. I saw a comment on Twitter that said that even the LGBTQi deserves a Dilwale Dulhania Le Jayenge (DDLJ) of their own. If the community, which I belong to, feel five per cent of what people felt watching DDLJ, we have succeeded.

As Ek Ladki Ko Dekha Toh Aisa Laga is celebrated and critiqued in equal measure, Sonam Kapoor on why the movie didn't devote enough screen time to same-sex love track
Mohar Basu (MID-DAY; February 4, 2019)

Sonam K Ahuja has made a brave choice in headlining a film that shines a spotlight on same-sex love — a subject that has unfortunately remained untapped in an industry that ironically thrives on romance dramas. But as is the norm with brave choices, they don't come without their share of hiccups.

While Ek Ladki Ko Dekha Toh Aisa Laga may have struck a chord unanimously, critics and viewers have debated how the script didn't devote enough time to Kapoor's love track with Kuhu, portrayed by South actor Regina Cassandra, thus playing it safe.

"But the film was categorically about the girl and her family," reasons Kapoor, who plays Sweety, a closeted homosexual trying to come out to her family about her truth. "It was important to show her as simple and ordinary because a gay girl is still a regular girl. We didn't want to stereotype her. As far as Kuhu goes, by design, if the story was bent towards developing their relationship, it would have taken away from showing what the girl's father [Anil Kapoor] or her grandmother goes through, or how her brother treats it as a sickness."

As much as writer Gazal Dhaliwal and writer-director Shelly Chopra Dhar are being celebrated for creating their characters with empathy, a line in the film's climax has raised eyebrows. Kapoor is seen telling Rajkummar Rao that he needs to rescue other Sweetys in the world, thus presumably indicating that homosexuals are victims who need help.

Point this out to the actor, and she argues, "People debating that line completely missed the point. She was talking about the power of art and its impact. In a movie-obsessed country like ours, we can't deny the dialogue a film can start. Since Saahil is a playwright, she feels that as a storyteller, he can bring about a change."

Despite a limited release of about 1,000 screens, the film is going from strength to strength. "We didn't make this film for money. Dad told me that a decade ago, this film would have opened to Rs 10 lakh. Today, we could rope in eight commercial actors and get a big studio to present it. The numbers will come as the days go by. I can't tell you the number of people telling me their stories. Even if one person musters the courage to come out with their truth, we have done a worthy job."

Rajkummar Rao on shifting gears from indie cinema to hitmakers and aiming for the Akshay Kumar zone of four films in a year
Mohar Basu (MID-DAY; February 3, 2019)

Art does not come in isolation, it comes with a responsibility…" starts Rajkummar Rao, when we meet him on a chilly Saturday. Dressed casually in a sweatsuit and a cap, he wears a relaxed look on his face. His last film Stree (2018) was unanimously one of the best films of the year and is expected to make it to the award galas this season. I ask him how is he so relaxed in times when competition is at its peak and everyone is waiting to outdo the other. He smiles and says, "That's my satiated look…" As he joins Anurag Basu on the film set in Bhopal, Rao talks to us about the importance of the social message in cinema, his 'Akshay Kumar year' with four releases in 2019 and the warped idea of competition in showbiz.

Is industry competition a myth given that opportunities are abundant?
Acting can't be competitive. It's not like we are working towards a promotion at the workplace. It's neither about outdoing designations. Movies are not a sport. I cannot go up to Ayushmann [Khurrana] and say, "Bro, I can cry better than you!" It's not wrestling that has one definite goal - to win. A good performance by anyone gives me a high. I can compete with someone's hard work, but not their work. The industry is not so petty anymore where one is pulling the other down. There is love, which is why great work is coming to the fore now.

While Stree had an interesting hook to the horror comedy genre, is it possible for an actor to be morally responsible while picking up scripts?
An artiste is someone who has been bestowed with the responsibility of changing thoughts and shaping ideas. It is a reality that people get carried away with the things they see on screen. I do my best not to portray something on screen which could be termed 'bad influence'. There are times when I have changed lines and scenes on set because I felt it may give out an incorrect message. As artistes, we have the responsibility to shape the ideology of an entire generation that will grow up watching us. I am a small town boy, I was copying Shah Rukh Khan when I was growing up. But having said that, should it limit creativity? I don't think so.

