Roshmila Bhattacharya (MUMBAI MIRROR; October 5, 2019)

October 2 was Bapu’s 150th birth anniversary but for Darshan Jariwala this day has been Gandhi season since Feroz Abbas Khan’s 2007 biographical drama, Gandhi My Father, a performance which bagged him the National Award for Best Supporting Actor. Spanning almost half a century, the film examined the relationship between Gandhiji and his eldest son seen in the context of a larger mission and through the eyes of Harilal, both equally disappointed with the other, and this creating a lifetime of bitterness despite their mutual love. Darshan admits that every year, around Gandhi Jayanti, he finds himself fielding questions about his much-applauded act, questions which range from the “ridiculous” to the “sublime”. “One particular journalist asked me to repeat something I had said and he had read before. I suggested he copy paste the text,” he shares with a wry chuckle when asked to define “ridiculous” and almost instantly the conversation promises to be as interesting as the film which dared to portray a man we have lionized as the Father of the Nation, as a ‘flawed’ father himself.

In the eyes of the actor who lived him on screen however, the character was not flawed. Darshan reasons that if there was anything Gandhiji could be faulted on, it was that he thought listening to someone whose point of view was not correct, was a waste of time. “There were times when, because of his moral values and conviction, he missed out on certain things, particularly with respect to dialogue with his son, which, if pieced together, might have resulted in greater good for both. On my part, I have now developed the art of patiently listening to even idiotic rantings. I simply count from 1 to 10 to stop myself from exploding,” he quips, tongue-in-cheek.

For the 61-year-old actor, the role of the Mahatma was a personal challenge because he had to consciously stop being himself on screen and become an empty vessel so Gandhi could emerge. “I’m a short-tempered man myself and quick to respond to provocation. For this film, I had to calm myself with meditation and yoga, squeeze out every drop of empathy and achieve equanimity,” Darshan reveals.

Other actors, from Ben Kingsley (Gandhi) and Annu Kapoor (Sardar) to Rajit Kapoor (The Making of the Mahatma), Naseeruddin Shah (Hey Ram) and Dilip Prabhavalkar (Lage Raho Munna Bhai) have played him too, but as Darshan points out, they have been different Gandhis from his so there’s no question of comparison or inspiration, covert or overt. Rather he had to look at the territory charted out by the script and view the role accordingly.

“There was one particular scene when a disappointed Harilal decides to abandon his father’s vision in South Africa and return to India. That’s when it first dawns on Gandhiji that because of lack of communication between them, he may have lost his son. It was shot in three different locations, including the interiors of a workshop and a football field, at different times and in different parts. It was a challenge to go back to the moment each time and recapture it’s emotional intensity,” he reminisces.

Darshan is all praise for Akshaye Khanna who played Harilal, despite the fact that they were on screen together just seven-eight times, but contributed to Darshan’s performance with his own. “Had it been a lesser actor, I might have had to work harder,” he admits.

And does he think the son was justified in judging his father so harshly for not putting forward Harilal’s name for a scholarship to study law in England so he could become a barrister like him and fight for his causes in India? “He had his reasons, he believed all the children in the ashram were his own and didn’t want to take any advantage for his selfless service. Since he was in the public eye, he wanted to lead by example and given the strength of his convictions, it never bothered Gandhiji how others judged him. But in hindsight, he realises he may have erred and even apologises to Harilal. For me, he was never a flawed character seen in the context of what he was doing. Rather, I think Gandhiji was disappointed by both his son and the nation, they both let him down,” he rues, pointing out that while we’ve been moving away from his ideals, his essence is still everywhere. “We’ve been trying to murder Gandhiji since 1948 without realising that he’s impossible to kill because he wasn’t just a man, but a body of thoughts.” That, for me, is “sublime” in the true meaning of the word.

Akshaye Khanna on his upcoming political-drama, which he describes as a ‘mature entertainer’, the lack of desire to share his space with someone and being on a big high at the moment
Roshmila Bhattacharya (MUMBAI MIRROR; January 3, 2019)

He’s agreed to the interview being pushed by half-an-hour. He will be there on the dot, we’re warned. He arrives 15 minutes earlier and is raring to go when you are shown into the hotel room. Here’s Akshaye Khanna, uncensored…

Your upcoming film, The Accidental Prime Minister, based on Sanjaya Baru’s 2014 memoirs of Manmohan Singh, has already stirred up much controversy. With the first spate of interviews, it has made it clear that it is a political film consciously coming in the election year. What’s your take?
I don’t have one. Yes, from what I’ve seen and read, I see a definite interest among the audience to see the film which from the outside and the way promo has been cut, may look like one that is out to court controversy, but when people see it, they will realise that it’s not true. Yes, we have made a political film, but it has not deviated from the book or from facts that are already in the public domain. We’re not showing anything new in terms of what people already know, have seen or heard. What we have made is a mature entertainer and I know people will come out of the theatre with a smile.

