The Bollywood diva talks about her singing journey and how she is finally ready to explore her musical talent
Renuka Vyavahare (BOMBAY TIMES; May 31, 2020)

What has been your biggest lesson from the Coronavirus lockdown?
Recently, we shot my song, Candle, at home. Ram (Dr Sriram Nene, husband) is not a camera person, but he took online tutorials and shot it. I did my own hair and makeup, and set the lighting. Usually, you have professionals on set for these things, but now, we are doing everything on our own. The lockdown is compelling us to learn new things, which is great. It’s making us self-sufficient. It’s also giving us the opportunity to do things that we always wanted to, but never had the time. I used to be a voracious reader, but had given up that habit. Now, I am back to it.

Talking about Candle, take us through your transition from an actor-dancer to singer...
I started working when I was very young and got busy. Unlike today, when actors work in a film and take a break for two-three months, we worked two shifts, every day. And then, I got married in 1999 and had kids. So, I never got the time to devote to my singing. I got the opportunity to sing in a studio after we met Sat Bisla in Los Angeles. His company has introduced artistes and bands like Adele and Coldplay to the US. He listened to my voice and suggested that I sing. I took that seriously and trained with vocal coach Ron Anderson, who has coached singers like Mariah Carey, Ariana Grande, The Weeknd and more. That’s how my musical journey started.

How did Candle happen?
We wanted to make a song that describes how our spirit can conquer our difficulties. That is something everyone can relate to. I have been through a phase where I thought nothing was working for me. But, you have to tell yourself that you are stronger than your fears. That’s when we created this song, which speaks about hope and positivity. You could be in the worst situation, but you have to be a bright light for those around you. Candle stands for what is happening around us today.

Your video with your son Arin went viral, recently. He’s seen playing the piano, while you are singing Ed Sheeran’s Perfect. Your passion for singing was a revelation, as you never spoke about it before...
(Laughs!) I decided to sing for the video, because people have never seen me do that. I used to sing even on the TV shows that I have judged, but that was mostly in Hindi. In Bollywood, people are used to hearing playback singers sing for us. I sang a bit in Devdas (Dhaai Sham Rok Lai) and Gulaab Gang. I went to an English medium convent school. There, too, I sang only in English, so I was used to it. No one knew about my musical talent, because I never spoke about it on any public platform.

Neha Maheshwri (BOMBAY TIMES; April 9, 2019)

She stormed onto the silver screen with her first commercially successful film, Tezaab (1988). Thirty-one years later, Madhuri Dixit-Nene’s infectious smile still makes people go dhak-dhak, and a million hearts go aflutter every time she hits the dance floor. In a free-wheeling chat with BT, the powerhouse performer, who will soon be seen in Abhishek Varman’s Kalank, talks about working with the younger generation, teaming up with former coactor Sanjay Dutt in the upcoming period drama, and staying relevant even after so many years of being in the industry. Excerpts...

You are one of the few actresses from your generation, who’s working with youngsters. Do you find their school of acting any different from yours?
I don’t think there is any difference in terms of the acting techniques. All of us are spontaneous actors, whether it’s Varun (Dhawan), Alia (Bhatt) or me. I have never been someone who lives with the role. I switch on and off along with the camera. But, today, actors are much more knowledgeable than we were when we had started out. I wasn’t from the industry, and was completely unaware of how things worked here. But the basic spirit is the same with all of us — wanting to do good work and giving our best. I have more scenes with Alia and Varun than with Aditya (Roy Kapur) and Sonakshi (Sinha) in Kalank. All of them ar such good actors; full of life and energy. It was wonderful working with them, as there was a lot of exchange of notes. I think the way they approach their roles is very real, yet nuanced.

At a recent event, Alia mentioned that she had to pinch herself a few times to believe that she was facing the camera with you. She also said that there were moments when she would zone out and just stare at you. Were you aware of that?
(Smiles)... I am usually very normal on the set, just like Alia. I didn’t really know her before we started working on this film. I have seen her movies, Highway (2014) being her best. She is spontaneous, professional and comes to the set with no baggage. I like that attitude. That’s how I was. As far as dancing is concerned, people are like ‘Oh! They didn’t dance together’. But then, we have to follow the script. At that point, it was not possible for us to dance together to that song. I think she has done a very nice job, especially for someone who hasn’t learnt classical dancing. She was so graceful that it was me who was admiring her.

In the current day, this is your second multi starrer after Total Dhamaal. Are you enjoying being one of the actors of an ensemble than being the solo heroine like you were in your earlier days? In this case, the pressure of the film’s success is also divided...
That’s always the case with multi-starrers, because everything doesn’t rest on your shoulders. The same goes for Kalank. When I heard its script, I knew that it is a love story between the youngsters. But there are so many other elements in the film, which I am not at liberty to reveal yet. There is a lot more to look forward to in the story.

The role of Bahaar Begum was originally offered to Sridevi. After coming on board, you mentioned that it was quite tough to replace her. The first day of the shoot must have been emotional...
Of course. When I walked in, I knew this was the role that she was going to play and now, I was doing it. What happened was very tragic and sudden. Even today, it’s unbelievable. In that sense, it was very emotional. It was more on a personal level that I felt all these things when I started shooting for the film. We remembered her on the set all the time. But then, of course, when the shot is on, you have to block all that out and play the part.

You are reuniting with Sanjay Dutt on screen after 21 years. Both of you have given hits together like Saajan (1991) Khalnayak (1993). Do you feel any pressure to recreate the magic?
No. We just followed our parts according to the script. We cannot think, ‘Oh! We have to recreate the magic’. What we have to do is create the magic that is in the script. The first scene we did together was quite dramatic, but it went off well. It’s always great to work with actors you have worked with before because there is a rapport. It was seamless.

He kept calling you ma’am at the trailer launch of the film?
Yes, that’s a joke now. He calls me ma’am and I call him sir (laughs!)



