Tanvi Trivedi (BOMBAY TIMES; March 16, 2020)

Actress Pooja Bhamrrah, who recently started her Bollywood journey, is happy that her hard work and talent are being noticed. The actress, who was seen in the Sonam Kapoor and Dulquer Salmaan-starrer The Zoya Factor, also featured in Fanney Khan. In the romantic web series Broken But Beautiful, she essayed the role of Porno, a fearless young woman.

A Mumbai girl, Pooja started her career as a model and moved on to anchoring shows. The actress, who studied biotechnology before she joined the industry, also hosted the Pro Kabaddi League on television. Ask her if it has been tougher for her to land good roles in Bollywood because she doesn’t hail from a film family, and she says, “Yes, it is definitely tougher for an actor who comes from a non-filmi background to get a break in the industry. But, I also feel that talent never goes unnoticed. One needs to be aware of the fact that it’s a business and many factors play a part in an individual getting a role. I feel that this is the best time to be an actor owing to the number of avenues that have opened up. Short films, web shows, independent directors making interesting content… there is no dearth of work if you are good at your craft.”

Talking about the kind of work that’s coming her way, Pooja says, “I am neither a Kapoor nor a Khan, so I can’t really be choosy about my work. I need to make the most of the opportunities that come my way. It is important to be careful about the kind of roles you add to your resume. Over the past few years, I have evolved as an actor.”

Pooja wants to do interesting roles that will make a difference to the project that she is a part of. She says, “I am still finding my feet in the industry and am extremely excited to see how my journey, as an actor, pans out. Being an anchor instilled a lot of confidence in me and helped me be comfortable in front of the camera.”

Rakeysh Omprakash Mehra admits to talks with actor, says film with Farhan Akhtar rolls in August and reveals why he lived in slums for a fortnight
Natasha Coutinho (MUMBAI MIRROR; February 9, 2019)

Six years after collaborating on the Milkha Singh biopic, Rakeysh Omprakash Mehra and Farhan Akhtar are reuniting for Toofan, a love story with boxing being a part of it. “The film happened organically. Farhan and I had a wonderful partnership while making Bhaag Milkha Bhaag so, part two had to happen sometime,” he smiles. “It rolls in August and releases next year.”

Not just that, the director has already planned his next after Toofan. “Over the last couple of years, I’ve been really intrigued by the Generation Z which succeeds the millennials. My daughter has just turned 19 and son is 17 years, so I have started looking at the world through their eyes. Their approach to life and the kind of pressures they deal with is fascinating. I love connecting with the youth as it keeps me young,” asserts Mehra who often visits schools and colleges to give motivational talks. “But I’m the one who gains the most from hanging out with these kids and I am looking forward to this film which will kick off immediately after Toofan. It doesn’t have a title or cast yet, but the script is 90 per cent complete,” he says.

Meanwhile another film, Mere Pyare Prime Minister, is gearing up for release next month. He recounts that he was shooting one night at Film City for Bhaag Milkha Bhaag and at around 4am while leaving the studio, he saw groups of women pulling their saris up and pulling down their salwars and walking out to defecate with dabbas in their hands. “That image stayed in my subconscious and when UNICEF figures revealed that 50 per cent of rapes happen when women go out to relieve themselves, it became the basic thrust of the film,” he adds.

Point out that the theme of open defecation is similar to Akshay Kumar’s Toilet - Ek Prem Katha and he smiles, “When I was making Rang De Basanti everyone told me it’s about Bhagat Singh and five films had already been made on him. But while RDB had the spirit of the martyr, it was a different story. During Bhaag Milkha Bhaag too everyone jumped to the conclusion that I was making a film about an athlete, but I knew I was making one about the Partition and how Milkha and his sister among others suffered through it. Similarly, while this film is set in the slums of Mumbai, it’s about the human spirit.”

The filmmaker lived in a kholi for a fortnight to better understand life in a slum and says that except for civic amenities that they can’t do much about, there’s a lot of camaraderie there and despite getting water for just half an hour a day, the place was spotless. “We got almost 2000 people from the slums to act in our film,” he adds.

The director also confirms the buzz that he is in talks with Shahid Kapoor for a future collaboration. “Shahid and I really want to do a film together. He’s such a fabulous actor and someone I feel I would have so much fun working with. With him it’s like finding a DNA match. Conversations are on and I think we will be able to reach common point if things work out,” he says.

While things are looking positive on the work front, his last production, Fanney Khan, didn’t meet up to expectations despite the presence of big names like Aishwarya Rai Bachchan, Anil Kapoor and Rajkummar Rao. “It was a beautiful story about body shaming and well told. A new director, Atul Manjrekar, and a new actress, Pihu Sand, were born with the film. I loved the music too. It may not have set the box-office on fire but I’m sure it will grow on other mediums like digital and satellite,” he asserts.

Mehra goes on to say that anything to do with women empowerment or rather human empowerment is dear to him. "Body shaming is an issue that needed to be addressed in our country. There is no law to curb it so there can only be a social consciousness,” he says.

Speaking about the kind of films he wants to experiment with in the future, he reveals, “I want to make a film on the farmers in our country, an action caper around Indian mythology and I also want to get into the costume drama space.”

Actor Rajkummar Rao on riding the ‘content is king’ wave that catapulted him from bit-sized roles to a lead part in one of the year’s most loved films
Kunal Guha (MUMBAI MIRROR; December 21, 2018)

This has been a year where the Badshahs and Shehenshahs of the Hindi film industry have toppled at the box office. But it is also one where a horror comedy about a small-town tailor who falls for a witch, happens to be the surprise hit of the year. When we meet the film’s 34-year-old lead, Rajkummar Rao, at an Andheri studio, he’s humbled to learn that leading actresses of the day are queuing up to work with him. “The industry is driven by content today and people are respecting the writing part of the process which is the way forward for films to be,” says the actor who will be seen in films such as Ek Ladki Ko Dekha Toh Aisa Laga, Mental Hai Kya, Made In China and Turram Khan in the following year. Dressed in deliberate casuals, complete with distressed denim and heavy-set glasses, Rao has a hurried manner of someone with a nervous tick. But given the space that he has carved for himself, having proved his mettle in independent films (Trapped, Newton) and commercial entertainers (Bareilly Ki Barfi, Stree) alike, it’s safe to toss the industry cliché and say that he has ‘arrived’.

Rao credits the welcome turn in favour of content-driven cinema for a spike in demand for performance-oriented actors, including him. In fact, while he refuses to name names, there are filmmakers who have rejected him in the past and are now approaching him with new offers. “I have nothing against anybody and I understand that it is a business model. You have to see who you cast at what point based on who can get you what in return.” And while he accepts that the equity attached to him has got a shot in the arm, he insists that little else has changed. “If somebody pays me more money, it’s not like my process changes. I still approach my characters the way I did in LSD,” he says, referring to his debut in Dibakar Banerjee’s experimental troika Love Sex Aur Dhokha. And how exactly does he slip into the skin of his on-screen avatars? “Once you understand where a character comes from, they talk to you,” says Rao, offering an example to illustrate, “So, in Stree, I knew this is a guy who is flamboyant and thinks he is very cool. Then, I just allow them to respond to the circumstances they find themselves in.”

