Showing posts with label Guru. Show all posts
Showing posts with label Guru. Show all posts
Without backing, opportunities are often missed or delayed-Arjan Bajwa
11:01 AM
Neha Maheshwri (MUMBAI MIRROR; May 5, 2026)
After nearly 18 years, Arjan Bajwa has reunited with filmmaker Madhur Bhandarkar for The Wives, which marks their first collaboration since Fashion (2008), a turning point in his career.
He says, “My association with Madhur sir has been beyond films. He treats me like a younger brother. We socialize, party and travel together. After Fashion, our professional relationship turned into a longstanding friendship. Being part of a successful film opposite Priyanka Chopra, with a National Award-winning director like him, was a defining experience. And here we are, collaborating again after many years because he believes in my talent, sincerity and ability to carry out his vision. I also have complete faith in his commitment to his craft as a filmmaker.”
Another filmmaker he holds in equally high regard is Mani Ratnam, with whom he worked in Guru early in his career, an experience that shaped his understanding of cinema.
Arjan shares, “I consider myself fortunate to have worked with Mani Ratnam sir on one of his most ambitious projects, Guru. At that stage, I had limited understanding of cinema beyond my role. These are things you learn over time, especially if you don’t come from a film background. I did not have that environment, so whatever I learnt came through the films I worked on. Having said that, it is always work in progress for any actor at any stage of their career. While Madhur sir keeps a very light-hearted approach on set, everyone used to be on their toes with Mani sir.”
Speaking about the challenges of navigating the industry without backing, he admits that the lack of guidance has had a direct impact on his journey. He says, “When you are an outsider without any support system, PR machinery or a mentor, opportunities are often missed or delayed. It affects your trajectory as an actor and can sometimes lead to signing the wrong films as well. I have been through all of that because there was no one to guide me about the workings of the film business.”
He adds, “While my filmography includes several landmark films and collaborations with big directors, there have been instances when I did not feel accomplished or content. It matters who is backing you and giving you multiple films even when things are not going your way. In spite of all the odds, I know I am here for the long run, having completed 29 films in different languages and made my international debut with the India-Taiwan collaboration Demon Hunters. I can only depend on my craft, sincerity, professionalism, and capability as an actor and hope for the best results. The rest is a matter of time.”
If I could do Guru again, I’d do a much better job-Abhishek Bachchan
10:05 AM
Ankita Kanabar (MUMBAI MIRROR; November 24, 2025)
With a career spanning over 25 years, Abhishek Bachchan has several successful films to his credit. Yet, one movie that a lot of his fans and critics swear by is Guru. This Mani Ratnam film helped Abhishek garner love and appreciation in the industry. However, Abhishek says that if given another chance, he would love to work on Guru again, shot by shot, and do a better job.
In a chat, he said, “If given the opportunity to do the film again, I can unequivocally say that I can do a much better job today. Having said that, I don’t compare my movies or treat this as a benchmark to other movies because every film is different. But if Mani Ratnam gave me the opportunity to do Guru scene by scene, shot by shot again today, 100 percent, I’d do a much better job for him.”
On one hand, where Guru is loved for its storyline and performances, it also holds a special place in Abhishek and Aishwarya’s love story. “I proposed to her at the premiere, after the premiere in New York,” said the actor.
He further added, “But all my films are very personal. And I ensure that. There are possibly one or two that might not be as personal. But my rule of thumb is it has to be personal. If it’s not personal, then I’ll probably not do it.”
During the conversation, he spoke about another character and movie he did with Mani Ratnam — Yuva. Speaking about Lallan from Yuva, Abhishek shared, “The first time you are working with the great Mani Ratnam, you don’t say anything. But Mani sir involved me so deeply in Lallan, in the preparation of Lallan, and allowed me to have an opinion on him. He heard me very sweetly; he didn’t need to. I thought Lallan was the sweetest character, you feel for that guy.”
Walking down memory lane, he added, “There was this one scene in Yuva which sadly never made it to the final cut, which I thought was very important, wherein he’s had a huge fight with Rani (Mukerji), his wife, and she’s like, Why can’t you change? He’s lying down on the bed and she is sitting next to him. He is on her lap, and he is howling. Because she has caught him going back to what he was doing, and she’s trying to bring reform to him. So, she asks him, ‘Why can’t you change?’ And there was a line that Anurag (Kashyap) had written, which just summed it up for me. I felt so bad when I read that. Lallan says, ‘I am trying, lekin suvar goo khana chhodta nahi hai (A pig never stops eating shit or being around shit).’ I felt so bad when I read that. He said, I’m trying, but I don’t know anything else.”