With films like Bucket List (2018 Marathi film), Dedh Ishqiya and Gulaab Gang (2014),you are trying to push the envelope and play parts, which have surprised the audience because they have seen you in never-seen-before avatars. Often actors your generation don’t get parts that suit their age...
All the roles I did suited me. For instance, in Gulaab Gang, I played the age I was supposed to or, for that matter, even in Dedh Ishqiya. Total Dhamaal was total dhamaal. It was a typical commercial film laced with comedy and was so much fun. Now, whether a film does well or not is governed by luck and other things. When you take up a script, you give it your all. You want to do your best, but what happens finally once the audience sees it, is not in your hands.

Is it disheartening that we don’t have as many author-backed roles for senior actresses in Indian cinema unlike Hollywood, where older actresses are bagging such amazing roles...
I think that’s a woe everywhere, whether it’s Hollywood or Indian cinema. Yes, actors like Meryl Streep gets to play meaty roles, Helen Mirren gets to play different characters in Hollywood. I think that will happen in India too, eventually. People loved me in Total Dhamaal and that kind of proves that age is just a number, if the film and the role are handled well. Sometimes, even if you perform well and the script is good, other things don’t fall into place. How the film is released, what it is competing with, did you get the right slot to come in... all this matters a lot. Now that I am a producer, I understand these dynamics.

The fact that heroes have a longer shelf life, while actresses don’t enjoy that kind of longevity is often a topic of debate...
Well, it’s because of the way people look at a woman. They feel that when she is of a certain age, it’s over for her, but that’s not the case. Every generation is going to be different. I see a lot of changes in the industry today. When I was doing Tezaab, besides my female co-actors, I was the only woman on the set. Everyone else, including the make-up person, the cameraperson, the light people and the assistant directors were men. But now, when I walk into a set, I see women everywhere. That’s empowering. There is a lot of hope because there are so many female directors coming forward and winning awards, like Meghna Gulzar or Zoya Akhtar, who make such lovely films that are not necessarily female-oriented. I see a lot of hope and change in the industry and it’s all for the better. There will be more roles in future for everyone.

Was it difficult to get a foothold when you returned to India from the US, where you had shifted base to post marriage? Did you have to put in an extra effort to stay relevant after so many years?
I got so much love when I came back. Relevance depends on the kind of roles you choose. I always chose to do something different. Dedh Ishqiya was kind of tongue-in-cheek and Gulaab Gang was an action film. I was asked how I could do action at this age. Do they ask such questions to heroes — in fact, some of them, who are older than me, are doing action to this day. I want to break these perceptions. In Total Dhamaal, I did everything, including dance, and people accepted me and loved my performance and my comedy in the film. I think one has to keep breaking stereotypes to stay relevant.

Now that your sons (Arin and Raayan) are teenagers, they must be having an opinion about the kind of cinema you have been associated with? Has either of them shown interest in following your footsteps?
(Smiles) I am their mother at home. I don’t think they see me any different from that. Of course, when they go out with me, it’s a different thing and they go like, ‘Oh! mom, you are so cool’. There was this one time when they saw me dance with Prabhu Dheva and were very impressed. My younger son has more of a scientist-like mindset. The older one loves music and is producing his own stuff. He loves drama and stage and watches it from a critical point of view. I recently saw him perform in school and was quite impressed. Today’s generation thinks a lot and knows a lot. I am surprised that my sons discuss scripts with me now. I did not think so much about scripts when I started off. They talk to me about why a scene is done this way, why was it shot that way and what is continuity. Having said that, my sons are just growing up, so, let’s see what they finally end up doing. Children are like water; they keep changing directions and finding themselves.

Did you ever think of pursuing a career in Hollywood, given that you were living In America for so many years?
Well, I moved to the US with a different plan for myself. I got married and wanted to have a family. Though I did get offer for a part in The West Wing, I was already pregnant by then. Even there, a lot of diversity is seen now with the likes of Hasan Minhaj, Aziz Ansari and Priyanka Chopra creating a niche for themselves. We have actors of Indian origin there, who are not stereotyped anymore.

Saroj Khan is in no mood to be ‘retired’; having choreographed the climax mujra for Madhuri Dixit in her upcoming film, she’s hopeful that her work will bring her back on the sets
As told to Natasha Coutinho (MUMBAI MIRROR; March 27, 2019)

There are all kinds of rumours doing the rounds. Some say I’m unwell, others insist I have retired. I’m waiting for Karan Johar’s Kalank to release and dispel such idle talk.

Four years after Gulaab Gang, I’ve choreographed another song for Madhuri (Dixit). All through the film she makes others dance and never dances herself, then, in the climax, when Varun’s (Dhawan) Zafar enters the kotha, she breaks into a mujra. “Tabahi” is a sad, situational song with fast-paced beats. Madhuri and I danced our hearts out and I’m hopeful that after seeing it, people will remember Saroj Khan again. After just reading about it, Kangana Ranaut with whom I had worked in Tanu Weds Manu earlier, called me to do a song, “Rajaji”, in Manikarnika - The Queen of Jhansi.

Bollywood songs have hit an all-time low. None of the songs today are memorable and you can’t differentiate between heroines, who look and dress the same. I have to ask my kids who the actress is. In the ’80s and ’90s, maybe even before that, every heroine was distinctive and no one was afraid of close-ups.

I would love to see traditional Indian dance return to the screen. People are trying to copy western dance, but gymanstics is meant for circus people. Why go into living rooms in the West and show them their own moves when people abroad love and want to learn our todas and taals? It’s stupid, but then music directors today can’t even come up with original tracks, they have to remix yesteryear hits.

Remo D’souza, Ahmed Khan, Ganesh Acharya, my own son Raju Khan have all been my students. In my time, we always encouraged new talent, we were not insecure of them taking our work away from us. Taqdeer roti deti hai.

For a while I had lost interest but now looking at the haalat of dance, I want to do something good for the industry. I can’t judge actresses because I have only seen them in songs choreographed by others. Katrina (Kaif) looks good and there was a chance of collaborating on Thugs Of Hindostan. But as the shoot was coming up, she told the makers she wouldn’t do the song without rehearsals and I was summarily replaced with Prabhudheva.

Such things happen these days. What can one do? I have never gone to anyone’s office asking for work. I can only hope that my work speaks for me. I miss being on the set and would love to choreograph more often.