Rao describes the last two years with a monosyllabic response: “phenomenal”. But 2018 began on a shaky note for the actor who played a vicious terrorist mastermind in Hansal Mehta’s Omerta and a bumbling sidekick in the Atul Manjrekar’s Fanney Khan — both failed to impress audiences. But he isn’t too affected by these setbacks. “We all want our films to do well but we never expected Omerta to make (Rs) 100 crore. I was only driven by the greed to play a dark, negative character in a Hansal Mehta movie,” says the actor who has collaborated with the filmmaker in acclaimed films such as Aligarh, CityLights and Shahid and will feature in his next, Turram Khan opposite Nushrat Bharucha. He defends Fanney Khan, saying that it offered a chance to work with the inimitable Anil Kapoor. “He’s a factory of energy and a student of film even today,” he describes the veteran actor. Rao was impressed by Kapoor’s ability to stand-in for his cues while filming Fanney Khan. “He is Anil Kapoor and has a body of work to fall back on but he doesn’t take it easy. He’s like a curious child who wants to learn something new every day and that’s inspiring,” says the actor who lists being more emotional than he’d like to be as one of his weaknesses.

Growing up in a middle-class joint family in Gurgaon, Rao’s earliest association with films was being part of his family’s weekly ritual of collecting in front of the TV set to watch a Hindi film or two on VHS. “It introduced me to a surreal world and I wanted to be a part of it.” He didn’t need to tell us that a healthy dosage of Shah Rukh Khan hits put the “seed of acting” in him. His onscreen tribute to SRK in the scene in Stree where his character mimics the actor in a drunken spur was enough. But it was a dream that took a while to realise. Following theatre gigs in Delhi, graduating from FTII in Pune, Rao bagged his debut in Love Sex Aur Dhoka and a year-and-a-half later, his next important role, Ragini MMS gave him some ground. But only bite-sized parts in films such as Shaitan, Talaash and Gangs Of Wasseypur (GOW) followed. “As an actor, one is always greedy and wants to stay on the screen for as long as possible. But there was always something for me to do in those small parts too.” Moving to Mumbai at first, he remembers, gave him “a sense of freedom and an opportunity to build a life” and even encounters like his association with Anurag Kashyap, his director in GOW, got him a referral for his first crucial lead in Hansal Mehta’s Shahid — a film he credits as his career’s turning point. “It was a biopic made with a lot of passion, but it didn’t get the kind of reception it should have,” he regrets, adding, “In hindsight, post Bareilly, Stree and Newton, people know me now and I get a lot of love on social media as well, so if the film would release today, it would surely do much better.”

Rao’s next, opposite Sonam Kapoor, is another love story set in a small town, his fourth after Behen Hogi Teri, Bareilly Ki Barfi and Shaadi Mein Zaroor Aana. And he says he picked the film “just for the story” and Mental Hai Kya because it belonged in a “quirky, edgy space” and because “it’s always fun working with Kangana” [Ranaut]. But the top priority for picking the film remains, whether the story excites him. “Even if it’s an action film, it would have to be the story that would set one apart from the other. It can’t just be about one guy beating up 20 others in every second scene,” he says with a smile.

Few know that Rao’s trained in martial arts but is yet to be seen in an action film. “I like giving a spin to my characters. So, I play a Gujarati in Made In China and while I’ve played one before (in Kai Po Che!), in this one, you can smell Gujarat,” says the actor who isn’t sure if one can bag roles based on networking alone today. “I have never really tried it. But if I have to go and talk to somebody, I will end up talking to them about everything, instead of just asking them about what they are making next.”


The actor as Ahmed Omar Saeed Sheikh in Omerta; A still from Stree

Having delivered the celebrated soundtrack of Manmarziyaan, Amit Trivedi reflects on why the genre rarely finds success in Bollywood
Sonia Lulla (MID-DAY; September 17, 2018)

Applauding its music just as much as they are the finesse with which Anurag Kashyap captured life in Punjab, cinephiles have Amit Trivedi to thank for the authenticity in the composition of Manmarziyaan. In an interview with mid- day, Trivedi talks about being part of the musical, a genre that, so far, hasn’t found its footing in Bollywood, and roping in unique voices for the film. Edited excerpts from the interview:

This is being touted as Kashyap’s first attempt at a romance. Can you talk about composing for it? 
Dev. D was a love story too, albeit in a different way. But it’s the same genre. This [film] was set in the heartland of Punjab, so the music had to reflect that. The first time that Anurag came with Kanika [Dhillon, writer], the narration went on for long. A while into the chat, he said, ‘At this point, we’ll have song number seven.’ And I was like, ‘Oh, saat gaane.’ Then he said, ‘Then we’ll have the interval.’ So that was a bigger shock. ‘Seven songs, only till the interval?’ So, I knew it would be a big project. He decided to take me through the first half only, because there was much to do. It was with the first half that I designed the [character] of Manmarziyaan. Anurag was deeply involved in the process of composition. He coined the term ‘F for Fyaar’, and asked for a song there. Even for Dariya, he had sent me rushes while filming it, telling me he wanted a song at that point.

You’ve incorporated voices of ordinary folks, including a cop and a teacher in the soundtrack. Why was that decision taken?
It was organic. When I compose a song, I have a particular voice in my mind. For one of them, I wanted a Labh Janjua kind of voice. Unfortunately, he’s no more. So I told my team to look out for a voice that has a vibe like his. They did a good job at hunting for it. On YouTube, we found many voices like that, and I picked this one. I told my team to bring him down to Mumbai from Punjab, to which they said that he’ll have to apply for leave. That’s when I learnt that he was a cop. He handles the cultural aspects of the police department in Punjab.

As for Vijay [Yamla, Punjab University teacher], he’s a tumbi player. I called him to play it when, one day, I heard him casually sing. I asked him to sing some more and finally said, ‘Great, here’s Dhyanchand, please sing it.’ He was raw. I love the voice that comes from the heartland. He has a beautiful voice and a good command of the Punjabi language.

There’s also a lot of discussion about your work in Ayushmann Khurrana’s Andhadhun. That has a Jazz influence, doesn’t it?
It’s classical. This is the first time I’m exploring the Western classical genre. I’m happy it’s come out well. There’s a portion of the film that sees Ayushmann play a piece on the piano. He plays the role of a virtuoso. So that segment had to sound great. I had to dig deep to crack that tune, and I enjoyed doing that. For this segment, I also took help from a fantastic [piano] player who helped me refine the tune that I had created so that it sounded like [the work of a] genius.

Before this musical, you’ve worked on Fanney Khan. If we trace the fate of musicals in Bollywood, it could be argued the genre hasn’t worked well.
These questions should be asked to a filmmaker. See, even La La Land had a composer who followed the filmmaker’s vision. If he has the right vision, I see no reason for a musical to not work. Ultimately, it’s the content [of the film that decides its fate]. With Fanney Khan, we were surprised at the reception. I had only three songs [in the film]. The rest were remixes, which were [included due to] company pressure.