So, what do you do if a challenging character comes to you but the repercussions could be problematic?
This dilemma was on my mind during Omertà (2018). It was draining to be in a terrorist's mind but in such scenarios, the voice of the film matters; does it justify the actions of a terrorist? No, it doesn't. It merely states it as a matter of fact. It is a film from a terrorist's perspective, but I did it because it is exploratory to be in this space and show the world how they think or function. I wanted to play a dark character, whose ideology I cannot relate to. I trusted Hansal sir to make a film without jeopardising the message we send out.

Omertà never comes off as a wholesome film. How much of it was chopped out?
It was considerably cut. It wasn't my place to take a call on that.

In hindsight, was the Daniel Pearl killing in Omertà your toughest scene on screen last year?
(Laughs) It was an improvised scene. In the original script, it stops at him discovering the body. The rest of the part where I drag him out and behead him was done at the moment. Hansal sir has this problem where he doesn't say cut. So, the camera kept rolling and I was living in Omar Saeed's dangerous mind pace. A few months later, when I watched it again, I was shaken at how much hatred a man can harbour.

You were the poster boy of indie cinema and then came 2018, and you were giving Rs 100 crore hits.
And Stree was the most profitable film last year. The audience reaction has shifted. We always made such films, but it's only now that the appreciation for them has increased. It's like the concept of demand and supply. The audience now demands better content, and we are following through. Since Love Sex Aur Dhokha (2010), my first film, I always believed in the power of the story. People would advice me, don't do this, it won't sell. But who knows what sells really? There is no fixed formula that sustains better than good content. I was willing to make my own mistakes and follow my gut feeling. Of course, I have made mistakes, where I took up a project for the wrong reasons, as a favour for a friend. And few days into it, I knew this is something I shouldn't have taken up. It is tougher to say no to a film.

So, you were never tempted to take a project for the money?
I never worked for money. I do endorsements for that. Even with brands, I am particular about the scripts. I have been offered obnoxious amounts of money for events and shows, but if my heart isn't in it, I won't do it. People say this is my time to cash in but that's not why I became an actor.

Is this the year that you can finally have an 'Akshay Kumar' moment?
I don't see why not. I am only honoured to be as hardworking as the legends of this industry. That's the only thing that will sustain - hard work.

So, what's in your kitty for 2019?
There is Ek Ladki Ko Dekha Toh Aisa Laga, followed by Mental Hai Kya, which is an edgy, funny thriller. Kangana [Ranaut] and I had a great time at the shoot. I love working with her. She is talented and it's thrilling to work with actors, who are able to evoke better performances in you. Our characters have been fleshed out wonderfully and we have done our best. I also have Imali with Kangana, which is a heart-wrenching story. After that, I have Made In China. It is a hilarious script. I play a Gujarati man, who aspires to be an entrepreneur. I did play a bit of this guy in Kai Po Che (2013) but this is hardcore. Then I start shooting for Anurag Basu's next [yet-untitled] in Bhopal. The greed of working with a visionary like him is what lured me. With Basu da, I am now discovering my own capabilities, which I have never done before. I have often seen people do several films simultaneously, but I can't do that. My process is to flush out one character, prep for the next and stay in that universe. Even now, I am nervous for Basu da's next. I had cold feet two nights before I started. The night before the shoot I don't sleep. Acting isn't a profession. It's my way of life. You take this away from me and I will be a vegetable at home. The film set is my life; the energy and vibe of the set is my fuel.

Bringing normalcy in same-sex love stories
Rao's latest film Ek Ladki Ko Dekha Toh Aisa Laga talks about love between the same sex. Rao says that the only other Indian mainstream movie on homosexuals that impressed him was Kapoor & Sons. "The beauty of the film was that it spoke about same-sex love in a normal way. Post 377, our perception has widened. I had done Aligarh in past, so, I always saw it as normal. Films have an impact in normalising things and I hope parents, who can't stomach that their child is homosexual, are able to see the larger picture," he says.

As father-daughter duo brings to the screen Bollywood's first mainstream lesbian love story, Sonam and Anil Kapoor talk about what love and acceptance means and what change they hope the film brings
Aastha Atray Banan (MID-DAY; February 3, 2019)

When we first meet Anil and Sonam Kapoor last Sunday at Mehboob Studios, and asked them pointed, direct questions about their coming-out-of-the-closet movie, Ek Ladki Ko Dekha Toh Aisa Laga, they suggest we watch the movie first. "We want the audience to go through their own journey as they see it, and not talk too much about the premise beforehand," Sonam tells us, while apologising, sending us back without an interview. In retrospect, watching the film proves to be a good idea.