Nayandeep Rakshit (DNA; February 16, 2019)

Madhuri Dixit-Nene is amused that every time she has a movie up for release, it’s termed as her comeback. She laughs, “I think people should invent some new word now.” However, after a 35-year-long career (her first film Abodh released in 1984), she does feel that a new innings begins with Total Dhamaal. Whether it’s content or the kinds of roles written for women, the actress feels that there’s more scope to experiment today and she’s not sticking to any formula. She has a madcap comic caper like Total Dhamaal lined up, followed by a more emotional and layered Kalank this year. Apart from this, the 51-year-old is in talks with prominent filmmakers for a few other projects. In a freewheeling chat, the Padma Shri recipient discusses about writers emerging as the true game-changers in Bollywood and sharing screen space with her former co-stars once again. Excerpts...

Today, many of the ’90s actresses are playing prominent parts in movies. This wasn’t the case earlier... 
You need to reinvent yourself with the times. Now, we have more opportunities than what women had in the ’70s. There are so many diverse mediums today — whether it’s social media, TV or the digital platform — through which you can keep yourself busy. There’s a lot that an actor can do, other than just working in films. It also gives you opportunities to not just stick to your profession, but also utilise it to do other things that are relevant. Like women and children are subjects I feel strongly about, so I work on that with UNICEF. I have made proper use of the myriad platforms.

The old pairings too are back — Anil Kapoor is working with you, Juhi Chawla and Aishwarya Rai Bachchan. Sanjay Dutt will also share screen space with you and Manisha Koirala...
Everything has changed — from the writing to the audience. They don’t mind seeing married heroines or actors with kids. Nobody cares about all that anymore — they just want to see good films. If you act well and look good, they will appreciate it. Anil ji is working with all his heroines from the ’90s.  The audience is more exposed to OTT platforms today, so you are watching eclectic roles, movies and series. Actresses of different ages are playing diverse roles. And people have started accepting that as they have matured.

Male superstars have been traditionally paired opposite younger heroines. But do you think they are no longer hesitant of being paired with actresses they started with?
It’s not the actors who are making it possible for us. I believe it’s the writers who are making all the difference. I would give them the credit because they are creating these roles where women are portrayed in not just the stereotypical mother and sister characters. Whether you’re a mother or not, it doesn’t matter, you can still be a professional. In Tumhari Sulu (2017), Vidya Balan’s character becomes an RJ and does something out of the box for the family. She’s enjoying it and happy with it. Writing these roles have brought in a huge change for sure.

Total Dhamaal brings you with a lot of your former co-stars. Barring Riteish Deshmukh, you’ve worked with almost everyone...
It’s a funny film. I can’t tell you how amazing it was to shoot Total Dhamaal. The team used to crack me up even more in-between shots, than what you’ll see in the film. This is a crazy bunch who is always ready with one-liners. Everyone is so entertaining and they are nice people. I have worked with most of them — Riteish (Deshmukh), Sanjay Mishra ji and Pitobash are the only ones I had not worked with before. It was a blast shooting with everyone. This is one film which I have really enjoyed working on.

Did the reunion prompt you in a way to give your nod to the film?
Yes, of course. I have done three films with Indu ji (Indra Kumar). I’ll be working with Anil ji after Pukar (2000) and Ajay Devgn after Yeh Raaste Hain Pyaar Ke (2001). It’s a multi-starrer and you’re comfortable with the fact. You know it’s not going to be just you on the screen from start to end. But it’s a dhamaal film (laughs). I heard the script, I loved it and I did it.

As compared to Dedh Ishqiya (2014) and Gulaab Gang (2014), Dhamaal is lighter and more commercial. Was it a conscious move?
I did Dedh Ishqiya because it had a nice angle and the story was written cleverly. I did Gulaab Gang as it was about women empowerment. It was about a woman who took matters into her own hands and executed plans. So, it gave me a chance to do a lot of fights and stunts myself. That was wonderful for me. Then, there was the Marathi film Bucket List (2018), which was a sweet film. Now with Total Dhamaal, it’s a homecoming for me as I’ve worked with almost the entire team. Plus, it’s a comedy which I’m doing after a long time. I have done more serious movies in my career, so this gave me a different opportunity. Kalank is again a subdued, nuanced period film. So I thought it would be a nice collage.

Do you think comedy films in Bollywood are still underrated?
Not at all. Look at Badhaai Ho (2018), the sense of comedy in a film which deals about a rather serious topic of a mother getting pregnant in her 50s is outstanding. The way they have dealt with the situation in the film is extremely funny. Even Tumhari Sulu was a lovely script. There was a sense of humour attached to everything that was happening. Yes, Total Dhamaal is more commercial, it’s like an out-and-out comedy entertainer. This genre is also very ’90s — right from the scenes to the music and adventure mixed into one plot.

Chaya Unnikrishnan (DNA; March 8, 2018)

Juhi Chawla, who is still remembered as the girl-next-door from films such as Qayamat Se Qayamat Tak and Hum Hain Rahi Pyar Ke, feels it’s a myth that the number of women-centric movies have increased. “The bulk of films are still either romcoms or hero-based,” she points out. Here, the actress, talks about what has changed for women in cinema, and what remains the same...

Since the time you worked till now, do you see any changes as far as women in cinema are concerned?
When I was working in the ’90s, there hardly used to be three or four ladies on the sets that included me, my hair dresser, my mom or an aunt, and maybe one other woman. Today, almost 40 to 50 per cent of the crew on sets comprise women. These are young people working in production, art, creative, in short, every other department. In that sense, the doors have opened and opportunities have increased.

What about the role of heroines on screen?
How has it changed, you tell me? If you are talking about films like Piku or Queen, there have been strong female-oriented films earlier, too. You are forgetting Shabana Azmi who became what she is because of the roles and films she did. Tabu did films that revolved around women. Mita ji (Vasisht) became known for Manthan. We are forgetting films like Mrityudand and Astitva. Even today, I feel the bulk of the films are romcoms or hero-based. Time and again, films with strong female protagonists come, but I have not seen the number going up. The last film, I think, was Mom. I haven’t seen it, but I believe it was women-centric. In fact, the pressures on actresses to look perfect is more now, they have to wear skimpy dresses and look glamourous all the time, thanks to social media. We had it more relaxed.

