After alleging makers kept him off set while shooting season one, writer of Saif Ali Khan's upcoming political drama bows out of second part; says will focus on directorial debut
Uma Ramasubramanian (MID-DAY; May 15, 2020)

Towards the close of 2019, Gaurav Solanki, in a mid-day interview, had expressed dissent at being relegated to the fringes during the filming of the Saif Ali Khan-starrer, tentatively titled Dilli. Ahead of the release of the first edition of Ali Abbas Zafar's political thriller, mid-day has it that Solanki — who had been kept away from the set during the shoot — has made an exit from the second edition of the project.

The discourse invited varying viewpoints, with leading man Khan stating that it was not "a writer's place to be on set and direct". But Solanki says his decision to call time on his association with them has nothing to do with the argument. "I am developing something else and want to concentrate on my script. There was no fall out," he asserts, adding that helming the writing process of season one from scratch was a cumbersome task requiring 15 months. "If I wanted to concentrate on my film, I knew I'd have to leave, and decided to do so in the midst of writing season one itself," he says, acknowledging that the first edition was written in a manner to facilitate the creation of successive seasons.

While choosing to stay mum about his forthcoming project, Solanki is willing to reveal that he is yet to decide if his offering will enjoy a cinematic release, or hit web platforms. "I am currently developing the script, which is precious for me."

After Tandav writer Gaurav Solanki rues filmmaker Ali Abbas Zafar kept him off set, leading man Saif Ali Khan says director's word should be the last
Mohar Basu (MID-DAY; January 10, 2020)

It has been over a fortnight since Tandav writer Gaurav Solanki, in an interview to mid-day, expressed his disappointment at being kept away from the shoot of the Ali Abbas Zafar-directed political drama. The episode is arguably yet another example of how writers, despite their valuable contribution, are kept on the fringes of Bollywood.

Broach the incident with the web series' leading man, Saif Ali Khan, and he emphasises that only the director can have the last word on the set. "It's not a writer's place to be on set and direct [the show]. What a director decides to do with the source material is up to him; he can chuck it or burn it. He can respect it or disrespect it as he deems fit for the story he is trying to tell. Ali has made the most of [the material at hand]. That said, there's no taking away the fact that writers need to be treated with respect and dignity. They deserve more money, praise and love because they create everything we do. Good writers like Gaurav are gems," says Khan.

However, it is evident that his allegiance lies with Zafar as he asserts, "Neither he [Solanki] nor I can tell a director what to do. He is the boss. If Ali decides to say, please walk into the room backwards, it's your job to do it. Unless he feels that the material has been tampered with, this shouldn't even be a conversation."

The actor believes that the Amazon Prime offering can be a game-changer. "Shows like this challenge the notion that the big screen is superior to the small screen."


Ali Abbas Zafar and Gaurav Solanki

Kept away from the set of Saif Ali Khan-starrer, Tandav writer Gaurav rues he has no idea how his script has been translated on screen by director Ali Abbas Zafar
Upala KBR (MID-DAY; December 19, 2019)

Even as writers are playing an integral role in changing the vocabulary of Bollywood, it is unfortunate that many of them often end up getting a raw deal — screenwriter Gaurav Solanki perhaps being a case in point. Solanki, the mind behind Saif Ali Khan's web series, Tandav, claims that he was not asked to join the creative team on the sets of the political thriller as producer-director Ali Abbas Zafar gave shape to his story.

"It's ironic and unfortunate that after writing the script, I haven't been part of the shooting. That's new for me because I have usually been involved in the entire process. It's like giving your baby to someone else, having them grow up in your absence and seeing them after they have grown up in a certain way," rues Solanki, adding that the shoot wrapped up a few days ago. The difference in the working style is all the more heightened since Article 15 — which earned him honours at a recent awards gala — saw him work in tandem with director Anubhav Sinha. "Anubhav asked me to come to the shoot, and I too, wanted to be completely involved. We would re-write a lot during the shoot." Ask him if he expressed his desire to be as closely involved in Tandav, and he sidesteps the question: "I don't want to say anything on that."