Sonam plays Sweety, a girl from Moga, a small town in Punjab. Dad Anil Kapoor plays a garment manufacturer. Other members of the house include a conservative grandmother, hot-headed brother, a friendly cook and a man Friday. But Sweety has a secret: she is lesbian, and has fallen in love with a woman she meets at a wedding. What we liked most about the movie was that along with Sweety's track, which is about being accepted as an openly gay girl in a small town, where the LGBTQi concept is still alien, it has parallel stories that are about the same issue: being accepted for who you are.

Anil's character has an age-old desire to be a chef, and Rajkumar Rao plays an out-of-luck writer, who wants to step out of the shadow of his famous Bollywood producer father. "At the core of it, it's [the film] about acceptance, and love. But it's also about different manifestations of love - father and daughter, and friendship. It's about how love and acceptance have to go hand in hand. You can't love someone for what you want them to be, you have to love someone for who they are," says Sonam, as we sit with her and Anil on the afternoon of the Friday release. Kapoor Sr says, "It's about not stereotyping, or judging someone. Bachha toh mera bachha hi hai na. As a parent, don't think what people will say - at the end of it, if she is happy, I am happy. Most parents just need a nudge." At this point Sonam adds, "This movie is a nudge for all those parents."

We tell her it could be the best movie she has done till date, and ask if she ever thought she was brave as a mainstream actor for deciding to play a homosexual lead? "But if an actor like me, who you say has some kind of influence, doesn't do it, how will we ever make this issue mainstream? I don't consider it brave. For me, it was about thinking like this. Art - be it a painting or book or a movie - always reflects society, but sometimes, a piece of art comes along that could change the way people think. Even if it makes a difference to one life - if one child finds acceptance, what an impact that would be!"

The movie, devoid of any sermons or explicit scenes, does what very few LGBTQi movies may manage - it makes the issue at hand, the only thing you focus on. "Indians are not culturally okay with physicality, so we wanted to make this love story palatable. If it was a love story between a boy and girl, we wouldn't ask why there was no overt PDA. It's easy to sensationalize a film like this. But this issue at hand is so important that anything else would have taken away from it. We had to make queer love, which is an unfamiliar one for smaller towns, familiar, by setting it with characters and settings you recognise," says Sonam.

How did Sonam work on her chemistry with actor Regina Cassandra, who plays her love interest in the movie? Anil asks, "This, even I want to know!" Sonam smiles wryly. "To be honest, it was like working with a male actor. It was where the 'acting' came in. I am definitely not in love with any male actor I have worked with. At times, you have to work with people you can't connect with, and romance them. But I could relate and connect with Regina, who is a really cool chick."

We end by asking them what they hope the LGBTQi community can take away from this movie, and Sonam says, "I think they will see this movie and know that there is a mainstream character that is not a caricature of them."

Ek Ladki Ko Dekha Toh Aisa Laga has its heart at the right place and turns out to be a fabulous film. The taboo subject has been sensitively handled by writers Gazal Dhaliwal and Shelly Chopra Dhar and the latter has also executed it beautifully. Yes, there are a few glitches and it is a bit silly and difficult to digest. But the direction covers it up and there are several moments that are novel and heartening and would surely impress audiences. Another minor hiccup is that Sonam K Ahuja is just fine in the lead role. I felt bad for her but only till an extent. If a better performer had acted in her place, the film’s impact would have been even more. Anil Kapoor however is rocking and takes the film to dizzying heights. He has a complex character but he pulls it off with ease. Rajkummar Rao as always is terrific and though the film doesn’t centre on him, he leaves a huge mark. His character's action is a bit difficult to digest though. Juhi Chawla is simply adorable and plays her part just right. She goes over the top, as per the requirement, but knows where to draw the line. Regina Cassandra is confident and is quite a crucial character. Sara Arjun, Madhumalti Kapoor, Abhishek Duhan, Seema Pahwa and Kanwaljit Singh are also quite nice. All in all, Ek Ladki Ko Dekha Toh Aisa Laga is a nice, progressive film and surely deserves a watch!

My rating - *** ½ out of 5!

WILL THE BOLD THEME HELP EK LADKI KO DEKHA TOH AISA LAGA?