Go on...
As far as women-centric films are concerned, I know this has been said before, but unless the audience goes to see them, they will not be made. Going to a nice theatre is expensive and audience wants to see big budget, glamourous films — they want entertainment. I think, like in London, there should be special theatres for alternative films or female-centric movies, because right now, such movies are either big hits, which is good, or they are pulled out of theatres within three days, if they don’t do well. They don’t get a chance to grow.

Talking about women-centric films, your Gulaab Gang is completing four years...
Yes, I still remember when director Soumik Sen met me with the script, and said he has got something fantastic for me. When I read the entire script, I told him, ‘Are you joking? Why would I do a role like this where I am beaten at the end as I was playing the villain?’ So, they tried to justify why she was the way she was but that ruined the whole thing. So, we went back to the original and I did my part the way Soumik read it —strangely menacing and icy cool. I tried to do that and when I saw the final result, I was happy.

Do you feel women are more empowered now?
I don’t agree with this whole thing about empowering women. They are born empowered! Somebody has said that women are one half of the population and responsible for the other half. You can’t beat that. Somewhere we are thinking that only career women are doing something. But running a home is equally important, if not more. Bringing love and warmth to the home, which is often overlooked, is paramount to a happy family. I salute all those women. Also, working and running a home is a herculean task and my jaw drops when I see women doing that.

Garima Sharma (BOMBAY TIMES; October 23, 2014)

70 per cent of films released in the past year have found no takers as broadcasters go slow
Vickey Lalwani (MUMBAI MIRROR; August 13, 2014)

Tanvi Trivedi (BOMBAY TIMES; June 10, 2014)

Vickey Lalwani and Roshmilla Bhattacharya (MUMBAI MIRROR; March 28, 2014)

Two years ago, Bollywood tided over its first quarter woes with an unexpected high as Sujoy Ghosh’s Kahaani raced past the Rs 50 crore mark at the box-office. The director’s professional obituary had been written the day he announced a thriller involving a pregnant Vidya Balan and a virtually unknown cast, but Sujoy’s heroine proved the calculations wrong. And by the fourth week he was jubilant: “Content is not just king but queen too.”

Cut to 2014. A Queen is ruling the box-office again, her closest challenger being a ‘horrex’ powered by former porn star, Sunny Leone, which has grossed over Rs 35 crore in less than a week in India itself while Queen has already hit a half century.

Anand Vishal, Head of Operations, Fun Cinemas, informs that Ragini MMS 2 is being patronised by youngsters, including girls, and Queen is drawing women in the afternoon shows. While he exults about “woman power”, Queen’s director Vikas Bahl maintains, “You can make films with men, women, washing machines and dogs. As long as the content is good they will sell.”

Trade analyst Amod Mehra attributes the success of these films to the timing of their release. “They released during exam season when the only entertainment is cricket and the audience was hungry for films. Queen’s protagonist Rani struck a chord with contemporary women who make up a large share of the multiplex audience,” he reasons.

Madhur Bhandarkar, who has made a career out of woman-centric films, from Chandni Bar to Heroine, admits that the growth of multiplexes has contributed hugely to the success of films which revolve around a female protagonist. “Shyam Benegal’s Ankur and Bhumika would release in a couple of theatres in matinee shows. In comparison my Heroine opened in 1100 screens and even though the budget had escalated from Rs 1.50 crore for Chandni Bar to Rs 21 crore for Heroine, it was able to cover its cost in the first three days itself,” he maintains.

Madhur who is currently busy with two women-centric films—Madamji and Calender Girls--insists that sticking to a limited budget is key to a film’s success. As all his heroines slashed their market price for a ‘performance-oriented role’, he has been able to allay the fears of producers and distributors who still don’t believe that a viewer will never spend Rs 300 to watch a cast toplined by an actress.

“Producers have come to realise that the exorbitant fees charged by the leading heroes, leaves them with hardly anything even if the film is a superhit,” says another trade analyst Taran Adarsh, pointing out that Ramesh Taurani refused to cast Saif Ali Khan recently when he reportedly demanded Rs 20 crore.

Taking the thought further, Anubhav Sinha who recently produced the Madhuri Dixit-Juhi Chawla starrer, Gulaab Gang, lists four ingredients that cook up a hit—subject, budget, music and timing of release. “We didn’t lose money while Queen and Ragini MMS 2 are raking in the moolah. It’s a positive sign,” he asserts.

Ekta Kapoor, the producer of the horror hit, reinforces this opinion pointing out that while she backs content and not gender, she foresees a time when almost half, if not more, of the film scripts will be dominated by women. “Personally, the heroines make me count,” she asserts.

Leading distributor Ramesh Sippy reminds us that even English Vinglish, led by Sridevi, did good business, so did Rekha’s Jeevan Dhaara and Raakhee’s Tapasya. “Women-centric films boast of better narratives, especially if driven by an able director,” he avers.

There are a series of heroine-centric films coming up apart from the usual suspects. These include Pradeep Sarkar (Mardaani), Indra Kumar (Super Nani with Rekha), Subhash Ghai (Kaanchi introducing Mishti Mukherjee) and Sanjay Gupta who is collaborating with an LA-based production house on a Hindi-English remake of a foreign language film revolving around a woman protagonist and two important male characters. “It’s such a thrill to be finally doing a woman-centric subject in Hollywood,” exults Gupta, who is best known for his testosterone pumping whodunits.

Ad filmmaker Sai Kabir is gearing up for his first film, another Kangana Ranaut starrer, Revolver Rani, and is enthused by the success of Queen as the market is “upbeat”. He is already working on a dozen other scripts, all of them women-centric.

Ishqiya and Dedh Ishqiya director Abhishek Chaubey's next film is set in Punjab with an ensemble cast and one “kickass woman character.”And Devang Dholakia is working on what is being hyped as India’s first 'chick flick' with Sunny Leone and Karishma Tanna, leading the cast.

Explaining the trend Imtiaz Ali whose Highway showcased Alia Bhatt as an actress, points out that the audience has always been ready to accept the heroine being more than an eyecandy. “And now they are more ready than ever before,” he asserts.