You’ve been vocal about your displeasure about the trend of rehashing old songs. Why do you think such remixes work today?
I thought about my last quote [Trivedi had reportedly stated that composers rehashing songs ‘don’t have guts’]. I’ve now concluded that I don’t blame anyone. Today, we’re exposed to too much entertainment. There are thousand channels on TV, apart from [OTT] platforms. So, how does a filmmaker make noise or tell the audience to watch his film? We live in an era of instant gratification. Makers feel that original compositions may take time to grow on the audience. But remixes have an instant recall [value]. So you’re already latched onto it. They help in the opening of the film, especially when you have only four weeks allotted for promotions. It’s an easy marketing tool.

Unperturbed by harsh reviews of Fanney Khan, Rajkummar Rao defends his decision of playing second lead in musical
Sonil Dedhia (MID-DAY; August 7, 2018)

Rajkummar Rao's success can be attributed as much to his selection of scripts as to his powerful performances. However, his latest release, Fanney Khan, which has him sharing screen space with Anil Kapoor and Aishwarya Rai Bachchan, has drawn flak for its wafer-thin plot.

Taking the unfavourable reviews in his stride, Rao points out that his performance as Kapoor's partner-in-crime Adhir has been appreciated by the audience. "It [poor reviews] doesn't affect my mindset. That people couldn't connect to the story is a momentary [setback]. But then, you learn your lesson. I have read reviews where people said that they wanted to see more of my character in the narrative. That is encouraging. At the end of the day, I can only control my honesty in the film. What people like or dislike is not in my hands."

Rao understands that filmmaking is a collaborative effort and that the final product may not always shape up to one's liking despite the team's best efforts. "We can't always make films which will get a five-star rating. It's fine with me. I just have to keep working and keep believing in things that matter to me." Considering he is at the peak of his career, many may view his move of playing second lead in Fanney Khan as far from wise. However, the actor says, "I am a big fan of Anil sir, and I was glad to get the opportunity of working with him. If there is an exciting role, I don't mind exploring a supporting character."

Rajkummar Rao, who has over seven films in the pipeline, says he is open to all kinds of roles and won't settle for any one genre
Shaheen Parkar (MID-DAY; August 5, 2018)

Rajkummar Rao has no time to breathe. He had Hansal Mehta's Omerta release in May this year and recently, Atul Manjrekar's Fanney Khan. Later this month, he has Amar Kaushik's Stree, followed by two international productions, Namrata Singh Gujral's 5 Weddings and Tabrez Noorani's Love Sonia. And if that is not enough, Rao also has Mental Hai Kya with Kangana Ranaut and Ek Ladki Ko Dekha Toh Aisa Laga with Sonam Kapoor.

If you wonder why we are rattling off his filmography, there is a reason. Rao has back-to-back releases. He just wrapped up the promotions of Fanney Khan and is already into his next, Stree, which has Shraddha Kapoor as co-actor. There's more — he begins shooting for Made In China next month with Mouni Roy as co-star.

Click happy
We are at a suburban hotel with Rao where he shakes a leg with Fanney Khan co-star Anil Kapoor. Mr Jhakaas' enthusiasm can be infectious. AK does not leave any opportunity to say, 'My name is Lakhan'. as the shutterbugs go clicking.

So how is Rao balancing his busy date diary? "It's simple," he says, "I am doing what I love. I always wanted to be an actor." There are no complaints or exhaustion tales. "I enjoy the promotions. It's actually quite fun interacting with so many people. It's part of an actor's job," he says. Considered one of the finest actors of the generation, Rao is nonchalant about his success. "Things are just happening. I am playing my part and doing what I love to do. The release of films is not in my hands; it's the producers who decide. Last year, I had five releases. I just shot for Stree and it's ready to release."

Fine balance
Rao has been able to balance both real and commercial cinema. He is as comfortable being part of Shahid (2013) as Bareilly Ki Barfi (2017). "The lines are blurring," he says. "It is about choosing the stories I want to be part of. It is not that I am comfortable with a particular genre of films. I still have to find my comfort zone. What matters to me is that both kind of films do well. I want to do all kinds of roles. Whether it is Trapped or a Fanney Khan. I am open to all."

He also desires to work with different actors in multi-hero projects. "I am not the casting director," he says, "to pick and choose who I want to work with. That is the director and producers' call." He has shared screen space with Anil Kapoor, Aishwarya Rai Bachchan as well as with Sonam Kapoor, Shraddha Kapoor, Kangana Ranaut and Kriti Sanon. "There are so many actors I would like to work with... Amit ji [Amitabh Bachchan], Ranveer [Singh], Ranbir [Kapoor]. It is a long list. At the same time, I have no qualms working with new faces."

Nor does he consider himself one-up as he is a trained actor, unlike most of the current lot. "That is such a narcissistic thing to say. But yes, I owe everything to FTII, Pune. I am what I am because of what I was taught there. It is the finest acting school in the country. It gave me a window to world cinema."

As part of the course, he was taught the basics of writing, editing, camera work, direction, but he prefers being an actor. "I never had a Plan B. Writing requires a lot of patience; it is a lengthy process. For now, let me enjoy doing what I like doing. It was only pure love for it. I didn't get into films to make money."

'Patralekhaa is a fine actor'
Rajkummar Rao has always been open about his relationship with Patralekhaa. Marriage is not on the cards anytime soon. The two teamed up in Hansal Mehta's CityLights (2014). She was later seen in Love Games (2016) and Nanu Ki Jaanu, besides the web series Bose: Dead/Alive this year. Rao says, "Patralekhaa is a fine actor. She's doing good work. We will be teaming up again in Hansal Mehta's Swagat Hai." Rao says he does not recommend her to filmmakers and casting agents. "She is capable of doing things herself. She will prove herself."

Fanney Khan is a highly disappointing film as it’s quite illogical and needlessly melodramatic. It’s a remake of a Belgian film Everybody’s Famous, which was more of a satirical comedy and quite short in length. Fanney Khan, on the other hand, is lengthy and tries to be a multi-genre film. In the process, the impact gets heavily diluted. So at some places, it seems slice-of-life. In the scenes where Aishwarya Rai Bachchan is kidnapped, you’ll feel like you are a watching a typical Bollywood comic caper. In the end, it gets melodramatic and very unconvincing. Thankfully, there are some funny scenes here and there that save the film from becoming an ultimate disaster. Even the performances are good. Anil Kapoor is ‘jhakaas’ and he tries to get the emotional quotient of the film right, something that the writers and director failed to do. Rajkummar Rao is quite sincere and it’s a pleasure to see him. Aishwarya Rai Bachchan looks absolutely stunning and gives a very fine performance. Pihu Sand gets on one’s nerves in some scenes but in the end, she shines. Divya Dutta is dependable as always. Girish Kulkarni is quite nice in a negative role. Songs are quite okay with ‘Achche Din’ being the best one. The attempt to prove that the makers had to tweak the song seems to be a blatant lie as both the versions are present in the film. Avoid!