Leading man Khan had drawn parallels between the political saga and House Of Cards. "Besides belonging to the same genre, a striking similarity is that the protagonist here, played by Saif, is a deeply ambitious politician. Apart from that, Tandav is completely Indian. Although it's a fictional tale, you will see glimpses of contemporary Indian politics."

MID-DAY (November 4, 2019)

The success of Kabir Singh notwithstanding, Taapsee Pannu had unflinchingly criticised the Shahid Kapoor starrer for glorifying misogyny and toxic masculinity. In an earlier interview to mid-day, the actor had stated, "Kabir Singh has pushed back whatever good work we had done since Pink [2016] till now."

Now, it has been heard that the trailer of Pannu's next, Thappad, takes a dig at the film's director Sandeep Reddy Vanga's infamous comment in an interview where he had argued that a couple should have the liberty of slapping each other. A source reveals, "The film and the trailer have a dialogue that questions the notion that thappad is also a form of love. The line is an obvious reference to Vanga's remark that had received severe backlash on social media.

The source further adds, "Since the topic of debate coincided with their film's title, Taapsee, director Anubhav Sinha and writer Gaurav Solanki decided to include a scene that offers a counter-narrative. It was a fitting addition since Thappad explores different shades of man-woman relationships through the perspective of eight female protagonists, with violence against women being one of the themes. The said scene discusses the impact of popular culture on perpetuating ideas of domestic violence. The makers have cut a rough trailer so far, in which the reference remains intact."

mid-day reached out to Sinha, who had not responded till the time of going to press.

Mohar Basu (MID-DAY; September 23, 2019)

Not too long ago, Pankaj Tripathi had told mid-day about his plan to set up a writers' retreat in his village, Gopalgunj. Even as he is giving shape to the creative hub, the actor is doing his bit to mentor writers. Turns out, Tripathi hosts an informal meet-up at his Madh Island address once every week where writers, both aspiring and successful, come together to share ideas and brainstorm over scripts.

A source says, "Even when people are not offering him parts, they sit with Pankaj to narrate their story ideas. Writers — including Varun Grover, Puneet Sharma, Nilotpal Mrinal and Gaurav Solanki — often brainstorm with him. Pankaj is enamoured by literature, and enjoys being introduced to worlds and stories he isn't familiar with."

Confirming the news, Tripathi says, "The process helps me to grow as an artiste because at the end of the day, an actor is a part of the larger process of communicating the same vision. The spirit of any film lies in the script, which is owned firstly by a writer. Actors are merely tools putting out that story in the world. It's a collaborative process of evolving together."

Anubhav Sinha, Hansal Mehta, Mayank Tewari, Gaurav Solanki

In the latest edition of Mirror Newsroom, filmmakers and writers speak on adapting from real-life stories, negotiating trolls, the CBFC, and the repercussions of having a political opinion
Kunal Guha (MUMBAI MIRROR; July 31, 2019)

Depicting stories inspired by real events on celluloid has become an accepted model in Hindi cinema. Tales of those who have been marginalised to horrific accounts of violence that have either been ignored by newsrooms or relegated to the inside pages of dailies has surely delivered as compelling ‘material’. In the latest Mirror Newsroom session, filmmakers and writers who have championed socially-relevant films, spoke about what drives their cinematic decisions. The esteemed speakers at the roundtable included filmmakers Hansal Mehta (Aligarh, Omerta) and Anubhav Sinha (Mulk, Article 15) and writers Gaurav Solanki (Article 15, Taandav) and Mayank Tewari (Newton, Delhi Crime 2). Here’s what they had to say:

What has sustained Bollywood’s obsession with real stories?
Hansal Mehta: We don’t have too many stories. So in real life, you’re finding all these stories. But Aligarh (right), for instance, wasn’t just a true story, it reflected ageing, loneliness and being marginalised on account of your sexuality. So it’s important that the real-life character resonates with you. It is finally your voice that is giving life to that real-life character. But it’s good that we are finding new stories in our world, of our times.
Mayank Tewari: As a society, we have become very affluent and self-obsessed and seek stories which are rooted in our realities.