Vijay Gutte has said he approached you for the role of Baru because your family has a background in politics…
No, what he said is that Akshaye’s father (the late Vinod Khanna) was in politics so when I gave him the script, he understood it from the point of view of a film and maybe also a little bit from the political perspective. But that’s his opinion. I personally don’t agree with him. I read the newspapers, watch the news, but I don’t actively follow politics nor do I understand how it works. And I was not the first person he approached. He took the role to many actors. They all said “no” before he came to me.

What made you say “yes”?
Actually, when I read the first draft even I said “no” because my role wasn’t fleshed out. But I told Vijay that this was an important film and he should go ahead and make it, he had my support. He asked me some questions, then asked for some time to write something for me. Mayank (co-writer Mayank Tewari) and he wrote for quite some time before they called me for another narration. This time I loved what they had done with the role and instantly said “yes”. I didn’t want to miss out on this kind of writing.

From the initial promotions and the fact that it’s coming on the same Friday as the film on Uri attacks, it seems that perhaps The Accidental Prime Minister was made consciously to run down Manmohan Singh and the Congress Party.
If you make an authentic political film, which talks of real people and real events, in a politically conscious country like India, it is but natural that people will react to it in different ways and there will be a collage of opinions. That’s to be expected and if it didn’t happen, I would have been disappointed. But at the end of the day, it’s just a film, not an earthquake or a Tsunami, so let us not get too carried away.

Are you saying this political film will not shake public opinion given its timing? If it had come in another year it may well have been treated as just another film but not when it’s coming five months before the elections…
This question is a valid one and bound to be asked, but unfortunately, no matter what I say, opinions have already been formed and my statement will not make even an iota of a difference. Let people think what they wish. This is too in-your-face to defend. As much as I may want to defend it, it’s better to move on.

Given how choosy you are, what was it about the film that caught your attention?
The director... the way he spoke, his thoughts and interpretation of things, intrigued me. Vijay never sounded like a first-time director and proved that on the set. I read the book twice, then, read the screenplay again and was amazed with the way Mayank and Vijay had cracked the book. That’s exactly what I told Rajkumar Hirani when I first heard the narration of Sanju. He had the whole of Sanjay Dutt’s life to write about and he chose exactly what was needed to make for an engaging script. Ditto with this one! There’s a maturity in the writing, no chichorapanti or nautanki, and my character is incredible. There’s a fifth reason too…

And that is?
We’ve seen films on the Buckingham Palace, the White House and 10, Downing Street, but never about the office of the Prime Minister of India. And I was convinced that people would be interested in an inside peek into this world and given that we are the largest democracy in the world, the time had come to open a door that had many, many locks on it. I was impressed that a producer had the vision, confidence, integrity and guts to spend money on a film like this one. After The Accidental Prime Minister, with the correct paperwork and permissions, you can make a film on anything.

Can we make a film on Godhra riots and would it be allowed to peacefully release it at such a time?
Have we not watched hundreds of films on the Holocoust, the darkest period in human history? And it’s the Jews who made them.

But they were not made when the Nazis were in power...
Who cares when they were made? The fact is that films have been made on the Holocaust and on the two World Wars. Richard Attenborough’s Gandhi showed Hindus and Muslims killing each other during the Partition. I myself have made a film on Gandhi on how he treated or rather mistreated his elder son, Hiralal. Nobody asked me such questions during Gandhi, My Father, even though there was no bigger and more respected political figure than Mahatma Gandhi. He was the Father of the Nation and nobody raised objections.

Today, as an author I can write what I want. Sanjaya Baru told the Prime Minister he was writing this book and was asked, “Tu mere baare mein likhega? Kadwa sachh bhi likega?” And when he said “Yes,” he was allowed to write the book and publish it. Manmohan Singh himself has read it, and though the PMO issued a statement against the book, no one sent Baru a legal notice. Had they taken him to court, no one would have bought the film rights to the book.