My rating - ** out of 5!

Having faced the camera for two decades, Aishwarya Rai Bachchan on how turning filmmaker is the next logical step
Upala KBR (MID-DAY; August 3, 2018)

The past two decades have seen Aishwarya Rai Bachchan light up the big screen with her presence. In what can well be viewed as a natural progression of her craft, the actor - whose Fanney Khan opens across screens today - says she is keen to explore her place behind the camera.

"Direction does interest me. In a few years from now, I will surely turn director," says Rai, whose filmography is proof that she often knows a great script when she sees one. The actor says her understanding of the craft hasn't gone unnoticed by her peers. "All my directors and co-stars have teased me about it. Even AB [Abhishek Bachchan] tells me that I should explore it."

It's not surprising when she promises that she will be a hands-on director - after all, she has learnt the art vicariously through her collaborations with some of the finest filmmakers of this generation, including Mani Ratnam, Karan Johar and Sanjay Leela Bhansali.

"When I do direct, I will throw myself whole-heartedly in it. It will never be a fly-by-night commitment for me, as my work consumes me completely. Even though I had only four scenes in Fanney Khan, I would have endless talks with Atul Manjrekar [director] to understand them fully." However, she adds that filmmaking will have to wait for a few years as she is not completely done with her first love - acting. "Interesting scripts are still coming my way. I'm excited about the possibility of working on them."

3 MEDIUM-BUDGET WITH LOW BUZZ TO RELEASE THIS FRIDAY!

The months of June and July had very limited big releases and all that is going to change in the next 3 months. August, September and October will see at least one release every Friday with many weeks will see clashes. One significant clash will happen tomorrow when as many as three flicks would release. All of them are reasonably priced but suffer from low buzz. My analysis:

FANNEY KHAN: It is the remake of a Belgian film Everybody’s Famous and marks the directorial debut of Atul Manjrekar. It is jointly produced by Rakeysh Omprakash Mehra and Bhushan Kumar and stars Anil Kapoor, Aishwarya Rai Bachchan, Rajkummar Rao, Divya Dutta and Pihu Sand. The trailer hasn’t created a rage but has been liked nevertheless. The music has been aggressively promoted and only Mohabbat has worked well. A few days ago, a controversy erupted when the makers tweaked the song ‘Mere Achche Din Kab Aayenge’ to ‘Mere Achche Din Ab Aaye Re’ under the pretext that the original version was used to target the ruling BJP government. However, it seemed like a publicity stunt as the original version was never really used to troll the government as such. The film is expected to have the best opening but it won’t be more than Rs 4.50-5 crore. A good word of mouth will help the film to do better.

KARWAAN: This is a road trip film and serves as the debut of South star Dulquer Salmaan and also the proper Bollywood launch of internet star and Marathi actor Mithila Palkar. However, it’s Irrfan Khan who’s the biggest draw, more so as he’s diagnosed with cancer and is out of India for treatment since a long time. The trailer of the film has been appreciated a lot and it looks like a nice, fun ride. However, it looks niche and hence it can work only in multiplexes of urban centres. It should open in the Rs. 2-3 crore range, as it usually happens with Irrfan Khan films. It really requires to be a good film in order to survive.

MULK: It stars Rishi Kapoor, Taapsee Pannu, Prateik Babbar and Rajat Kapoor and looks like a powerful courtroom drama. Directed by Anubhav Sinha, it raises lot of important issues and talks about the Hindi-Muslim divide, a burning topic in today’s times. Sadly, the film looks too serious. Although Rishi has done the rounds of prominent news channels and given powerful interviews, it hasn’t worked much. It’s opening will be similar to Karwaan or even less. The only way it can work big time is if it’s out of the world, as good as Taapsee’s previous courtroom flick Pink.

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

Nayandeep Rakshit (DNA; August 2, 2018)

Aishwarya Rai Bachchan has led life on her own terms. Whether it was tying the knot while doing a film, taking a long maternity break to tend to her daughter Aaradhya or choosing films judiciously, so that they don’t interfere with her mommy duties, the light-eyed beauty hasn’t adhered to conventions. She states that ‘screen time doesn’t count for her while deciding on a script’. Her role of a pop icon in her next, in which she is seen for a short duration, proves this fact. The actress reveals that it was the ‘bigger theme and context’ — body shaming — that drove her to do the film. Ash talks to After Hrs about how she battled being fat-shamed with positivity and urges young girls to do the same. Over to her...

Fanney Khan isn’t a typical heroine-oriented movie. So, what prompted you to do it?
I’m hoping that people recognise my interest in being a part of such a film because everyone has seen my journey. My story is an interesting paradox. While on one level, I’m the seemingly clichéd model-turned-pageant holder-turned-actress and there’s a typical trajectory to it, but if you look at it closely, there’s nothing normal about it. It has always been different with the kind of choices that I have made, where I wasn’t the typical model, title-holder or actor.

I decided to do this film because there’s an immense sweetness and a lightheartedness in the script; it’s wonderfully written. I could see why the makers wanted a star to play the pop singer. When they approached me, they told me, we wanted to take a chance and see if you would consider doing it since it’s not a big part. I could see what it could do for the larger picture.

At that point, only Anil (Kapoor) was attached to the film. I find him to be an extremely entertaining person. Even if he says or narrates anything, I start laughing (smiles). I got to work with him after so many years. I’m glad that Rajkummar Rao came on board because collectively it was fun. I didn’t get a chance to work with Pihu Sand, but she’s a confident girl.

Today with the influx of social media, body-shaming has become an important topic of discussion…
I would like to talk not just about body-shaming but this entire sense of self-belief, which is so important to everybody. It has always been, but today, it’s being talked about much more. Also, people need to be sensitive to each other. A subject like this seems perfect for the present times because communication has become a vital aspect of our lives. You can be heard by millions, if that’s what you seek. You can find a voice that can be a balm to you, in a split second. Hence, a topic like body-shaming is ideal to be talked about now.

You, too, were fat-shamed after delivering your daughter Aaradhya...
When I became a mother, it was the most beautiful feeling in the world. There were several hormonal changes within, but it didn’t change anything. And way before all this, whenever people would ask me fashion or trend-based questions, I’d always tell them to be comfortable in their skin. At least now you know I meant it and it wasn’t just for the quote (smiles). I believed it when I said that positivity is so much more than negativity and it can help to ease the crushing impacts of that. Be your best friend and in being so, be brutally honest to yourself. Sometimes, when you are down, you need to reach out to those people who you think can connect with you and comfort you enough.

So, who were the ones you reached out to?
On a subconscious level, everyone who’s touched my life has contributed to that. I don’t remember sitting down talking to anybody else about it. With so many years of experience, I have conditioned myself to find that best friend in myself.