I always thought the boys were my real competition-Vidya Balan
4:00 PM
Madhureeta Mukherjee (BOMBAY TIMES; June 10, 2025)
The world may hail her as a game-changer, a sherni who roared her way through Bollywood’s rulebook — but Vidya Balan doesn’t see it that way. Twenty years in Hindi cinema, and she is still dancing to her own rhythm. The actor, who defied norms, wants to be free of those tags and labels – free of that baggage. There’s a newfound lightness about her, yet she’s just as fiercely passionate about her craft as she was two decades ago. In this deeply personal interview with us, she talks about her inner battles, her evolution shaped by heartbreak and healing – and all the joy that went into it.
If you could relive one moment from your 20-year journey in Hindi cinema, which one would it be?
The premiere of Parineeta in Amsterdam. I don’t remember watching the film, as that memory is a blur. It’s like your wedding day (laughs). What I remember is standing up on that stage along with the cast and looking at the world. It was a full house. It was something about that moment – this is what I had always wanted. I didn’t know if there was a road ahead, but I felt I had reached the summit. That moment has stayed with me. It’s like I walked up with my back to the audience, and when I turned to the world, my world had changed.
In your early days, how did you deal with stereotypes and industry expectations of how an actress should be? You’ve never been apologetic about the characters you’ve played – whether it was flawed, sensual, loud or silent. How did you stay so true to your choices?
I don’t think I did anything consciously. It’s just the way I am made. I am shamelessly accepting of my dreams and aspirations. I don’t think anything was stopping me from being a conventional heroine. Also, I never thought of myself as unconventional and different – these were the tags given to me. I wanted to be like all the actresses I had admired over the years. With every opportunity I got, I made the most of it – whether it was Guru with Mani Ratnam, Halla Bol with Rajkumar Santoshi or Salaam-E-Ishq with Nikkhil Advani. I played the lead in these films, but they were all different. That is who I am and that began to find expression. When there is success, you are okay being seen for who you are. There are two films where I feel I didn’t do my best – Heyy Babyy and Kismat Konnection. People enjoyed those films, but I got a lot of criticism for it.
It must have been shattering at that point. Would you say there were many such breaking points in your career, from where you had to rebuild your confidence, renew your spirit and rise again?
It happened at various points. After The Dirty Picture and Kahaani, many of my films didn’t work and I was going through a persecution complex. I felt everyone was out to get me. I began to assume a certain kind of self-importance thinking everyone was talking about me. Everyone is not talking about you, but you feel that because you are only looking at yourself. I thought, why is my dressing such a problem? Today, when I look back, yes, it was a huge problem, as I was not doing anything that I liked doing. I am so grateful for that period, those films, the criticism, the nasty things that people said and the humiliating experiences – it made me realize what is the kind of work I want to do. Who am I really? I slowly started embracing myself. It was tough and it came with a lot of heartbreak. I feel my father has given me a certain fearlessness to be myself and my mom has given me faith and that has taken me a long way.
When did the feeling of being comfortable with who you are — your work, your body — finally come in?
After The Dirty Picture, I was going through some health issues and the weight kept going up. I had also got married, so people thought that I was taking it easy. Every few months, there’d be a rumour that I was pregnant. I wanted to be invisible in those days, and that is a horrible place to be in. I was at my lowest professionally and personally because of the way I was viewing myself. I’ve been with a healer for the past 14 years, and that has been a huge help. It is a lifelong process. I feel now everyone goes through it and a lot more. At that point, I felt that I was being singled out and judged for everything. Today, I am more in touch with who I am.
If you met the Vidya of 2005 today, the Vidya who was on the cusp of becoming a star, what would you tell her?
I would say don’t try too hard. I’ve spent a lot of time trying too hard. Be yourself and go with the flow. Don’t think of where, what, when and how it will happen. It will all happen. Deep down, even I knew that, yet I needed life to teach me that through my journey.