Watching the first trailer of Ek Ladki Ko Dekha Toh Aisa Laga was a pleasant experience. At first, it feels like yet another Hindu-Muslim love story. However, the film drops some strong yet subtle hints that there’s more to the film than meets the eye. In no time, it becomes clear that it’s a homosexual love story!

Bollywood has attempted such films in the past but many were them were comic capers. Then there were films like Fire, My Brother Nikhil etc but these were very niche fares. Dostana was a big film but there, the characters merely pretended to be gays. Kapoor & Sons was quite hard hitting as it was arguably the first mainstream film where a lead character was not straight. Although there are no complaints as such, Kapoor & Sons however never showed any confrontation happening in the film because of this aspect, except with the character’s mother. In this regard, Ek Ladki Ko Dekha Toh Aisa Laga goes a step further. Here it seems that the family goes through a major trauma when the lesbian family member comes out. This can make for a fine watch.

Ek Ladki Ko Dekha Toh Aisa Laga’s star cast has also grabbed eyeballs. It is the first film of Sonam and papa Anil Kapoor together as actors. Besides, it also stars Rajkummar Rao and Juhi Chawla. The film is produced by Vidhu Vinod Chopra and directed by her sister Shelly Chopra Dhar.

Shockingly, the buzz for Ek Ladki Ko Dekha Toh Aisa Laga is negligible. The unconventional trailer didn’t really got the traction that was expected. Also, the film got into a bit of a controversy as Rajkumar Hirani initially was also a part of the film as producer. But he was accused of sexually harassing a crewmember during his last film, Sanju. Vidhu, as a result, got Rajkumar Hirani to step down from this film. The story broke a few weeks ago but it didn’t affect the film negatively. At the same time, it didn’t even give the film the much needed publicity.

Ek Ladki Ko Dekha Toh Aisa Laga thankfully is a solo release. 2 small films – Amavas and The Fakir Of Venice – were to release tomorrow but they got pushed to February 8. This is because Sonchiriya was to release on February 8 but it got delayed by almost a month. Hence, next Friday and these two films took that date. The last week’s releases – Manikarnika - The Queen Of Jhansi and Thackeray – have underperformed. And Amavas and The Fakir Of Venice are hardly competitions. So it has all the time till Gully Boy’s release to score. But looking at the hype, the opening might be very poor, in the range of around Rs. 2-2.50 crore. If the word of mouth is positive, the collections can dramatically increase from Saturday and then the film can sustain well.

We still have a long way to go when it comes to A-listers tackling homosexuality in films. Ek Ladki Ko Dekha Toh Aisa Laga is a right step in that direction and here’s hoping it proves to be a success!

WOULD YOU LIKE TO SEE AND WHY? DO LET ME KNOW!

DNA (January 15, 2019)

It has happened sooner than expected. Ever since Bollywood’s most-envied and celebrated filmmaker Rajkumar Hirani was called out in the #MeToo Movement, he has been declared ‘an outcaste’. A source says, “The tables have been turned on Raju so quickly, he probably hasn’t had time to recover.” From the outside, it appears as if the Sanju filmmaker’s closest associates — Vidhu Vinod Chopra and Abhijat Joshi — are the ones who have pulled the carpet from under his feet. On his part, Hirani has already denied the allegations.

In its January 11 edition, After Hrs had asked whether Raju’s name went missing from the poster of Vidhu’s Ek Ladki Ko Dekha Toh Aisa Laga by mistake. But now, it is known that Chopra and Co who probably had wind of Hirani being dragged into an alleged sexual harassment case, had pulled out his name from the poster to perhaps appease the entertainment corporation that is bankrolling their film. And to think that three years ago, when rumours flew thick and fast of Raju flying solo and producing Sanju on his own (with Ranbir Kapoor as his producer-partner) and not Vinod Chopra, the Chopras’ representatives had called to object vehemently saying, “There is no way Raju and Vinod would even think of separating.”

How quickly things have changed!

CO-WRITERS NO MORE?
The other person who has chosen not to say anything to the press despite repeated messages is writer Abhijat Joshi. Raju and Abhijat have been a winning combination for over 15 years. Their work includes Munna Bhai M.B.B.S (2003), Lage Raho Munna Bhai (2006), 3 Idiots (2009), PK (2014) and Sanju (2018). The two have penned the screenplays for all of Hirani’s directorial work till date. From introducing the concept of Gandhigiri to making the Sanjay Dutt biopic, they have proved that together they are a force to reckon with. However, it is once again being said that Abhijat has decided not to work with Raju till his innocence in the #MeToo matter is proved.