Can filmmakers voice political views?
Hansal: I’ve not seen PM Narendra Modi or The Tashkent Files. But I knew it was going to be difficult for them because even before the film releases, they know that they will be ridiculed. And sometimes, the filmmaker’s reputation precedes him. In terms of a piece of cinema, The Accidental Prime Minister may be inadequate and it was the filmmaker’s first. But the things that you’re showing about the Congress Party during that period are coming to the fore now. They’ve reduced India’s oldest party to a joke. I should also be able to criticize the people I idolise.
Mayank: I watched Modi because I wanted to watch what a propaganda film is like and felt it was atrocious. When it came to The Accidental..., I was heart-broken because I feel a lot of people rubbished the film because of the subject.

Has the CBFC become more rigid?
Hansal: Sometimes, I’ve had ridiculous episodes with the CBFC. Once, they gave an A certificate to my film’s trailer just because of a certain word that conveyed that the film’s theme is adult. Then, there’s no way to promote the film because my trailer cannot be played with any other film. But then, they also gave a U/A certificate to Article 15 (left) which is wonderful. They are the industry’s favourite punching bag. My last film Omerta had travelled to festivals around the world before releasing in India. The CBFC objected to the scene where you see a guy peeing while the “Jana Gana Mana” was being played. I told them that it was the character who was disrespecting the National Anthem, not me. But they were worried about the backlash and that is something they have to account for. For Aligarh, the CBFC is still fighting a case, while I have made three films after that.
Anubhav Sinha: If you read the Cinematograph Act, 1952, five per cent of the films won’t release. It was written at a time when the Constitution was four years old and it’s based on interpretation. Those who judged Article 15, suggested just five modifications and I just shook hands and ran. Sometimes, you get lucky.
Mayank: Aside from the CBFC, the larger threat is that, as a society, we’re getting addicted to being outraged. And that is more worrying.

Has modern literature tweaked itself to be more conducive for adaptations?
Hansal: In recent years, a lot of books are written with the intention of becoming a film adaptation. Publishers pitch the ideas before the books hit the shelves. As a filmmaker, one has to be discerning and look for subjects that resonate with you. It may be a very mediocre book but you can make it into something wonderful. For instance, you can make a 3 Idiots from a Five Point Someone.
Mayank: I would like to adapt Shubhangi Swarup’s Latitudes Of Longing. Then, Jhumpa Lahiri’s first book Interpreter Of Maladies has some very interesting stories, particularly the one titled ‘Mrs. Sen’s’.

Is this the best time to tell stories?
Hansal: The thing about making movies is you make them when you feel strongly about something. If I would have made Shahid today, it wouldn’t be the same film. The fact that it is still relevant and resonates with so many, I feel it did its job. We knew that we were at a disadvantage then since no one knew who Rajkummar Rao was. I was returning to films after three years, having made a film I shouldn’t have made, perhaps. And despite all that, we made the film in Rs 75 lakh. Today, with the resources at my disposal, I may not make the same film. Shahid partly came out of that hunger and anger that was brewing inside me.
Anubhav: Long back, I had the privilege of spending some time with Shekhar Kapur and he had told me that filmmakers need to quit their obsession with the theatre. Some films are not meant for the theatre but they will have a much longer life. A distributor friend told me recently that the audience of Kabir Singh and Article 15 doesn’t overlap and yet, both did well. So there’s enough market for all kinds of movies. Now, the audience wants a big star, a big dhamaka that follows the big Bollywood recipe. For everything else, they have access to so many other platforms. The only other segment that remains, is our own stories…Malihabad ki kahani, Jharkhand ki kahani. There was no space to tell these stories and TV has always told the Karan Johar version of village stories. But the market that seeks realistic stories wasn’t catered to till recently.
Gaurav: There are also stories that the media refuses to follow. Some time ago, magazines and newspapers would do long pieces on them. But now, since no one covers them, people are deprived of that information. So feature films cater to that need gap by telling stories that news channels don’t want to tell.

How do filmmakers deal with trolls?
Hansal: When I won the National Award (2014, for Shahid), I was invited to a news channel. It was pre-election time, and they asked me why I had signed a document that stated I would vote for the secular candidate from my constituency and I had said, “Because I don’t want Narendra Modi as my Prime Minister”, and the trolls haven’t stopped ever since. Every time I say something, they say, ‘he’s a left-wing guy’. Interestingly, when I did The Accidental Prime Minister, I had left wing trolls after me who are equally rabid.
Anubhav: If I write ‘Hello’ on Twitter, there will be people who will have contrarian views. I find trolls to be like children stuck in a well. You don’t need to respond to them. After one film, I’ve had both, Brahmins and Dalits abusing me. 