In 2012, when your career was soaring, you married Siddharth (Roy Kapur) — despite having once said that marriage wasn’t really on the cards. Thirteen years in, has the experience changed your perspective?
Yes, I didn’t want to get married at all. Even today I don’t think partnerships are easy and I don’t think marriage is easy. But the fact that we both are from the industry is a blessing, because if anyone can understand our work and life, it is people from the same business. Now I’ve come to understand that marriage is always work in progress, it’s learning, unlearning, relearning and growing together. Siddharth and I never give each other advice, but we are fully supportive of each other and respect how passionate we are about what we do. I feel blessed to have a partner who lets me be. He is my anchor.
Your perspective on marriage has changed, but what were the beliefs or fears that made you resist it initially?
Earlier, I could never see myself getting married because I felt marriage was about domestication. I often wondered who my mother would have been if she hadn’t been married. I don’t know if she wondered that though. I always felt ki mujhe shaadi nahin karni hai. Also, I have always wanted to be better than the boys, so a long partnership with a boy seemed impossible. Come to think of it, maybe I never competed with the girls because I always thought the boys were my real competition. At the gym, I would lift heavier weights than the boys. We are two sisters, and I do think that my mom subconsciously wanted a boy, as she already had a girl. In our extended family, there were mostly girls, so the ones with boys were given that much more importance. These are very subconscious things, and I picked up on all those cues and I thought I will be better than the boys. Maybe that explains my career, too, in a way… don’t you think?
Perhaps, a lot of my hormonal issues were an outcome of this rejection of the feminine part of me and I fought it, as I wanted to constantly prove that I was better than the boys. But marriage has allowed me to accept that side of me. Maybe, it has made me realize that I’m not lesser and don’t need to be better than the boys to be good enough. I’m good enough just being me…wholly me!
Rain machines to waterproof makeup: All that goes into shooting a rain song
8:14 AM
Natasha Coutinho (BOMBAY TIMES; July 27, 2024)
Who can forget Aishwarya Rai Bachchan dancing in the rain in Barso Re (Guru) or Sridevi's seductive blue sari from Kate Nahin Kat Te (Mr India)? The ethereal, romantic beauty of rain songs are imprinted in our collective memory, and they have been a staple of Hindi cinema over the decades. But the shooting of rain songs is quite the opposite of the romance they portray – with logistical challenges, detailed coordination between production departments and an extensive backend crew that must function in sync. This monsoon, we explain the mechanics of a rain song shoot.
KAREENA KAPOOR’S SARI KEPT GETTING HEAVIER WHILE REHEARSING IN THE RAIN: SUDHIR MISHRA
Bhage Re Mann, Chameli
Kareena plays a sex worker in Chameli, but the rain song brought out the child within her. Rain songs are difficult to shoot and you have to constantly coordinate with the cinematographer to get the desired effect and the correct camera exposure. I wanted the set to look very realistic, like a Mumbai street in the rains. Kareena was dancing in a sari and there were several rehearsals before the final take, and the outfit kept getting heavier in the water. But the difficulty did not show on her face. Saroj Khan was the choreographer and she ensured that her dance and expressions were perfect. The film was shot in 28 days and we put aside two days just for this song.
THERE WERE 24 WATER TANKERS IN PLACE TO SHOOT TIP TIP BARSA PAANI
Tip Tip Barsa Paani, Sooryavanshi
No rain song is complete without rain machines that are used to create what production teams call ‘controlled rain’.
Swapnil Bhalerao, who was the production designer for the new Tip Tip Barsa Paani song from Sooryavanshi, says, “We had around 24 water tankers on set for the shooting of the song. For closeup shots, we use three-four nozzles to shower water over the actors. To ensure hygiene, we use alum to purify the water. Some actors demand that mineral water is used for closeups. If the rain song is being shot in winter, the water must be heated as well. While shooting rain songs in the day is relatively easier, for night shoots we have a safety team to look after the electrical setup. The SFX department is in charge of creating thunder and lightning effects in the song.”
Tip Tip Barsa Paani was shot over four days on a set in Hyderabad.