Did you ever feel dejected reading what was being written about you at that point?
There was never a point of self-doubt. I’m so happy in my own life with Aaradhya around and the positivity as well as clarity that I have in my head about myself. At the end of the day, these are the choices I’m making. Nobody else is dictating or telling me how to be and what to do. Once you find that conviction and that voice within, it’s liberating. Then, someone else’s comments don’t faze you so easily. It’s important to not let anyone’s opinion define you. Only you can make that choice and you should, with every little experience you have. You don’t have to be angry or bitter and do things with a take-that-in-your-face kind of attitude. You need to find the comfort in doing that within yourself first and then it may be a positive response to negative comments.

The growing paparazzi and fashion police culture demands everyone to look good all the time. Does that make things difficult?
When I came out of the hospital (after delivering Aaradhya), I could have had the perfectly blow-dried hair. I could have thought about looking a certain way because I was stepping out and I knew that photographers would be waiting to click my pictures. But I didn’t do any of that. I’m not a fool or new to visibility. There are so many times I have seen people comment on my airport pictures, asking why I’m not changing my hairstyle. I feel like telling them, ‘Hello, it’s obvious that I am not playing into that?’ I might apply lipstick and eyeliner, but that’s normal for most women when they step out. Whether you choose to put a coloured lipstick or not, it’s again your choice. Just because you put an eyeliner and a lipper, you aren’t fake. Similarly, if you are just clean-faced and wrap a shawl around, you aren’t intellectual either. I could be doing everything else on the turf because I know enough professionals here but I choose not to go that way. Which is why you see me practically wearing overcoats all the time because that’s what I like. But yes, if someone professionally expects something else out of me, then I’ll do it because it’s the call of the occasion. I’m not a rebel but at the same time, I’m real.

Madhureeta Mukherjee (BOMBAY TIMES; August 1, 2018)

 He is a man of insatiable energy. Forever revved up and ready to roll. Even his young co-stars tell us that keeping pace with his almost rebellious enthusiasm on set is no mean feat. His greys have made him wiser and cooler, too, but in the movies, you need more than just that to be a front-runner. At 61, Anil Kapoor’s platter of films is enviable, his passion is more than a cupful, and he’s still ready to sweat it out at the marathon. His next, Fanney Khan, directed by Atul Manjrekar, which also stars Aishwarya Rai Bachchan, Rajkummar Rao and Pihu Sand, releases this week. In a frank chat with BT, the actor talks about tapping into his life’s experiences for this role, the relationship he shares with his children and how, even after decades of stardom, he remains rooted in reality. Read on…

Today, you’ve come a long way, achieved immense success and fame, but you have seen humble beginnings. In Fanney Khan, you play a cab driver. Did your experiences from your struggling days help you connect with the character? In fact, this film also has a song called Achche Din Ab Aaye Re, which resonates with the feelings and struggles of the common man in the country.
I can’t tell you how much this film gives me the feeling of reel world meeting the real world. In my career, I went through a phase of struggle between 1978-82, and those experiences really helped me connect with my character in Fanney Khan. I went from office to office trying to get work; you just name the filmmaker, and I was in his office looking for work.

From Tahir Hussain and B R Chopra to Sunil Dutt and Sanjay Dutt (to name a few), I even tried getting bit roles in movies. It came to a point where one director called me for one day’s work, only to give a shot as a dulha. He said, ‘Dialogue kuch nahin hai, bas aake dulha banna hai’. After that, I did films like Hamare Tumhare (1979), where I was one of the 8-10 people. Then, I did Ek Baar Kaho (1980), where I was one of the hero’s friends. Then I went to Dev Anand for Swami Dada (1982), but Jackie Shroff bagged the role. I always had a Plan B. So, I started doing film production work, like looking for locations, shopping for props, and waking up actors for their shoot. After that, Bapu noticed me, and offered me a Telugu and Kannada film. So, my journey started from there, and all these experiences I have gathered over the years have helped me bring in honest emotions to my character in the film.

You have always had this fighting spirit, but did you ever hit a patch where you were uncertain about yourself, had self-doubt, or questioned your stardom?
If I am sitting and giving this interview to you after being in showbiz for 35 years as a leading man, it is because I never harboured any self-doubt for more than two-three days. Even if I hit a low phase, it never lasted for too long. I looked at the other positives in my life and snapped out of it. Most actors who have had a long inning will tell you the same thing. Earlier, when we used to live as a joint family, we all were each other’s psychiatrists, bouncing boards and even a financial support system, so that helped a great deal. I believe that, even after a bad night’s sleep, one should wake up, go for a run and leave the negative thoughts behind. Of course, unless there is a physical problem, or you are dealing with the death of a close one. That is tough, but you get over that, too; it is part of life. Our family faced such a patch this year, but we moved on. We all had to. Some people move fast, and some take their time but eventually, they get going with their life.

Talking about family, you share a great relationship with your children. Being an actor, did you relate to their struggles in the film industry? In Fanney Khan, too, you play father to a girl who aspires to be a singer. Did instances from your real life help you add nuances to your character?
In a way, it did. When Sonam’s first two films released, Sanjay Leela Bhansali’s Saawariya (2007) and Rakeysh Omprakash Mehra’s Delhi-6 (2009), both didn’t do well. The onslaught of negativity was huge. I remember calling up media people and asking them, ‘Why are you doing such negative articles? What’s the reason?’ I thought it was unfair. There was constant talk about her body and she would come home and tell us that she overheard people and assistant stylists commenting on her thighs, stretch marks and all that. So, her career and struggles were a part of my real journey, too. Somewhere, I could dive into those areas. As an actor, we do some things that are spontaneous, and for some emotions we tap into experiences from our life. It could be real, imaginary, or plain observation. This film was an emotional journey.

Today, you see young actors go as far as putting on 20 kilos for a role, like Pihu Sand (who plays your daughter in Fanney Khan) and Bhumi Pednekar (in Dum Laga Ke Haisha, 2015). Earlier, actors didn’t have the scope to do that, as they would shoot for multiple films simultaneously. Do you wish you had a chance to delve so deep into a character?
I have not gone to that extent, but I put on weight for Lamhe (1991), in the part where I was playing the older guy. Cinema itself is real and reel, so sometimes you can do a combo. I have dabbled in various kinds of movies. I have done some films which were for my kitchen, some for my creative satisfaction, and there were some that I did for both — creative and commercial reasons. I never wanted to burn out, unless I decided that I wanted to do only five-six films, and then retire like Daniel Day-Lewis (laughs!). My focus has been to run the marathon, instead of doing a sprint, where there is a spurt of madness, but I could also end up burning out. As far as my health, work and money are concerned, I have always believed in enjoying it for the maximum time. If you see my entire career, my relationships and my loyalty towards people and my friends, it is for the long haul. It is for keeps. It is not like corporate culture and it is not cut and dry. My logic is… dessert khana hai toh saari zindagi khana chahta hoon. Sharaab bhi peene hai toh saari zindagi peena chahta hoon.