But Tanuj Garg, co-producer of Ragini MMS 2, warns filmmakers not to get carried away because, “nobody wants to see a bad film with a good actress”.

Scriptwriter Robin Bhatt endorses his view, saying that the film industry has a herd mentality and it is not woman power but just good content that has succeeded.

So, in the end we come a full circle with Sujoy’s assertion, “Content is king, and queen too.”

Vickey Lalwani (MUMBAI MIRROR; March 15, 2014)

In October 2012, Madhuri Dixit parted ways with her manager of almost three decades, Rakesh Nath a.k.a Rikku. He became her Man Friday in 1985 and he handled everything, from her publicity and accounts to her dates diary. When Madhuri moved to Denver in 1999 after marrying Dr Sriram Nene, he continued picking her up and dropping her to the airport during her trips to Mumbai.

Buzz was, Dixit's husband, a UCLA-trained cardiovascular surgeon, wanted his wife to sign up with a talent management agency instead to boost her second acting stint. The fallout was rather ugly, but the two have “let bygones be bygones”.

Last week, Madhuri invited Rikku for a special screening of her latest flick Gulaab Gang in a Juhu multiplex. However, the actress who was supposed to be there at 9.30 pm, was running one-and-a-half hour late. And Rikku returned home without watching the film. “I'm a morning person and cannot stay up too late. I'm not comfortable seeing movies very late in the night,” Rikku told Mirror.

Has he seen the film? “Yes, I liked it, Madhuri acted very well. I told her so when I called her after watching the film. We had a long chat and it was good to speak to her after such a long time,” he said.

So will Madhuri and he start working together again? "I don't know... I don't think so," replied Rikku.

Priya Gupta (BOMBAY TIMES; March 11, 2014)

Soumik Sen, 38, is sharp, eloquent and has a great sense of humour. Like a true emotional Bengali, he loves his music, food and Satyajit Ray. This journalist-turned-director is the writer, music director and director of Gulaab Gang and is a complete Madhuri Dixit bhakt. Over an hour-long conversation before the release of his film, he spoke to Bombay Times about his discerning mother, the non-vegetarian Madhuri Dixit versus the vegetarian Juhi Chawla and why he believes a woman can beat a man hands down on all counts. Excerpts:
 
How did you become a filmmaker?
I was born and brought up in Kolkata. After studying at St Xavier’s, I did my masters in Economics from Delhi School of Economics. I did a brief stint at the World Bank, after which I became a business journalist and produced a business show on television, where I was required to research, write and interview people for the programme. I disliked Delhi as a city and after five years of being a journalist, I took a transfer to Mumbai, as I wanted to write films. I met Raj Kaushal, who was a friend’s friend and told him that I wanted to write films. He gave me my first film to write Anthony Kaun Hai, which Raj himself directed. I then wrote the Kishore Kumar biopic and spoke to Ranbir Kapoor. This is before Barfi. And then Anurag came on board to direct it. In the meantime, I wrote Gulaab Gang and have directed it. My next film will be a biopic based on the life of PC Sorcar, which I have written and will be directing too. 

Tell us about your family?
I am the only child and being a single child helped, as I got all the attention of my parents. My parents are both retired now, but my dad used to work for Eveready batteries. I grew up in a joint family in Calcutta. If you are a Bengali there, there are two things naturally ingrained in you, one is Tagore, the other, Ray. Which is why I feel Bengali filmmakers have an advantage. Ray is not a part of our syllabus, but he is a part of our bloodstream. We all aspire to be Ray even though we don’t have 1/100th of his talent. He is the greatest filmmaker this country will ever have. I was put into Hindustani musical training at the age of eight and into learning sarod at 14. I played cricket for my school and state. Sourav Ganguly was my senior and house vice-captain, though, I never got to play with him. I would be a voracious reader and had a school band and was also into Shakespearean theatre. Joining Delhi School of Economics was the worst thing in my life. I loved economics, but their approach was way too mathematical. It lacked the human content. I remember I used to doze off in class. I was horrible in D School. I just didn’t like the place and found it just too boring. Every Monday, we would have a unit test. I got 8 out of 80 in the first year in one of the subjects. But, I was clear at a very early age that I had to be economically self-sufficient. And that at no point in time should my parents get the feeling that I am not financially secure, and that I can secure them. But they should not ask how I am getting that money as far as it was legally earned. My dad stuck to one company all his life, so it took him time to adjust to the thought that I could give up my job as a journalist one fine day to just write. When I told my parents that I wanted to make a film, they looked down upon it as I was not planning to make a Bengali intellectual film, but a Bollywood commercial one. At that time, ‘Bombay chala gaya’ was looked down upon. Now it’s exactly the opposite, where if you are a Bengali who has made a film in Mumbai, they look at you as a big achiever, be it Shoojit Sircar, Anurag Basu or Sujoy Ghosh.

How did Gulaab Gang happen?
I actually wanted to do a ‘Western’ which is a big film experience on the big screen. Anurag Basu and Sanjay Leela Bhansali give their audiences that. Sholay would be the best Indian example of a Western. Every Western has a protagonist and antagonist. And the underdog will take down the really powerful guy. Also, Mirch Masala was a massive influence. I believe that men are not big enough to empower women. And actually, if women are financially independent, men become redundant in their lives. So we wanted to create a masala film, where men are almost irrelevant. I have always been a massive Madhuri fan. I presented the film to her completely avoiding eye contact with her. I had written this film keeping only Madhuri in mind and she said yes. If Madhuri had not said yes, this film would not have happened.
 
How different are Madhuri and Juhi to work with?
Madhuri is somebody I can watch the Gunda video with. Gunda is a cult classic starring Mithun Chakraborty and it is so bad that it is so good. It is a D-grade film, but Madhuri gets it and loves it. I introduced her to it while shooting. Juhi is far more prim and proper. She is fun, but in a formal way. Madhuri is much more spontaneous than Juhi. Juhi is a lot more studied, conscious and puts in a lot more thought. Madhuri is incredibly professional. She will be there for a 5 am shot at 4.45 am with her makeup on. We had no stunt doubles or body doubles for any of the shots. Madhuri is non-vegetarian, Juhi is vegetarian. I remember when my associate director came to meet me for the interview, I asked him only one question, ‘Are you vegetarian?’ He said no. I said, ‘You are in.’ But I am way too grateful to Juhi to allow me to break her mould.