WATERPROOF MAKEUP IS A MUST WHILE SHOOTING A RAIN SONG
Cham Cham, Baaghi
One crucial aspect of a rain song is the makeup of the actors involved, since it needs to stay in place for hours while the song is shot. Makeup artist Suraj Shekhar Sharma, who oversaw Shraddha Kapoor's makeup during the shoot of Cham Cham, says, “We use waterproof high-definition makeup that does not come off, and a primer and fixer to ensure it stays in place. During shot breaks, we keep an eye out to see if a touchup is required. It’s very important to dry their hair between takes so that an actor doesn’t fall ill.”
Cham Cham, which also featured Tiger Shroff, was shot over four days, partly on a set in Mumbai and at a real railway station in Kerala.
VINTAGE FABRIC WAS SOURCED FOR AISHWARYA’S BARSO RE COSTUME. IT SURVIVED THE ARTIFICAL RAIN
Barso Re, Guru
Aishwarya Rai Bachchan’s costume was created from fabric sourced from shops in and around Chor bazar in Mumbai. Antique saris and brocade borders with gharchola and bandhani fabric were chosen to create her ghagra-choli in Guru’s iconic Barso Re song.
“The costumes were sturdy, but I was paranoid that the vintage fabric may disintegrate in the pressure of the artificial rain. There were scenes of her jumping into a river and swimming, and swinging from a tree. She had to wear the costumes through the entire course of the shoot, which lasted a couple of days. It would be a disaster if the colour started running from the fabrics. Luckily though, it all worked out fine,” says Ameira Punvani, costume designer of Guru.
FACT BOX
Rs. 25-30 lakh is the per day cost of shooting a rain song, depending on the scale of production
---------------------------------------------------
Dancing in the rain is difficult, as there is always the danger of slipping and falling. Lip syncing to the lyrics and having the correct facial expression can also be tough to pull off. Aesthetics go for a toss and it’s important as a choreographer to remember that the dance steps should not be too difficult for the actors to pull off. I was part of a music video for the song Aao Na sung by Vishal Mishra, where I realized first-hand the difficulty of lip syncing in a rain song
- Terence Lewis, choreographer
Saroj Khan was the only choreographer who employed mukha abhinaya-Uma Dogra
8:43 AM
Danseuse Uma Dogra remembers Saroj Khan, the legend who introduced Bollywood to Kathak
As told to Uma Ramasubramanian (MID-DAY; July 5, 2020)
I remember meeting Saroj Khan at filmmaker Satish Kaushik's sangeet party. The image of her dancing on the occasion is alive in my mind. Believe me, she had everyone's attention as she danced away. From the way her eyes lit up, to her graceful moves, it showed that she was a passionate dancer. A key point to remember is that unless you love yourself and the way your body moves, your dance will not come alive. Saroj ji knew that—she always appreciated her hand movements and the way her body reacted to music. It's difficult to mention Saroj ji in the past tense.The current breed of choreographers owes her so much; she paved the way for them. [Until 1989], Filmfare Awards did not have a category for Best Choreographer, but she brought about the change with her outstanding body of work. It was because of her that the film industry started recognising choreographers.
Saroj ji changed the definition of dance in Bollywood. She had assisted B Sohanlal ji for several years, including on the song Hothon Mein Aisi Baat [Jewel Thief, 1967], and had learnt the nuances of Kathak from him. So, the influence of Kathak often reflected in her work. She was the only choreographer who brought the kanak and adaa of Kathak to Bollywood.
I have never seen any other choreographer employ the mukha abhinaya. It is a classical word that denotes facial expression. Whenever she worked with Madhuri Dixit or Sridevi, one could see her employing this technique and saying a story purely through the use of expressions, smile and eyes.
[In 2007], Saroj ji was roped in to choreograph songs for the Tamil film Sringaram, which was centred around Bharatanatyam. They have such accomplished choreographers down South, but the makers offered the film to Saroj ji because she was armed with sound knowledge of the dance form. She did a wonderful job with the movie.
Only she could marry the sensibilities of the Hindi film dance with taal and andaaz of classical dance. With her passing on, I will miss the Indian flavour, folk element and classical tadka that she brought to her songs. It's truly the end of an era.
In the years preceding her Bollywood debut, Sonam Kapoor learnt Kathak under my guidance. Saroj ji was choreographing a song for Sonam in her debut film, Saawariya [2007]. Before she began working on the song with Sonam, she asked me if she could see her dancing skills. She joined us during one of our sessions at Sonam's home, and said to me, "Dikhao kya sikhaya hai tumne." When Sonam [performed a set], she was quite impressed. Then, true to her purist style, she said, "Abhi koi abhinay bhi karke dikhao [show some expressions too]". It showed that the steps aside, she was more interested in knowing ki chehra bolta hai ki nahin.