With so many creative heads in the family, do all of you feed off each other when it comes to work?
I am very blessed that I have great point of views from so many creative heads at home. And everyone is so fiercely independent; of course, it is taxing at times (laughs!). There is banter, too, and when someone is going wrong, and he or she is adamant, we just let it be. We discuss it and say… Let them make mistakes and learn from them. If you observe my career, the kind of directors that I worked with and some of the movies that I did in the beginning, they were radical and out of the box. I did those movies even before I became a star. Somewhere, Harsh is doing the same thing. He has made brave choices, and I feel that whatever he does has to come from within. Even I was very stubborn about my choices. I knew Shyam Benegal and Aparna Sen more than anyone else, though they didn’t offer me films. When I failed at FTII (Film and Television Institute of India), I went to Girish Karnad (who was the Principal), and explained to him that I’m not from a theatre or an intellectual background, but I am an actor. I requested him to give me a chance. That was a huge setback; I sat on my couch and cried for days. I even wanted to go to NSD (National School of Drama), but I thought ki main FTII mein fail ho gaya, toh NSD mein toh fail hi ho jaunga (laughs!). I had fire in my belly and moved on.

Do you still have that fire in your belly?
Now, I have more fire in my belly, than ever before!

Fanney Khan is a story about a father who dreams to see his daughter get a break as a singer. Parents often live their dreams through their children. Do you have any specific dreams for your children, Sonam, Rhea and Harsh?
Sunita (my wife) and I are clear that our dream is to see them happy. I never had dreams like they should be the biggest stars, or have a huge bank balance, or work with a certain filmmaker. Whatever works for them, works for us. If what they have done doesn’t work out, we are here for them. It is not like I tell Harsh… ki zabardast commercial film banate hain. He does what drives him. When Rhea produced Veere Di Wedding, some people asked me why I let her back that film. After the film released the same people said, ‘Kya picture banayi hai’. So, my dream is to see that they are looked after.

Now that Sonam is married, do you miss her being around at home?
Sonam has been working for many years, so I am used to her travelling outdoors for shoots. I got to spend a lot of time with her on the set of Ek Ladki Ko Dekha Toh Aisa Laga. It just feels like she is on a long outdoor shoot and she’ll be back home soon.

In an interview you gave some time ago, you said that becoming the biggest superstar wasn’t your dream.
Absolutely! I just wanted to be an actor; and I was lucky that my characters became so popular and iconic. Suddenly, I realised that I’ve become a star. When Zoya Akhtar approached me for Dil Dhadakne Do (2015), she was wondering if I would accept the part. Farhan (Akhtar) told her, ‘Andar se woh actor hai. I know he has been a big star for so many years, but andar se woh actor hai. Woh satayega tereko, par woh karega’. So I didn’t realise when stardom happened.

Tell us about the last time you sat in a kaali-peeli, in reality, not for the movies…
I’ve done these mad things all my life. I suddenly sit in a rickshaw, and sometimes when the traffic is too much, I have stepped out of my car and walked to my destination. It sounds difficult, but it all depends on whether you want to attract attention or don’t want to. If you have that kind of connect with the audience and your fans, it is possible to manage the situation. I can travel in a fancy car, and I can even hop on to a kaali-peeli. In that sense, I still feel rooted in reality and can adapt myself to any situation.

Hiren Kotwani (DNA; August 1, 2018)

Even as the Anil Kapoor and Aishwarya Rai Bachchan-starrer Fanney Khan releases this Friday (August 3), producer Vashu Bhagnani moved the Supreme Court on July 30 stating he has been cheated as far as the film’s distribution rights are concerned. He claimed they were surreptitiously given to T-Series and asked that the film’s release should be stayed as the transfer of a related suit, which was filed in the Bombay High Court, was pending.

While the transfer petition was mentioned before the apex court, Chief Justice Dipak Misra, Justice AM Khanwilkar and Justice DY Chandrachud ordered that the matter be listed before the appropriate bench today. Claiming its reputation, fair name and profitability has been “adversely and unfairly affected, in a most unjustified and unseemly manner, owing to certain machinations and surreptitious arrangements between, a co-producer, Kriarj Entertainment Private Limited, Mumbai and Super Cassettes Industries Private Limited New Delhi, in relation to all India distribution rights of the film Fanney Khan”, the petitioner Pooja Ent & Films Pvt Ltd (owned by Vashu) stated that it had acquired the sole distribution rights of the movie for Rs 10 crore, of which Rs 8.50 cr has been paid and duly acknowledged.

Conspiracy theory
The petition further stated that ‘in connivance with others, the rights were parted with its entire co-production and distribution rights’. Vashu’s petition states that they have filed a suit in the Bombay High Court against T-Series, KriArj Ent and others. Also, they were oblivious about the case T-Series had filed against Pooja Ent & Films in Delhi High Court, and obtained an ex-parte order restraining his company from interfering in distribution and exhibition of Fanney Khan and Batti Gul Meter Chalu (the Shahid Kapoor and Shraddha Kapoor-starrer that was also produced by KriArj before T-Series reportedly took over).

Vashu sought the apex court’s direction for transfer of the suit pending in Bombay HC to Delhi HC or to the SC and stay the release of Fanney Khan in the interregnum. The veteran producer, reportedly, is claiming Rs 10 cr from T-Series if Pooja Ent & Films Pvt Ltd is being ousted as the All India distributor of Fanney Khan.

When contacted, Bhushan Kumar, head of T-Series, pointed out that after the Delhi HC issued an order that Vashu should not interfere in the distribution and exhibition of Fanney Khan and Batti Gul Meter Chalu (BGMC), the latter filed a case in Bombay High Court seeking a stay on the release of the Anil-Aishwarya-starrer. “The Bombay HC refused to grant the stay and Delhi HC didn’t grant him any relief in the subsequent hearing either. While the final order is awaited, he’s now asking for transfer of petition from the Bombay HC to the Delhi HC or SC,” said Bhushan. He added, “In all cases, he is seeking a stay on Fanney Khan’s release, but didn’t get it. As per our lawyers, there is no reason for him to go to SC now, until the HC gives the order. But he has every right to approach the authorities. We have prior contracts and rights with us. From wherever he got the rights, they don’t have value. Hence, there has been no order in his favour. The Delhi HC and SC hearings are today. I’m optimistic about releasing the film this Friday, August 3, as scheduled.”

Right to stay justified
Vashu’s lawyer Ravi Mehrotra told After Hrs that the Delhi HC has asked Prernaa Arora of KriArj to be present for the hearing on August 1. He added, “As per Vashu ji, KriArj and T-Series are hand-in-glove. We’ve moved the Supreme Court to transfer our petition from Bombay HC to Delhi and in the interest of justice, we want the release of Fanney Khan to be stayed pending transfer of the case from Bombay HC to Delhi. There’s a conspiracy between KriArj and T-Series against Vashu’s Pooja Ent & Films Pvt Ltd. It is not just about financing a film, but it’s linked to distribution rights. Hence, we’re seeking a stay on the release till the matter is decided.”

