Showing posts with label Haraamkhor. Show all posts
Showing posts with label Haraamkhor. Show all posts
Was there a discussion before dissolving the Tribunal-Guneet Monga
8:19 AM
Guneet Monga and Kushan Nandy
As FCAT dissolution leaves filmmakers feeling shortchanged, Babumoshai Bandookbaaz director, who had run-in with CBFC, states FCAT had “liberal approach”
Uma Ramasubramanian (MID-DAY; April 8, 2021)
Imagine not meeting Ratna Pathak Shah’s Usha buaji from Lipstick Under My Burkha (2016). Or not being introduced to the tender story of friendship in No Fathers in Kashmir (2019). The FCAT was instrumental in clearing the two films, among countless others, after their makers had a run-in with the censor board, thus making Hindi cinema all the richer.
Several filmmakers expressed their dismay at the news of the statutory body’s abolition overnight. Director Kushan Nandy, whose Babumoshai Bandookbaaz (2017) was given close to 48 cuts by the censor board, then headed by Pahlaj Nihalani, remembers how the Nawazuddin Siddiqui-starrer found its rightful place on the big screen after eight minor cuts, thanks to the FCAT. “The CBFC had a problem with a kissing scene and the language — this, when we had [employed] the language used in Uttar Pradesh. It had become personal, which is why a body like the FCAT was important. It resolved the issues with a liberal approach,” says Nandy. The director recounts that after the film’s screening, the matter was resolved in a few hours. “They understood that the CBFC had judged in an arbitrary manner, and there was nothing defamatory in the film.”
He echoes the sentiments of filmmakers Vishal Bhardwaj, Hansal Mehta and actor Richa Chadha who, on social media, expressed that it is a sad day for Indian cinema. “Freedom of speech is the most important for filmmakers, and I feel like it’s being taken away. How many filmmakers will have the time and money to go to high court?”
Producer Guneet Monga, whose 2017 offering Haraamkhor was banned by the CBFC until the Tribunal intervened, urges the industry to initiate a dialogue. “It is confusing for a body to be removed overnight. Was there a discussion before? This is a question I would like to be answered,” she states.
FCAT abolished; filmmakers to appeal to high court now in case of grievances
8:15 AM
Lipstick Under My Burkha and (right) Haraamkhor were denied certification by the CBFC, after which the FCAT stepped in and gave both the films an ‘A’ certificate and some cuts
Niharika Lal (BOMBAY TIMES; April 8, 2021)
Now, a film that isn’t being granted a CBFC certificate or has any other grievances with the board, can approach the high court. Several film personalities, such as Hansal Mehta, Vishal Bhardwaj, Guneet Monga and Richa Chadha took to Twitter to express their views on this ruling. Mehta wrote, “Do the high courts have a lot of time to address film certification grievances? How many film producers will have the means to approach the courts? The FCAT discontinuation feels arbitrary and is definitely restrictive. Why this unfortunate timing? Why take this decision at all? (sic),” while Bhardwaj tweeted, “Such a sad day for cinema. FILM CERTIFICATION APPELLATE TRIBUNAL ABOLISHED | 6 April, 2021 (sic).” Monga and Chadha reacted to Bhardwaj’s tweet, expressing their displeasure.
A SPECIAL BENCH NEEDS TO BE CREATED TO DEAL WITH FILM CASES: VIVEK NARAYAN SHARMA, LAWYER
Lawyers say that this move would help filmmakers, provided there is a separate bench to deal with such cases. Vivek Narayan Sharma, an advocate and ex-Joint Secretary of Supreme Court Advocates on Record Association, says, “This is a good decision, provided some measures are taken simultaneously. The number of judges has to be increased in the high court, and a separate bench should be created to deal with these matters exclusively so that there is no delay. The tribunals are quasi-judicial in nature and they have a limited approach. Filmmakers can’t push much in a tribunal, but in the high court, they can reason.”
GOING TO THE COURT IS A LONG PROCEDURE. IF A FILMMAKER IS STUCK AT THE HIGH COURT, A FILM CAN SUFFER: POONAM DHILLON, FORMER FCAT MEMBER
FCAT is one of the fastest working tribunals and the cost incurred by the body is minimal. None of the members are drawing any salary, and the expenditure is also limited. The FCAT was something necessary to give relief to filmmakers if they had any problems with the CBFC, as going to the court is a long procedure. If a filmmaker is stuck at the high court, it becomes a big burden and the film can suffer. We, at FCAT, would try to have a screening as soon as we could once we got a request from a producer or filmmaker about the problems they were facing with the release. Based on the screening, the members would try and come to a decision as soon as possible. During the screening, members go back to the scenes and dialogues that the CBFC objected to. Sometimes we’ve seen a film twice and even thrice. Giving that much time to each film would not be a fair thing to expect from a judge. Sometimes, we even have to refer to old films which were passed or objected to. The tribunal was being fair to the filmmakers and adhering to the guidelines, and the decision to abolish it should be reconsidered.