Saroj ji was a brave and powerful woman who was ahead of her times. She captured the sensuousness of a woman so wonderfully in Dhak Dhak Karne Laga [Beta, 1992]. The Sailaab [1990] song, Humko Aaj Kal Hai, is etched in my mind. With her smooth movements and graceful body language, Madhuri [Dixit] beautifully depicted the passion and longing of a woman. One can see Saroj ji's genius in that song. She knew how to convey passion on screen with subtle and beautiful gestures.
Her choreography of Barso re Megha in Mani Ratnam's Guru [2007] is another splendid example. Aishwarya [Rai Bachchan] looked so graceful as she married free style with folk dance for the song. Saroj ji also beautifully wove in folk elements within Bollywood dance steps in Chane Ke Khet Mein [Anjaam, 1994]. As a woman, Saroj ji knew how to depict female sexuality aesthetically and gracefully.
Madhuri Dixit with Saroj Khan during dance rehearsals
Still from Chane Ke Khet Mein, Anjaam (1994)
Still from Barso Re, Guru (2007)
I have signed an intense film-Abhishek Bachchan
7:44 AM
After several comedic roles, Abhishek Bachchan changes course
Nayandeep Rakshit (DNA; July 22, 2015)
Abhishek Bachchan is on a comedy spree. In Happy New
Year as Nandu Bhide he drew the loudest cheers. His upcoming release All is
Well, also has comic connotations. Not just that, he’s already signed
up for Hera Pheri 3 and Housefull 3, both out-and-out madcap comic
capers.
Not afraid of stereotypes
While most of his contemporaries are trying out different genres, doesn’t Abhishek fear being stereotyped? “Not at all. I like to mix it up. I don’t think about stereotypes. In fact, most of my career has been invested in not trying to be stereotyped with a particular image. When I did Yuva and Dhoom, I was considered this intense, serious actor. Then I did a Bunty Aur Babli which was completely opposite. The audiences started loving my avatar in B&B when I did a Sarkar which was again a very serious character. I like breaking the mould. When they wanted to see me in action, I did a Guru. Straight after Guru, I did a Jhoom Barabar Jhoom,” AB Jr explains.
Satiated by comedy
Doesn’t he miss doing something like a Guru now? “I was in this frame of mind where I wanted to do comedy as I enjoyed the blaiseness of comedy. Hence I did a Happy New Year and All Is Well, Housefull 3, and Hera Pheri 3 back-to-back. I enjoyed that and wanted that. I have had my feel of it, I am happy with that. I am satiated with that fact. I have grown through that emotional gamut,” he says.
Let’s get aggressive
Now that he’s satiated, he tells us that he’s game for something different. “Now, I look forward to doing something more intense next. I want to do something which is more aggressive now. I think I am ready for that.”
Not just that, he reveals he’s already in talks with a filmmaker for the same. “Yes, of course, I have spoken to directors. I have also signed something. But I can’t really talk about that because I always like the producer to make these announcements.”
Need for soulful songs doesn't arise in Bollywood films today-Hariharan
7:41 AM
Hariharan, on his ongoing musical journey and classical musicians getting fewer opportunities in Bollywood, in recent years
Srishti Ghosh Shinde (BOMBAY TIMES; March 7, 2014)
By most accounts, one of the most prominent faces of Carnatic music in India, Hariharan has contributed to the classical, fusion and ghazal genres. He’s dabbled in singing in several languages over the years and most recently, in Marathi. From someone so entrenched in Bollywood music to not being “approached for a long time now”, the singer and musician we grew up listening to, has lost none of his charm. We caught up him recently. Excerpts from that conversation...
You recently released a non-film album.