Who are you most attached to?
My mother. She is a very strangely crazy person and I am a lot like her. She is extremely loving and gets into these fits of this tempestuous anger, has a giving heart and likes to keep everybody happy. She also has a very discerning eye for music, art and cinema and she is a no-nonsense person when it comes to her telling you what she likes or doesn’t like. Of course, she has the Tagore hangover which every Bengali has. While she likes my singing voice, she would like me to call her more often. Boys cannot have conversations with mothers like girls can. My wife talks to her more than I do. She was a master in Sanskrit, but devoted a lot of her life to my cultural and emotional upbringing. I know that she could have done more with her life, but she sacrificed it for me. And, of course, she is a great cook. She came here and I made her meet Madhuri who immediately touched her feet. My mom immediately said, ‘See her upbringing.’ The best thing I like about my mother is that she keeps me grounded. The first time my picture came out with Madhuri in the paper, she called me to say your hairline is receding. The other anchor in my life is my wife. The day I took my first shot of Gulaab Gang, I had three missed calls from her. I called her back hoping that she would ask me about the shot. But she said, ‘Do you have Ramesh’s new number?’ He is the guy who delivers gas. That is life and it is brilliant.

Are Bengali women dominating?
I like dominating women as they are more competent. Also, versus physical power, you give the woman the same training as a man and she will beat the shit out of him.

QUEEN showed the best growth on Saturday as it collected around 3-3.25 crore nett with growth of around 75-80%.Still despite the huge growth collections are not impressive as day one was too low. If the film had collected the Saturday figure on day one and then shown similar growth from there then it would be a different story for the film.

GULAAB GANG also managed to show good growth as it collected around 2.75-3 crore nett. The growth was around 40% but its the same story as QUEEN with opening levels being too low. Both QUEEN and GULAAB GANG have grossed 5-5.25 crore nett approx in two days

TOTAL SIYAPAA showed the least growth as it collected 1.25 crore nett on its second day taking its total to around 2.25 crore nett. The film has performed better in Delhi city and East Punjab but even there collections are still dull.

Box Office India Trade Network
QUEEN grossed around 1.75-2 crore nett on its first day. The film only managed to collect at some premium multiplexes of metros and that too as it was stronger in the evening after a dull start.

The film had better collections in Mumbai city, Delhi NCR and Bangalore as the rest of India failed to collect much especially the Central India circuits. The film should grow on Saturday but the starting point is low and it will have to a have phenomenal gains to make an impact.

HIGHWAY which had a similar release as QUEEN grossed 3.25 crore nett on day one and that was also below the mark.

GULAAB GANG could not do much at the box office as it collected around 2-2.25 crore nett on its first day though it collected best out of the three new releases due to a higher screen count and better business in the mass circuits of UP, Bihar, Rajasthan, CP Berar, CI and Gujarat.

TOTAL SIYAPAA was the worst of the three releases as it collected around 1 crore nett on its first day with only select multiplexes of North India having worthwhile collections.

Like QUEEN, both GULAAB GANG and TOTAL SIYAPAA also need big jumps on Saturday to make an impact but it will be tough as TOTAL SIYAPAA is too low and even a phenomenal jump will not help much and GULAAB GANG has best collections in mass pockets which tend to jump less on Saturday.
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SHAADI KE SIDE EFFECTS fell badly on day eight as it collected around 75 lakhs nett on its 8th day which is a drop of over 85% from its first day. The film will not have been affected much by the new releases as they did not do much.

QUEEN had mediocre collections in multiplexes while GULAAB GANG was mainly for single screens. The film had a dull weekday performance which led to programmers giving it less shows in week two. The film could have done a bit better if it had more shows as new releases are below the mark.

SHAADI KE SIDE EFFECTS will have good growth on Saturday and the weekend should go over 3 crore nett, maybe a little more depending on growth but that is pretty low second weekend business.

Ankur Pathak (MUMBAI MIRROR; March 7, 2014)

After a litigation-littered journey, Gulaab Gang has finally kept its date with the audience. A division bench of the Delhi High Court lifted the injunction on the film’s release on Thursday.
 
The judgment came just a day after the same court had stayed the release of the Madhuri Dixit-Juhi Chawla starrer, based on a plea filed by activist Sampat Pal Devi, who claimed that the film was based on Gulabi Gang--the group of women vigilantes lead by her--and portrayed her in a negative light.

The producers of the film had then filed an appeal against the single judge’s order after which the court green-lighted the film’s release.

But the court drama is far from over; next date of hearing, in the case brought by Pal, is set for March 10. 

Talking from Delhi airport after the hearing, the film’s producer Anubhav Sinha said: “After the stay on Wednesday I did not sleep a wink. I’m glad our film is finally releasing on the intended day and I am thankful to industry members like Shah Rukh Khan, Mahesh and Mukesh Bhatt, for their unconditional support.”

Although he remains tightlipped about how the stay was lifted, sources tell Mirror that Pal’s lawyers couldn’t explain why they had dragged the film to court just two days before its release. “And they don’t own any copyrights over women wearing pink sarees,” added the source.

When we contacted Pal’s lawyer, Kush Sharma, who in an interview to Mirror (on March 6), had stated that they will not let the film release before May 8, said: “It’s a judicial process and nobody can stop anyone from availing their rights. We’ll wait till the next hearing, which is scheduled for March 10.”

When we raised the subject of the next hearing with Mushtaq Sheikh, the film’s co-producer, he said: “I do not want to think that far ahead. I am just relieved that we could release our film on the scheduled date.”

BOMBAY TIMES (March 7, 2014)

Sampat Pal Devi is the founder of Gulabi Gang, a group of pink sariclad lathi-wielding women vigilantes and activists from Bundelkhand, Uttar Pradesh. The leader had moved the Delhi High Court seeking a restraining order on Gulaab Gang’s release, citing, the makers had not taken any permission from her before making the film, which is reportedly based on her life.