 

Natasha Coutinho (MUMBAI MIRROR; July 26, 2018)

Rajkummar Rao’s upcoming horror-comedy Stree is a role tailor-made for him. He plays a tailor and the actor points out that the job seems easy but required a lot of prep. “Once you sit on that chair, the coordination and reflexes are something else. You can cheat with a body double but I wanted to do everything and bought myself a sewing machine and hired a tailor in Mumbai to teach me how to sew. I also had a tailor guiding me on the sets in Chanderi,” informs the actor, who also had to work on his accent as the local diction in Madhya Pradesh is different from urban Hindi and he had to speak to some locals to get it right.

Raj adds, “I took a couple of weeks off from other projects to prep for Stree. We finished the shoot in one go. The horror-comedy genre while unexplored in our country has a huge audience.”

The actor is all praise for Shraddha Kapoor with whom he teamed up for the first time. “She’s phenomenal, a hard-working actor who will surprise everyone!” he exclaims. “She’s a very sweet girl and now a dear friend.”

It’s hectic days for the versatile actor who after wrapping up Shelly Dhar’s Ek Ladki Ko Dekha Toh Aisa Laga with Anil and Sonam Kapoor, kicks off Made in China with Mouni Roy. Meanwhile he’s putting finishing touches to Ekta Kapoor’s Mental Hai Kya with Kangana Ranaut and teams up with the actress again in Anurag Basu’s Imli which he hopes to get rolling by the year-end. “Kangana is a phenomenal actress so it’s fun to work with her again,” he beams.

His Fanney Khan releases next week. “I play the sweet and innocent Adheer who is best buddies with Anil (Kapoor) sir’s character and in the process I meet Ash (Rai) who has a massive fan following and our romance begins. Now, Anil sir and I are friends and we chat a lot,” he signs off with a smile.

After Lata Mangeshkar praises Fanney Khan song, Anil Kapoor reflects on his four-decade-long equation with legend
Upala KBR (MID-DAY; July 24, 2018)

When Lata Mangeshkar took to Twitter to shower praise on the song, Achche Din, from Anil Kapoor-starrer Fanney Khan last week, many were surprised. Few know that the legendary singer shares a four-decade-long bond with the Kapoor family.

"When I called her up to thank her for tweeting about the song, Lata ji said, 'Take your words back. How can you thank me? I am a member of your family.' She always calls up and compliments me whenever she like any of my films. For me, her compliment is bigger than any award," says Kapoor, as he reflects on his journey of growing up listening to Mangeshkar's soulful voice.

The actor reveals that he first met her during the recording of a song for Ponga Pandit (1975), which was produced by father Surinder Kapoor. "It was a romantic-cum-sexy song. The music composers and my dad were apprehensive whether she would sing it because she is particular about the kind of songs she lends her voice to," he says, adding that she was more than happy to give her nod.

It is their shared affection that made the otherwise reticent Mangeshkar make a special appearance in the song, Ek Tu Hi Bharosa, in Kapoor's Pukar (2000). "In a bid to convince her, we showed her the film. She liked it so much that she specially flew down to Hyderabad for the shoot. Despite being averse to night shoots, Lata ji filmed at night for us."

Anil Kapoor on the agony of watching one’s children grapple with body image issues which is also addressed in his upcoming musical drama
Roshmila Bhattacharya (MUMBAI MIRROR; July 21, 2018)

In a recent interview to Mirror (July 16), Pihu Sand, the 20-year-old Mumbai girl who plays Anil Kapoor and Divya Dutta’s daughter, Lata, in the upcoming musical drama, Fanney Khan, had revealed that she added 20 kg to tip the scales at 98 kg, the heaviest she’s ever been, for her acting debut. The news comes as a surprise to Anil who was bowled over by Pihu’s confidence and histrionics during their first workshop at his residence. “Having seen the original Belgian film, Everybody’s Famous!, I knew this was a tricky bit of casting but after meeting Pihu I knew instantly that she was our Lata. When I see talent, everything else pales into insignificance, including someone’s physicality,” says the actor.

While chasing Lata’s dream, the film touches on weight issues and the culture of body-shaming, concerns which are not new to Anil whose actress-daughter, Sonam, a style icon today, weighed 86 kg in her teens. He attributes this to the pangs of being parted from her parents when she went to Singapore to study. “Those 3-4 years were traumatic for her and when she returned home, I was shocked. The way she walked, the agony of climbing stairs, the misery on her face, broke my heart,” he recalls.

Being from the film industry, Anil knew his children, Sonam, Rhea and Harshvardhan, would be subjected to scrutiny and criticism growing up and so always told them they are beautiful in their own unique way and nothing should change that. “To be honest, I could not have imagined Sonam’s deep concerns with her appearance, because to me she has always been flawless,” he avers, admitting the full extent of what his daughter had gone through since the age of 13 only hit him recently when he read an interview of hers in which she confessed to spending hours in front of the mirror scrutinizing her appearance and coming up short.

Sonam had no plans to become an actress when she started assisting Sanjay Leela Bhansali. “She was still on the heavier side and seemingly unconcerned during the shooting of Black but perhaps Sanjay saw the beautiful girl beneath that ungainly body and offered to launch her in Saawariya,” reminisces Anil.

She went on a strict diet and fitness routine for a whole year and lost 35 kg, but the insecurity remained. She continued to experiment with every diet, from Atkins to South Beach, and every fitness routine, from spinning to power yoga, a single uncomplimentary remark making her go off food. Stardom didn’t make it any easier. The slightest blemish would be highlighted in photographs and articles which mercilessly sliced through her wavering self esteem. “Body-shaming is a curse and really hurts our kids,” points out Anil, informing that according to the National Association of Anorexia Nervosa and Associated Disorders at least 30 million of all ages and genders in the US suffer from eating disorders, resulting in at least one death every 62 seconds. “Sonam has always been perfect and flawless in my eyes and I couldn’t be happier that she is healthy and content with herself today. When it comes to beauty, we need to shift the focus from physicality to personality. Women who are smart, intelligent, empathetic, determined and accomplished are beautiful. And that is the kind of beautiful Sonam is.”

Fortunately Sonam had a friend, Namrata Soni, and her sister, Rhea, who boosted her self-esteem and made her comfortable in her skin. Anil describes Rhea as a firebrand and asserts that he has never met anyone more confident and self-assured. “She knows who she is and is always true to herself. I’ve never seen her falter. She is the best kind of beautiful and she knows that,” he beams.

He also never had to tell Harsh what to do or how to do it as his son has always followed his heart and instincts. “Harsh is an old soul. He is my youngest son but in some ways he’s the wisest,” he states.

Arjun, who like his other nieces and nephews is one of his kids too, had a problem with his weight till he got in shape. “The credit for that goes to Salman (Khan). When his dad (brother Boney) showed me his new pictures, I was pleasantly surprised and so proud,” Anil flashbacks, adding it is important not to push kids into anything, recalling how Sonam had quietly sought out his trainer Sherveer. “The voice has to come from within,” he says wisely, narrating how Sherveer helped him look good for a suhaag raat scene in Hum Aapke Dil Mein Rehte Hain with a years younger Kajol after shooting through the night for Pukar.