Getting back to your question, if one can write articles on Godhra, discuss it and analyse it, why can’t one make a film on it if it was to be made honestly and authentically? It’s a human story that happened. People come on TV every night and give gaalis to someone or the other, no one has a problem with that. But when it comes to films, it’s a big problem. That’s unfair, that’s hypocrisy!

Your father was in politics, during the time did you get an insight into politics?
No, politics doesn’t interest me.

If you were asked to campaign for a political party during the elections or given a ticket? Would you be open to it?
I campaigned once for my dad and I was miserable. After that I told him not to call me because I don’t like it, it’s uncomfortable, and I don’t want to be there. And he never did. I hope that answers your question.

Will we see you doing more films this year?
If I had my way, I’d do two-three films every year. But God has not given me my way for a long time now. If the universe gives me three films a year or one film every three years, it’s not in my hands, I have to be patient, wait for the right scripts and be excited about what I am doing. Right now, I’m on a high because the best film of my career is up for release. It’s an incredible time for me. And to answer your question, I will have three films this year.

One of them is Section 375: Marzi Ya Jabardasti which I’m told is finally on course...
I’m starting the film this month. It’s my first courtroom drama, a tough role so I’m nervous, but it’s a good script.

Both you and your brother, Rahul, have always looked to do something different and with so many avenues opening up, this seems like a good time to come back?
I don’t like being clubbed with anyone, be it my father or brother. I am my own person. As far as opportunities go, it’s a fantastic time for creative people. Today producers have to book shooting floors months in advance because so much work is happening, be it films or TV, web series, advertising, theatre or stand-up comedy. The whole world is one with great crossovers happening. As long as I can speak the language, I would love to explore too.

What keeps you busy between projects?
I’ve been working since I was 19, that’s all I know how to do, so I don’t like it when I’m not working. But I’ve had several such bouts and have come to realise that it’s also an important part of an actor’s life as it helps one grow. I need my time-off when I enjoy doing nothing. I would hate a life in which I’m constantly busy. I salute those who when they are not working, are partying. I would collapse in 24 hours flat, I need my aaraam.

A few weeks ago, you lost your mother. Do you feel the vacuum that you spoke about when your dad passed away?
My dad was a public figure but also a very private person. My mother was a very, very private person. I never spoke about her when she was alive, she would not want me to speak about her after she is gone. It’s a terrible loss and the only way to console myself is with the thought that it’s 10 times worse for parents who lose a child in their lifetime.

Is there anyone you would like to share your life with?
No, I don’t want to share my life with anyone, I would like to keep it mine. Neither do I have the desire to share anyone’s else life. Many of my friends can’t be alone for even a few hours. It’s normal to want to have people around but it doesn’t bother me. People ask me how I can you spend so much time by myself. I tell them, “I can spend much more time alone, now go.”

After working with Anil Kapoor on several films, the actor collaborates with Boney for a Sridevi-starrer; the latter insists it’s his ‘career’s finest performance’
Sanyukta Iyer (MUMBAI MIRROR; May 25, 2017)

Four years after appearing in the forgettable Gali Gali Chor Hai, Akshaye Khanna returned to the marquee with an antagonist turn in the Rohit Dhawan directed actioner Dishoom last year and is following it up with a significant part in Boney Kapoor’s Mom, which features the film producer’s actress-wife Sridevi in the titular role and marks the directorial debut of adman Ravi Udyawar. But Boney doesn’t see the point of according any kind of chronological connection to the two films. “Mom is Akshaye’s real comeback,” he insists, arguing, “He’s playing an important role and has done justice to it. It’s going to be his career’s finest performance.”

As part of his prep for the role, Akshaye, who wrapped up filming in February this year, lost over 10 kgs and will be seen in a sharp look, dressed in monochrome and leather jackets. “We had explored many options and went through several rounds of auditions. Then, Ravi and his co-writer, Girish Kohli, met Akshaye and were completely bowled over. Akshaye read the script aloud and resonated with the character. Since the script is layered with many details and he responded to it so well, it made the narration absolutely refreshing,” Boney informs, adding that the actor has added his own nuances to his portions.