RAJKUMAR HIRANI AND VIDHU VINOD CHOPRA’S ASSOCIATION 
Rajkumar Hirani and Vidhu Vinod Chopra have worked together on some landmark Hindi films. Their earliest association dates back to 2003 when Hirani, who was an ad director till then, helmed Munna Bhai M.B.B.S. The film went on to be a blockbuster and was followed by the sequel Lage Raho Munna Bhai. It introduced the concept of Gandhigiri and gave Hirani a public image that looked like “it could never be beaten”. Until this juncture.

Vinod and Raju’s next venture — 3 Idiots — collected over Rs 200 crore on the domestic circuit. This was also Hirani’s first venture as a co-producer. Then came PK, which once again made history when it released. Their fifth collaboration, the Sanjay Dutt biopic, Sanju (2018), emerged as their highest grosser.

We tried contacting Hirani, Chopra and Joshi, but none of them reverted to our text messages till the time of going to press.

RAJKUMAR HIRANI’S TOP 3
- Sanju (2018): Rs 334.57 cr
- PK (2014): Rs 337.72 cr
- 3 Idiots (2009): Rs 201.37 cr

BHARAT: It’s the coming together of superstar Salman Khan and blockbuster director Ali Abbas Zafar. Both have delivered two big, massy hits in the past – Sultan and Tiger Zinda Hai. Hence, even though Bharat doesn’t seem like a typical pan-India entertainer (it’s a remake of the Korean drama An Ode To My Father), the expectations for it are skyhigh. That it showcases different eras in the post-Independence India should also be something to watch out for!

URI: It is based on the much-talked about 2016 surgical strikes by India. The incident is fresh in everyone’s minds and makes people proud. Also, Uri looks like a no-nonsense film on the lines of Hollywood films like Zero Dark Thirty and Argo and our very own Bollywood thriller Baby. Vicky Kaushal, who has achieved maximum praise in 2018, plays the lead role and that has also upped the hype.

HOUSEFULL 4: The director has been changed from Sajid Khan to Farhad Samji. Nana Patekar has been replaced by Rana Daggubati. But this hasn’t changed the excitement for this big-budget reincarnation comedy. The previous Housefull film was a disappointment but this one seems like an unusual comic caper and if made well, it can work wonders!

SUPER 30: Again, this is a film that has faced issues due to director Vikas Bahl coming under the #MeToo scanner. But again, the hype is intact as it stars superstar Hrithik Roshan and this would be his first film in more than 2 years! It is also based on an inspiring tale.

DREAM GIRL: Ayushmann Khurrana and quirky films go hand in hand. In this slice-of-life film, he would be billed as ‘Ayushmann Khurrana in an as Dream Girl’ and can be seen wearing a saree in the first look. Expect Ayushmann to impress audiences once again!

MANIKARNIKA – THE QUEEN OF JHANSI: Kangana Ranaut is a fabulous performer and there’s definitely a curiosity as to how she has essayed Rani Lakshmibai in this historical. The trailer looks great thankfully.

EK LADKI KO DEKHA TOH AISA LAGA: The excitement and awareness of this film was minimal till last week. But then came out the trailer and it surprised many. After all, Sonam Kapoor here plays a lesbian. Anil Kapoor, Juhi Chawla and Rajkummar Rao can also be seen in this flick.

TOTAL DHAMAAL: Golmaal Again proved how multi-starrer clean comedies can go a long way. Hence, there’s tremendous excitement for Total Dhamaal. It’s star cast itself is terrific – Ajay Devgn, Anil Kapoor, Madhuri Dixit, Arshad Warsi, Riteish Deshmukh and Jaaved Jaaferi! Dhamaal has been a fun franchise and Total Dhamaal hopefully would go one step ahead.

GULLY BOY: Zoya Akhtar is one of the best directors of Bollywood and this time, she delves into the world of slums and rapping. Ranveer Singh and Alia Bhatt together itself would be something to watch out for!