Allowing her plea, the Delhi High court stayed the release of the film. Justice Sanjeev Sachdeva restrained the film’s producers and their agents from “releasing, exhibiting, distributing and promoting” the film in India till the next date of hearing on May 8. Sampat Pal told us from Delhi, “They did not take any permission from me before making the film, when the copyright to Gulabi Gang belongs to me. Unhone chori kiya hai. Humara tamasha bana ke rakh diya.”

The activist is not too keen on seeing the film either. She claims, “Main unki picture kyu dekhu? They are big people. They never came to me.” Nor is she flattered with Madhuri Dixit-Nene bringing her character to life onscreen. “Madhuri playing my role might be good for the audience, not me.” While many perceive this move to be a publicity stunt, Sampat Pal rubbishes the accusations, saying, “Let people say what they want to say.”

In spite of several attempts, Gulaab Gang’s producer Anubhav Sinha, chose not to respond to our calls or messages at the time of going to press.

Ankur Pathak (MUMBAI MIRROR; March 6, 2014)

Yesterday, the Delhi High Court stayed the release of Gulaab Gang. The Madhuri Dixit-Juhi Chawla starrer is reportedly based on the life of activist Sampat Pal Devi, the founder of Gulabi Gang, a group of pink sari clad women vigilantes of Uttar Pradesh. Pal had moved the High Court seeking a stay order on the film, alleging that the filmmakers did not take her permission and the movie shows her in a bad light.

Justice Sanjeev Sachdeva stayed the release of the film this Friday, reasoning that it will cause 'irreparable damage' to Pal’s reputation.

Speaking to Mirror from Delhi, Sampat Pal Devi said: “It’s a personal victory for me, my faith in the country’s legal system has been restored.”

When asked if the move was driven by the prospect of a monetary settlement, she retorted, “My reputation is at stake. Right now I’m very happy with the judgement. For anything else, please talk to my lawyer.”

When prodded on reports of her ouster from the position of Gulabi Gang’s commander, she replied, “How can anybody dethrone me from a gang that I’ve created? I am, and will remain, not only the commander, but the international commander of Gulabi Gang.”  

PAL’S LAWYER, KUSH SHARMA, ON WHY THEY WENT TO COURT
 
Why did you move the High Court just a few days before the film’s release?
We had sent a notice to the makers of Gulaab Gang’s in June 2013 asking them to refrain from going ahead without our consent. For the next 10 months we sent them imnumerable reminders, but they chose to reply only on February 4, saying that the film bears no semblance to Sampat Pal Devi’s life.

On what basis did you argue that the film is inspired by Pal’s life given that you haven’t seen the film or even read the script?
We based our assumption on the title, the trailers and the posters. There is no group in the entire world other than Pal’s which protests wearing pink saris. Also, Madhuri’s character bears a striking similary to Pal. She’s shown with a sickle in one hand and a laathi in the other. This is very derogatory for my client.

Any possibility of an out-of-court settlement?
Money cannot retrieve the reputation that is lost, once and for all. Right now, we have received a stay order. The next hearing is on May 8, before that Gulaab Gang cannot release anywhere in India.


What kind of resolution are you hoping for?
We’ll see what happens in the next hearing.

Despite repeated attempts the film’s producer Anubhav Sinha or any member of the film's team, refused to comment stating that the matter is sub judice. His lawyer too remained unavailable.

Bharati Dubey (MID-DAY; March 6, 2014)

The Delhi High Court has stayed the release of Anubhav Sinha’s Gulaab Gang, which was slated to hit theatres this Friday, to May 8. Sampat Pal, leader of Gulaabi Gang, had moved court alleging that the filmmakers had made the movie without securing her approval. However, the makers maintain that the film is a work of fiction.

A source close to the production unit said, “We are filing an appeal, stating that advance bookings have opened and overseas prints have already been dispatched.” Sampat Pal has also demanded compensation on the plea that certain scenes in the film would hamper her reputation.

Her lawyer, Kush Sharma, said, “We had sent a notice to Anubhav Sinha in 2013. But they replied only in February 2014. We filed a petition on Tuesday, and the case came up for hearing on Wednesday.” Sampat Pal had earlier told hitlist that she was willing to back down from the case if the filmmakers gave her due credit.

But at this moment, she is not sure. “We would not want to comment on it at all. We are just waiting for a copy of the order,” said Sharma.

Priya Gupta (BOMBAY TIMES; March 5, 2014)


Anubhav Sinha, 48, is restless, ridiculously ambitious and very competitive. He is emotional and deeply rooted to Banaras, the city he grew up in. Ahead of his upcoming production Gulaab Gang, he talks to Bombay Times about his inability to make friends, the responsible Shah Rukh Khan and his continuous urge to remain connected with Banaras. Excerpts:


How did you become a filmmaker?
While I was born in Allahabad, I feel rooted to Banaras as I was brought up there. At that time, for a child of a middle-class family, there were only two career options, either to become a doctor or an engineer. I was scared of blood, so I became an engineer and did my engineering from Aligarh Muslim University. I had 21 appointment letters when I passed out, including a job with the Indian Air Force, as I was a good student. Post my engineering, I worked for a year in Delhi and realised that that’s not what I wanted to do. I realised that uptil then, I had been only living my father’s dream. In school, I was into music and was involved with production of theatre. I quit my job and was broke. I could afford to have only one meal a day for a year until a friend’s elder brother gave me a job to assist him on a documentary. That changed my life. While I lost my mother a year-and-a-half back, my father lives with me in Mumbai. It continues to surprise me that the day I decided to be a filmmaker, I had gone to tell my father that in Banaras and he said, ‘Do what you want to do.’ After hearing him tell me that, I went to Delhi, packed my bags and came to Mumbai without even a single phone number to call. That was December 4, 1990. I didn’t know anybody but still started assisting and did television and music videos before I got to direct my first film in 2000. Mumbai has since been very kind to me.