Air-brushing and photo-shopping are alien concepts that Anil has managed to evade so far by staying healthy and disciplined. “When we were shooting 'Badan Pe Sitare Lapate Hue' recently, a special effects team was kept ready to clean up the frames which eventually wasn’t necessary and we saved a lot of money,” he says, pointing out that last year, France implemented a new law whereby it’s become mandatory to label media images that are digitally altered for commercial purposes to make models look thinner as a ‘retouched photo’. “The time has come to redefine the popular concept of beauty and end body shaming. My film addresses this and that makes it special. My kids are strong, confident, independent people with minds of their own. That will always be my biggest legacy,” he says.

The actor’s upcoming musical-drama brings back the evergreen track ‘Badan Pe Sitare’ which features playback by Sonu Nigam
Avinash Lohana (MUMBAI MIRROR; July 19, 2018)

Even as Atul Manjrekar’s musical drama, Fanney Khan, featuring Anil Kapoor, Aishwarya Rai Bachchan and Rajkummar Rao is gearing up for an unveiling on August 3, Mirror has learnt that the makers recently filmed “Badan Pe Sitare Lapete Hue”, from Lekh Tandon’s 1969 film Prince on Anil. Mohd. Rafi ’s iconic rendition was originally picturised on Shammi Kapoor.

“AK sir’s character who is an orchestra singer considers Mohammad Rafi and Shammi Kapoor as his Gods and sings their songs. This one is his most favourite. You’ll also see him pull off some of Shammi saab’s iconic moves,” informs Atul.

He is quick to add that they have not recreated the song for the Bhushan Kumar, Anil Kapoor and PS Bharathi production but have only given it a new voice, retaining the original lyrics and music. National Award-winning singer Sonu Nigam has lent his voice to it this time around. “We couldn’t use Rafi saab’s voice as AK Sir’s character sings in the film. At the same time, we wanted someone who would do justice to our tribute to the original. It was AK sir who suggested Sonu’s name and all of us instantly agreed because who better than him to do justice to this great song,” adds the director.

Born and brought up in Mumbai, as a child Atul had seen a lot of orchestras, many of them with a junior Mohammad Rafi or Kishore Kumar who besides singing would also perform on a number sung by the originals. “These orchestra experiences have stayed with me and made their way into the script,” he smiles.

Anil was extremely excited to be a part of the song as his filmmaker-father, Surinder Kapoor, had worked with Shammi Kapoor and he would visit the actor’s house and spend a lot of time with him. “In fact, as a child he even sang and danced to this particular song and his eyes lit up when I had discussed the idea with him,” Atul signs off with a laugh.

Dispute over Fanney Khan distribution rights continues as Bhagnani files FIR against Arora
Sonil Dedhia (MID-DAY; July 19, 2018)

A month after Vashu Bhagnani filed a case against the team of Fanney Khan alleging they hadn't rightfully credited him as distributor, he has filed an FIR against former co-producer KriArj Entertainment. The case is registered against company members Prernaa and Protima Arora, and Arjun N Kapoor, and forwarded to the Economic Offence Wing (EOW). Bhagnani's lawyer Vibhav Krishna tells mid-day of the two-part complaint that his client continues to fight for credit in Fanney Khan.

"KriArj has sold the India theatrical distribution [rights] to my client for Rs 10 crore. Rs 5.5 crore was to be paid when signing the agreement on December 16, 2017, and the rest, a week before the release [of the film]. Since Prernaa needed money, my client paid her Rs 8.5 crore in advance. Now, [co-producers] T-Series tells us we don't have rights to distribute the film," says Krishna.

Bhagnani's FIR also pulls up Arora for apparently violating a bulk deal they had entered into. "Bhagnani's company, Pooja Entertainment And Films Limited, entered into a bulk deal to get the theatrical distribution rights in India for Parmanu: The Story Of Pokhran, Fanney Khan, Batti Gul Meter Chalu, Kedarnath, and a couple of other ventures. As for a deal made for Pad Man, that my client had also invested in, Kriarj Entertainment had instructed Sony Pictures to pay Bhagnani a sum from the money collected after the release. The payment was to be made by April 15, but it hasn't been done."

The legal team of Bhushan Kumar's T-Series had reportedly stated that in a previous case registered in Delhi over the dispute surrounding Batti Gul Meter Chalu, the court had ruled in their favour. "The EOW has summoned Altaf Hussain, who handles the finances of KirArj with the account books, and copies of the agreements. Prernaa has assured them that he will explain [matters]," Krishna adds.

Pihu Sand waxes eloquent about the actor’s energy; discusses challenges of putting on 20 kg
Natasha Coutinho (MUMBAI MIRROR; July 16, 2018)

Twenty-year-old Mumbai girl Pihu Sand plays Anil Kapoor and Divya Dutta’s daughter, Lata Sharma, in the upcoming musical-drama Fanney Khan. Lata dreams of becoming a star performer while battling fat-shaming. The actress admits that when she auditioned for casting director Mukesh Chhabra, she had never imagined she would land the main role in a big Bollywood film which is primarily a father-daughter story.

“We had to go through a five-day workshop in the final round of audition and we were given some stage acts to perform which were recorded. During the last two days, Atul Manjrekar sir (the film’s director) gave us some scenes to improvise on and I guess that’s what got me the part. I auditioned for nine months and just when I was beginning to get angry, they told me I was on,” she reminisces, saying she identified with Lata because she was over-weight too. “I had to put on another 20 kg in six months for the role and the prep included planning Lata’s look, makeup and even her haircut. The fringe is an important part of the character.”

She goes on to explain that the character had to look innocent and vulnerable yet confident; someone who doesn’t really care about looks and is more focussed on her talent. “She dresses up oddly but can pull it off even when she overdoes it,” laughs Pihu.

Speaking about her transformation, the actress reveals that she reached 98 kg, which is the heaviest she has ever been. “Being fat was lovely because I am not shy about my body and everybody made me comfortable. Yes, I did have some health issues, but it was worth it because it was for something I love,” she asserts.

Quiz her on body-shaming remarks and Pihu admits that when she was in school, some of the boys would tease her and sometimes made her cry. “I was fat because of a medical condition. I gained weight after 12 years and I still don’t understand why being fat or thin is not okay. I connected with Lata because a few similar things happened to me in real life too,” she says, refusing to dwell on them.

She didn’t get to work with Aishwarya Rai Bachchan and Rajkummar Rao but describes her on-screen daddy, Anil Kapoor, as a “field trip, very educational”. “Mr Kapoor and Divya are like schools of acting who made me feel like family. We did some readings at his place and he was so warm I immediately felt like his daughter,” she smiles, raving about his youthfulness which is tough to match. “He’s like a bomb that’s always going off. He’s so passionate and so am I but while I’d get tired sometimes, he was always fresh in front of the camera.”