It would be a bit of a problem for filmmakers to get relief against the CBFC’s decisions, considering how overburdened courts are. The film industry is huge, and it is not just the Hindi film industry, but films from across the country come to the tribunal.
- Overturning the CBFC’s decision to reject a certification to Great Grand Masti, FCAT cleared the film with an ‘A’ certification and 22 voluntary cuts.
- Babumoshai Bandookbaaz (left) was cleared by the FCAT with an ‘A’ certificate and eight minor cuts, after the CBFC ordered 48 cuts.
- After the CBFC denied Lipstick Under My Burkha a certification, the film was cleared by the FCAT with an ‘A’ certificate and voluntary cuts reducing the length of sex scenes.
- After the CBFC refused to certify Haraamkhor, the FCAT cleared it and suggested to reduce the length of lovemaking scenes between the teacher and student by 50%. It also asked makers to add a disclaimer at the beginning and a warning during three lovemaking scenes between the characters.
- Last year,the FCAT refused to clear Joker (2019) for telecast with a U/A certificate, saying the movie glorifies violence. The film has been given an ‘A’ certificate by the CBFC.
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FCAT had cleared Lipstick Under My Burkha with a few cuts and an ‘A’ certificate
As government does away with Film Certification Appellate Tribunal, former member says the five-member body was sensitive to filmmakers
Mohar Basu (MID-DAY; April 8, 2021)
The entertainment industry, which is reeling under the new OTT guidelines formulated by the Information & Broadcasting Ministry and trying to find a way to tell its unconventional stories in a country that is quick to take offence, has suffered another blow. Filmmakers across the country woke up on Wednesday morning to the news that the Film Certification Appellate Tribunal (FCAT) was abolished with immediate effect.
The move comes after the Ministry of Law and Justice reportedly dissolved nine appellate authorities, following the Tribunal Reforms Ordinance 2021.
With the body that was constituted in 1983 now dissolved, filmmakers in disagreement with the decision of the Central Board of Film Certification (CBFC) will have to approach the high courts. Poonam Dhillon — who was a part of the five-member FCAT along with retired Justice S K Mahajan, journalist Shekhar Iyer, advocate Bina Gupta and Shazia Ilmi — says that the decision spells more distress for aggrieved producers and directors. “Filmmakers need a platform where they can get fast relief. Long drawn-out court procedures can be time-consuming and monetarily draining for them. In some cases, the CBFC may object to something minor, say a scene or a dialogue. Now, a filmmaker will have to get a court date, arrange for a two-hour viewing of the movie. I am not sure the court will have the time to watch two-hour films every week; they have other pressing cases. The Tribunal was expeditious in resolving issues, dispensing decisions within a week — whether it’s reversing the CBFC’s decision or suggesting a cut. Additionally, the Tribunal kept the CBFC in check. The film industry needs a body like that,” she asserts.
Considering the body had representative of the entertainment industry, it was sensitive to filmmakers’ grievances. “We have sat down with [directors] and understood their perspective. Often we’ve watched the same film over and over again to be certain that the makers don’t get a raw deal.”
Dhillon notes that while several Tribunals have been done away with because they are not cost-effective, the same doesn’t stand true for the FCAT. “None of the members were drawing a salary. If one weighs in on the work we did vis-a-vis the expenses incurred [of screening], it was a win-win situation,” she says, urging the government to reconsider the matter.
Ilmi, who is currently in the Sundarbans campaigning for the ongoing West Bengal elections, did not respond to our detailed text.
Arijit Singh turns music composer with Pagglait
8:04 AM
Rishabh Suri (HINDUSTAN TIMES; March 12, 2021)
Known for his soulful voice, Arijit Singh has won the hearts of many with his singing. But the singer is now ready to compose for the first time in his career.
The Channa Mereya (Ae Dil Hai Mushkil; 2016) hitmaker is all set to turn a composer with the upcoming Netflix film Pagglait, which stars Sanya Malhotra in the lead role. We ask the singer how this happened, and he tells us, “I had really liked one film called Haraamkhor (2017), and spoken to Guneet (Monga, producer), requesting her that if she has good scripts like this, she must tell me, I would try to do it. So, she came up with this script. I read and loved it, and then I started making pieces.”
Singh’s original plan didn’t have any fixed number of tracks. He adds, “They wanted four songs first, but I said I don’t know how many would I be able to do. I told them that I’ll try, and if they like it they can use them, and if not, they were free to speak to other composers. I was definitely going to do the background score anyway, but they liked the songs.”
Singh has been part of the music business for over a decade now. Why didn’t he try his hand at compositions before? He says it was never an agenda for him. “This time, it was very natural. I wanted to get associated with good scripts, but I didn’t look for it that way, it came to me. I didn’t plan it. Generally, I wouldn’t give so much time to scripts. But as I have given almost two years of creative time to this film, with great passion, I have understood the intricacies of the narrative. I indulged those into my pieces to try and explore the narrative with music,” he says.