Anubhav Sinha makes a case for his choice of actor to lead his next directorial, reveals that his reunion project with Taapsee Pannu is based in Delhi and will take off by August-end and explains why it is a good time for films of all kind
Himesh Mankad (MUMBAI MIRROR; June 20, 2019)

Less than a year after Mulk, which narrated the tale of a Muslim family trying to reclaim its lost honour, Anubhav Sinha’s next revolves around Article 15 of the Indian constitution, which prohibits discrimination based on caste, creed, sex, religion, race or place of birth. While his previous film featuring Taapsee Pannu and Rishi Kapoor was more of an underdog which surprised the audience, his next with Ayushmann Khurrana is keenly awaited. “It’s fantastic to know that people are waiting to watch this film. But there is also the pressure to deliver. I received more love for Mulk than all my previous films and music videos put together. Article 15 is a film I am proud of,” the director says.

He goes on to reveal that of late, news items around the subject had been bothering him. “I wrote the first draft of the film in January 2017. Then, I met writer Gaurav Solanki. We discussed the subject, read a lot of books, spoke to social activists and journalists. That’s how things fell into place,” he says, adding that he made it for the country’s youth.

While admitting that it was one of the reasons for casting Ayushmann Khurrana as the lead, Anubhav explains, “There were more important reasons as well. I needed a fantastic actor, more importantly, someone who believed in the subject and was willing to walk that extra mile with me. Ayushmann checked all the boxes.” The filmmaker-actor duo’s association had begun with a love story but by his own admission, Ayushmann was keener on doing a hard-hitting film. “I wanted him to play an intense part in a love story. The film I was planning with him was some sort of an anthology in a space that he has not done before,” he says, adding that he would will revisit the anthology film someday. “I love that script and it requires five actors. So, it’s a tough one to cast.”

Mulk had faced opposition from some fringe groups given its subject. Does he anticipate similar reactions to Article 15? “When you talk about a sensitive subject, some people will disagree with you, while some others will react more violently than others. That shouldn’t make you apprehensive,” he asserts.

He remains non-committal on the topic of his favourite genre. “All the films I have made were challenging. I worked for roughly four-five years on Ra.One, where I was dealing with the pressure of working with the biggest star (Shah Rukh Khan) in the world. So much was expected of that film. That said, I don’t think I can call one film more challenging than the rest,” he smiles. That brings one to the fact that since the superhero film, Anubhav hasn’t attempted another big budget entertainer. “Nothing keeps me away from them,” he clarifies, adding, “If I get excited by a film that’s big budgeted, then why would I not do it? Strangely, I am working on two of my next films and none of them are in that space. If I want to do an out-and-out entertainer, I will go for it.”

Next up for the director is a reunion with his Mulk leading lady Taapsee Pannu. “It is titled Thappad, but I may change it. It goes on the floors by mid-August and it’s a topical film based in Delhi.”

However, before he moves on to the film, he would have to film a few patch-work scenes in another directorial, Abhi Toh Party Shuru Hui Hai. “I have finished editing the film, but two-three days of shooting remains. It’s a mad film, in a new kind of space. We will figure out a date soon; release dates have become as important as casting,” he points out.

In 2001, Anubhav made his directorial debut with Tum Bin and followed it up with potboilers like Cash, Dus and Tathastu. Has the definition of cinema changed for him over the years? “I look at it differently. There are films that are designed to be wonderful at the box office while others are designed to be just wonderful. We are living in in a time when, thankfully, even the latter is doing well at the box office. It’s not important to design films for money because every film finds its audience,” he states.

Over the years, he has been vocal about his dream of working with Amitabh Bachchan. Ask him if it is close to being realised and he reveals, “Unfortunately, nothing is happening on that front as I don’t feel I have a script worthy of him. The day I find it, I will fall at his feet and convince him to do a film with me. He has done it all in his career,” the director signs off.