Yes. It's called Hazir 2, a collaborative work with Ustad Zakir Hussain that includes the work of contemporary poets with a different kind of composition. It’s a mix of classical music like Raagdhari, as well as Urdu blues, ghazals and romantic songs. It is a very special album, the first part of which was released 21 years back. It’s a collection of eight ghazals, all unique in character and style. It is a mix of masters and contemporary moods in the form of ghazals. We’ve included raag based, ballet as well as qawwali styles as well. One of my personal favourites is Koi Gila Koi Shikva which is an Urdu Blues style of ghazal, another one being Bekhayali Mein. Jolly Mukherjee has arranged the music for the album, while my son Akshay has arranged the song Koi Gila Koi Shikva. The album lasts for an hour, but gives you a feel of just 15 minutes (talk about relativity of time!). So much so, you feel it’s over too fast and would want to hear it again.
Bollywood-wise, why aren’t we hearing more of you?
My last Bollywood song was Ae Hairat E Aashiqui for Guru. I would love to sing for Bollywood films even today, but I haven't been approached for a long time now. And times have drastically changed. Music, now, has a different feel altogether and people enjoy this kind of music. With every new generation, come new singers and there are songs that suit their voices better. But I would love to sing for Bollywood films, let’s just leave
it there.
But you’re singing for other film industries...
I sing in a lot of Tamil films and one of my songs had been topping charts until a fort night back.
Marathi songs, too, from what we hear...
I’ve ventured into the Marathi film industry recently and it is a very nice place to be. The people here are simple and create nice melodies. After Jogwa, I’ve been doing quite a lot of work with them, my son too has sung a song for the film Kokanasthaand we are doing a lot of work here. There is still a ‘want’ for Hariharan in the Marathi film industry.
Why doesn’t classical music find more of a space in Bollywood these days?
These days, films are more about the script and the story and not about songs. Most Bollywood films today have no soul-searching characters; hence the need for soulful songs doesn't arise. It’s an era of light-hearted films, where classical music doesn’t fit in.
You perform quite regularly. What’s the live music scene like?
It’s great! The number of concerts in India have gone up three-fold. If you happen to visit the airport on a Friday, you’ll find so many artistes flying to perform at places. Singing today has gained mass awareness; it’s no more a class phenomenon, where only a particular section of people enjoyed a certain kind of music. Moreover, the advent of Sufi poetic compositions has changed the face of Hindi film music.
Is classical music dying a slow death?
Not really, there’s a still a lot of classical music happening. I have several classical music concerts lined up, and a lot of community organisations and institutions promote this music. In fact, NRIs love to listen to classical music. However, it needs to be promoted well; especially the government should do something to revive it. Classical music should be played on radios when people are awake. If there are ten rock concerts in the city, there should be at least one classical music concert happening, otherwise there’s no way to promote this genre. In cities, the music culture is modernised, however classical music still holds sway in rural areas.
Looking back at your musical journey, what are your thoughts on past, present and the future?
I have had a very multi-faceted career, I created my own music, I sung for films, released my own albums and did shows and still do a lot of live shows. I think it’s now time to promote alternative music.
Jai Ho takes January business to a new high
12:52 PM
Box Office India Trade Network
The business in January 2014 hit a new high for the month. However, there has been practically no growth in January over the last two years as the major films of the month like RACE 2 in 2013 and JAI HO this year have under performed.
The business of JAI HO has taken January to a new level of 170 crore nett plus but not by much as Jaunary 2012 put up a figure of 160 crore plus as AGNEEPATH did very well at the box office. 2011 saw the 100 crore mark breached for the first time in January.
Below is the total nett business of all films released in the month of January for the last ten years.
| January Nett Gross Totals | ||||
| Year | Total Releases | Top Grosser | ||
| 2005 | 15 | 44,17,00,000 | - | Page 3 |
| 2006 | 9 | 78,97,00,000 | +78.79% | Range De Basanti |
| 2007 | 9 | 72,42,00,000 | -7.91% | Guru |
| 2008 | 10 | 35,96,00,000 | -50.76% | Sunday |
| 2009 | 9 | 69,04,00,000 | +91.99% | Chandni Chowk To China |
| 2010 | 15 | 87,89,00,000 | +27.30% | Veer |
| 2011 | 12 | 1,27,61,00,000 | +31.12% | Yamla Pagla Deewana |
| 2012 | 9 | 1,60,31,00,000 | +25.62% | Agneepath |
| 2013 | 17 | 1,59,80,00,000 | -0.03% | Race 2 |
| 2014 | 12 | 1,71,40,00,000 | +7.26% | Jai Ho |
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