SANDEEP AUR PINKY FARAAR: I feel Dibakar Banerjee is way ahead of Anurag Kashyap when it comes to realistic fares. He was missing from the scene since sometime but now it’s great to see him back with what seems like a fun-filled entertainer. Arjun Kapoor and Parineeti Chopra are the leading actors in this flick. It’ll be interesting to see the locales of Uttarakhand as well, which is a rarely explored location despite the proximity from Delhi.

BADLA: Those who have seen the original Spanish film The Invisible Guest would surely call it a classic and a suspense film like no other. Its remake Badla hence is keenly awaited. Thankfully, it has fallen into the right hands with Sujoy Ghosh directing it and Taapsee Pannu and Amitabh Bachchan in the leading roles.

KESARI: This film will see Akshay Kumar in the role of Havildar Ishar Singh who along with 20 other Sikhs fought an army of 10,000 in 1897. The story itself is awe-inspiring and Akshay is expected to rock the show.

KALANK: It is a multi-starrer directed by 2 States director Abhishek Varman. The star cast comprises of Alia Bhatt, Varun Dhawan, Aditya Roy Kapur, Sanjay Dutt, Madhuri Dixit, Kunal Kemmu and Kiara Advani. Enough said!

STUDENT OF THE YEAR 2: Watching Tiger Shroff on screen is a treat. And Student Of The Year was a fine entertainer. The amalgamation of both can make for an entertaining watch!

INDIA’S MOST WANTED: Raj Kumar Gupta has been making some hard-hitting films and with Raid last year, he proved his worth yet again. India’s Most Wanted seems to be in the same zone as Raid and can be a surprise success.




GOOD NEWS: Akshay Kumar, Kareena Kapoor, Kiara Advani and Diljit Dosanjh collaborate for this sweet film that deals with surrogacy. The cast, premise and Dharma Productions producing it have added to the curiosity.

BATLA HOUSE: John Abraham finally got his due in 2018 and with Batla House, he has a chance to make his position strong. The film is based on a real incident and can be a gripping action thriller.

MISSION MANGAL: Who doesn’t like real, inspiring stories told in an entertaining manner? Mission Mangal seems like a winner from the start itself. Besides that it’s based on the role of women during the Mangalayaan mission, the star cast is too good. Akshay Kumar is the male lead but the real stars of the film are expected to be actresses Vidya Balan, Taapsee Pannu, Sonakshi Sinha, Kirti Kulhari and Nithya Menon.

TANHAJI: Ajay Devgn is all set to be seen as a real superstar in 2019 and this film would go a long way in doing so. In this historical, he plays the brave warrior Tanaji Malusare. Besides making this historical figure famous, the film is also expected to entertain viewers big time. Saif Ali Khan, moreover, plays the negative lead.

BRAHMASTRA: Ayan Mukerji, who has earned a following with just two films, will finally have his third film this year. If his association as a director wasn’t enough, the film is a fantasy and has an envious star cast comprising of Ranbir Kapoor, Alia Bhatt, Amitabh Bachchan and Mouni Roy.

SOORYAVANSHI: Simmba ends showing Akshay Kumar as Veer Sooryavanshi and also hints that the film on this officer releases this year. Not to forget, Rohit Shetty will be directing this entertainer that is expected to talk about terrorism. Akshay and Rohit coming together is one of the best things to have happened in 2019!

HRITHIK ROSHAN-TIGER SHROFF’S NEXT: Another new jodi that can be exhilarating is new age fit star Tiger Shroff and the evergreen and strong Hrithik Roshan. Both will be seen in an action film directed by Siddharth Anand and needless to say, it’ll be something else for sure!

MADE IN CHINA: The versatile Rajkummar Rao will be seen as a Gujarati businessman embarking on a trip to China in this film which is expected to be a fun, timepass fare. Also, it stars Mouni Roy.

SAAHO: The whole nation has fallen in love with Prabhas after the Baahubali series. Hence, his next flick Saaho is eagerly awaited. It’s a trilingual film and not dubbed like Baahubali. Nothing is known about this film’s plot but from the teaser, it’s evident that it’s going to be a visual extravaganza

CHHAPAAK: Deepika Padukone. Meghna Gulzar. A film on acid survivor Laxmi Agarwal. Nothing to say more, except that bring this film fast!

SHAKEELA: The Dirty Picture was a great entertainer, based on an adult star Silk Smitha. Shakeela is based on another such actress of the same name who is also unabashed. Richa Chadha will be seen stepping into the shoes of Shakeela and if made well, it can be an impactful flick!