You are wearing khadi, launched the music of Gulaab Gang in Banaras, your company is named after Banaras. Are you emotionally connected to your roots?
After I turned 40, there was a secret yearning to go back to my roots and it kept becoming stronger. I was once coming back from the gym and I walked past a bench where two drivers were sitting. A third driver arrived and one of these two talked to him in Banarasi dialect. I remember it was 8 in the morning, but it did something to me. I returned home and called my developer friend in Banaras and told him that I wanted to buy a place there. I decided to buy a place so that I could spend time there. In small towns, dreams are never too big. When I go back to Banaras, I find my friends there still living where they were living earlier, but are happy and content. When I compare them to myself, wherein I have come this far, I find myself still not as content as them. It’s a choice you make in your life and I will probably know only at the end of my life whether staying back with my roots was a better choice or moving out was. But I do know that when I go back to Banaras, I feel that there is no place like that. I named my company also after Banaras. I had been wanting to start wearing a kurta pyjama in khaddar for the longest time, but did not have the courage to. In a city like Mumbai, how do you walk into a set wearing a kurta pyjama. Gulzar sahab does that, it’s fine as he is a poet, but I make action films. I am a big fan of Gandhiji. And this is also my way of saying thanks to him. But one day, just a few months back, I went and bought 10 pairs of khadi kurta pyjamas and just started wearing them. The ice broke on the premiere of Dedh Ishqiya, where I wore it for the first time at a public event. I have also been meandering from my roots to various cultures and lifestyles and so, a lot of people tell me that I am not reflected in my films. Imagine a Panditji from Banaras, who eats kachodi sabji for nashta, visits Japan and starts eating sushi. The Panditji not only acquires a taste for sushi, but also starts making it. That was RA.One. I loved the experience and every bit of the life I have lived so far. But, going forward, a lot more of me will be reflected in my films. One has lost that transparency in the complex world we live in. Back home, you get exactly what you see. It’s very close to both life and death. Living in Mumbai, we feel that we will never die and were never born. But in Banaras, you are close to both. I wanted to take Madhuri to Banaras and she loved it. Someday, I have a desire to take Shah Rukh there too.


Why Shah Rukh?
I am very happy that I met him and I keep telling him that I treasure knowing him more than I treasure making a film with him. I respect him as a human being a lot. He is a wonderful fighter, true star and a responsible man, both socially and personally. And, of course, he is a great actor.


Were you emotionally disappointed after RA.One?
Yes I was disappointed. I don’t think it was about the numbers, but the entire campaign seemed very concerted to me at that time, which, even in hindsight, doesn’t look incidental to me. I am too naïve in that world and please pardon me if I am saying something blasphemous. But it was an unprecedented film. And, of course, it took me to an emotional low. But a hug from my son does it for me. Sometimes he doesn’t even know why I have asked a hug from him, but he releases me of a massive stress, though otherwise in life I am quite a sponge for stress. It is also during RA.One that I met Mushtaq Sheikh, who from then on became my 3 am friend.


Do you have friends in the industry?
I don’t have friends in life in general. I don’t open up to people and don’t make the effort to express it to you and assume that you would have understood. A lot of people think I am snooty and I don’t blame them. I have not come too far, but have still travelled. In my heart, I am still that small town boy, who is in awe of Anil Kapoor. I may have known him for 20 years, but when Anil Kapoor walks into a room, he is the star for me and I am the Banaras ka bachcha. Sometimes in a big film party, I feel very lost, even though I may know 80% of the people. I feel I am not from here, even though they are very nice to me. I will not walk to people till they make the effort. And that is entirely my fault and leads me to not have made friends.


You have chosen to make relatively low cost films. Is that by design?
A lot of films don’t fail, a lot of budgets fail. I sometimes call my actor friends and say, ‘Why did you have to charge so much for this film?’ If it’s an off-beat film, it fails if the actor has overcharged, making the film unprofitable.


Are you a good son?
I always treasure lows more than highs. Highs come and go, but lows teach you how to enjoy your highs better. For me, the lowest low was losing my mother. RA.One released in October 2011 and she slipped into a four-month diabetic coma in December, post which we lost her. I have not cried for her yet. I am a good son and my father repeatedly tells me that. I was telling my son the other day and while I was telling him, I was discovering it myself. I was teaching him how to divide time. I told him, ‘There are three hours of life — Routine, Relaxation and Responsibility. You must divide your day into these three. Routine is taking a shower and eating. Relaxation is enjoying your life. And the third is responsibility that includes studying.’ I make sure that I devote some time of my day to responsibility, be it social or towards family. I make sure I spend some time with my father every day.


Are there things you want to correct about yourself?
I am not a good judge of people. Normally that should not be a weakness, as you should not need to judge people as the person you are dealing with should not be taking you for a ride. I feel that nobody achieves success, you only aspire for it. Even if you look at the biggest stars, they only want to get bigger. And that is something I hate about myself too. I often ask my dad, ‘Why did you make me like this?’ I am a director and should be happy. But my perspective is always wide angle and large and that is sometimes what I hate about myself. Why do I have to think of building this production house? I have zero affinity for money. But it’s still a problem as I cannot think small, so I cannot make one film a year, I will try and make six and land up making three. I am very restless, ridiculously ambitious and very competitive. I feel that strong people cry and weak don’t, as strong people have the courage to let it out. There is a difference between people who are really strong and those that pretend to be strong. I am one of those who pretends to be strong. Ajit sahab ka ek dialogue hai yeh ki ‘Jo log partiyon mein alag shalag rehte hain, woh ziddi kism ke insaan hote hain.’

The much awaited Madhuri Dixit-Juhi Chawla starrer Gulaab Gang has been awarded a U/A certificate by the Censor Board. The following changes were made in the film, as asked by the Board:
1. The visuals of Rajjo's torture in the beginning of the film were reduced by nearly 50%
2. The visuals of burnt coal placed on a child's palm were deleted
3. The visuals of man holding the hair of woman and pulling her were deleted
4. The dialogue 'Vimal, pair phailav' was deleted and it's visuals were reduced by nearly 50%
5. The visuals of bloodshed in a fight sequence were deleted and were replaced by close ups
6. The visuals of the cutting of hand were reduced and replaced with another shot of hand falling
7. The visuals of bloodshed in a fight sequence were deleted

The duration of the film is 139 minutes. The film releases on March 7, 2014

CBFC