The thriller — which features Pakistani actors Sajal Ali and Adnan Siddiqui as Sridevi’s daughter and husband respectively — may be Akshaye and Boney’s first film together, but the duo go back a long way. They had met for the first time in 1998, on the sets of Subhash Ghai’s Taal, which featured Akshaye, Anil Kapoor and Aishwarya Rai Bachchan in lead roles. “Since he was working with Anil, we met often at the time. He came across as a warm and respectful boy and I thought he was an absolute natural on screen, effortless even. He was always on time for the shoots and always delivered to the best of his abilities,” Boney reminisces.

They met again, when Akshaye played the protagonist in Anil’s production, Gandhi My Father. The critically acclaimed film went on to win three National Film Awards. “Akshaye was brilliant in the film and every scene with Darshan Jariwala, who played Gandhi, his father, is memorable even today. We had kept in touch since then,” Boney says.

Meanwhile Akshaye, who is known as a man of few words, says, “It’s a milestone in my career to be able to work with the one and only Sridevi and Nawaz, the finest actors we have today. It is a gem of a script and it was an honour to shoot with a gem of a cast and crew.”

Of course, in some cases, the fights were short-lived
BOMBAY TIMES (January 6, 2016)

Meena Iyer (BOMBAY TIMES; April 19, 2014)

Week after week, Bollywood puts out escapist fare. Then, along comes a Friday when a theatre stalwart and filmmaker like Feroz Abbas Khan releases his film. Feroz’s repertoire includes films like Gandhi My Father and plays like Saalgirah and Tumhari Amrita — both of which have wowed the world.

His latest film work, Dekh Tamasha Dekh (DTD) that released yesterday, is a socio-political satire based on a true story. It talks about the search for the religious identity of a poor man crushed under the weight of a politician’s hoarding. The film explores an impossible India where religion is funnier than the best comedy show; and politics is scarier than the worst horror movie.

Excerpts from a chat with the filmmaker:

DTD is a socio-political satire. Is it a coincidence that it has released in the middle of the poll season?
I didn’t plan it like this. However, I’m happy that it is timely. If you are following what is happening on the ground and in the media every day, you will see that my film is very relevant. It really seems like it was made for this time.

How do you manage to keep sensible and sensitive cinema like DTD aboard, especially when Bollywood is governed by masala fare?
I look at my films like Gandhi My Father and DTD as stories that I need to share with the audience. I try and do it to the best of my ability — in terms of my craft and the depth of its sensitivity. I haven’t looked at it from the point of view of relativity. There is space for every kind of cinema. Too much reality and you do not get a sense of joy, likewise too much of fantasy can also lead to neurosis. In the end, you may not know what the real world is. I suppose that while mainstream cinema has an important and large role to play in becoming that kind of wall that allows you to release the pressure, you must have noticed that world over, you also have cinema that talks of the joys and concerns of its times, because when you do that, you are operating in the real world.

Isn’t your kind of cinema referred to as obscure?
They are not obscure films; they are not trying to be self-indulgent. They are at the service of the medium and the story, they don’t draw attention to themselves. They only draw attention to the reason for which they were made. It is cinema that emotionally moves and intellectually stimulates you. I do not treat the audience as a bunch of braindead persons. I have the greatest respect for them.


Is it disheartening, though, to see mainstream fare get big numbers and smaller films struggle?
I respect mainstream cinema. The best way is to respect each other and work. I do not think mainstream threatens the existence of cinema that deals with contemporary subjects and vice-versa. Their co-existence is very good for the health of both. I think that is where the conversation should be. Work you do should not be about drawing attention to itself. DTD is compelling, honest and has powerful storytelling.


Critical acclaim is something you have always managed. But surely, you want your films to do well at the box office as well.
To believe that I make a film and don’t care for the audience is something I do not subscribe to. Even Gandhi My Father went around doing well from other streams of revenue. It’s shown wherever Sir Richard Attenborough’s Gandhi is shown. Its shelf life is so long that if you stretch it out, it becomes a hit. At the time it was released, it didn’t pick up the kind of numbers in cinema halls, but it was lauded in Cambridge University as one of the most important Gandhi films and perhaps, one of the most authentic ones. It is not a disposable product which you put out for Friday, Saturday and Sunday and by Monday, it can be in the dustbin of history. I believe the same thing will happen to DTD. Whenever you would want to know what India is all about, you will watch DTD. The film is relevant for all times. It is a reminder of the nonsense and absurdity and the damage that you could inflict if you do not realise that humanity is bigger than identity. And considering the budget of the film, there will be no losers.