Releasing a film in 5000 screen is bigger, but that’s not my driving force-Shweta Tripathi
8:09 AM
Shweta Tripathi Sharma finds joy in living life via characters that she plays and with rise of OTTs, she feels we have to be responsible for what we put out
Kavita Awaasthi (HINDUSTAN TIMES; February 13, 2021)
With four shows last year, actor Shweta Tripathi Sharma was on a roll. Her demure character in Raat Akeli Hai, curious one in Cargo, fiery in Mirzapur season 2 and protective in The Gone Game Season 1, got her much love from the audience. With four projects lined up for 2021, the actor is clear about her career choices — passion over money. Excerpts from an interview:
With the kind of projects you have done and love that you’ve received, what do you think of your career progression?
I’m not a part of any race. I’m here for the joy of acting, which makes me happiest. Ten years ago, when I started my career, my yardstick to take up a project was, does it excite me? And even today, it’s the same. For me, the team, the experience, matter the most. Be it Masaan (2015) or Haramkhor (2017), there were ek se badkar ek log, who’re driven by passion. More than the budget of the film, the people are important.
While starting off as an actor, what were your struggles?
I shot Haraamkhor first but Masaan released before that. Even today, my struggles are the same. There are times when one feels frustrated that why am I not working? Being on the set is my happy place. I want to do projects which have a story worth telling. I don’t want to be driven by labels that money, commercial cinema or appeal is more important but I’m driven by passion. Releasing a film in 5000 screen is bigger, but that’s not my driving force.
With every project, your brand has scaled up, does it help or hinder your choices?
Usually, once I finish a project, I move on. But with Mirzapur season 2, for the first time, I had a lot of expectations. Pankaj Tripathi (actor) had told me that, ek actor ka kaam set pe khatam ho jata hai. We experience emotions and live life via different characters. That is my joy and what I want to practice. With every project, I want the characters to be unlike what I’d played before. Soon, I realised I need to research, meet more people and know more stories. This year, my agenda is to be more of a student. I’m focusing on my health, learning ballet and contemporary dance as I want to learn and grow.
With most web shows getting many seasons, how do you work around playing the same characters repeatedly?
When we took on web series, we didn’t realise that there would be seasons. Pehle yeh samajh nahin thi. Now, there is a better understanding about series and one has to ensure quality as a series is long term investment, in terms of emotion, availability and money.
Your views on the rise of OTT?
Audience today is spoilt for choice but also what is important is that we’ve freedom of speech and expression. So, we’ve to be responsible for what we put out. We’ve to take ownership of our content. Most content few years ago was about violence and sex. Today, it’s much more than that. I’m playing a “happy” character in one of my upcoming shows and I’m glad as I’ve played too many dramatic ones and wanted a break.
Unlike what men think, girls don’t talk only about boys and shopping-Shweta Tripathi
8:20 AM
Returning with the second edition of The Trip, Shweta Tripathi on her unconventional career choices and life after marriage
Letty Mariam Abraham (MID-DAY; November 27, 2018)
How has life changed after marriage?
The only difference is that my address has changed. I am still doing up our room. We’ve been dating for five years and couldn’t wait to get married. Cheetah [Chaitanya Sharma] is my anchor; he brought stability to my life. Acting is not just about glamour, you are portraying the emotions of so many characters and that sometimes plays with your sanity. That’s why it’s essential to have some ‘me’ time, and I get that with him.
The Trip 2 revolves around female bonding. What are you like with your girlfriends off-screen?
My girlfriends and I talk about cinema, the shows we are binge watching and how we can make a difference in society. We play board games like Settlers of Catan, and also travel together. In fact, we are already planning our next trip to Sri Lanka. Unlike what men think, girls don’t talk only about boys and shopping. Sadly, that perception has been created on screen because there are barely any female writers who can showcase the real equation women share. Luckily, I have worked with directors who are gender neutral in their treatment.
Did you miss Lisa Haydon during the shoot of the second season?
Only the production house can explain why she couldn’t be part of the second season. Lisa is a thorough professional. Even during the shoot of the first edition, she didn’t tell us about her pregnancy nor did she ask for favours. The way she celebrated motherhood on Instagram was beautiful. She is a commendable actor. We all missed her a lot.
Did it take a while to adjust with Amyra Dastur, considering she was the newbie on the set?
During the first meeting, Sapna [Pabbi], Mallika [Dua] and I kept talking about season one, and it was bound to be awkward for her. But after that, it was all about season 2. We became one unit.
You’ve created a niche with your off-beat choices in shows and movies. Has your career panned out the way you had planned?
I grew up on Yash Raj films and imagined myself wearing a yellow salwar suit, running across fields. I knew I liked to perform, but back then, I didn’t know what it truly entailed. For me, acting is not about looking glamorous — I barely have any makeup on in most of the films I do. I enjoy portraying real characters; the rest are perks of the job. My goal is to play characters that people take home.
You have worked with some talented actors. Has any co-star influenced you?
It would have to be Nawazuddin Siddiqui, my co-actor in Haraamkhor, my first film. There was so much to learn from him. He was so humble and down-to-earth; he would often discuss how we could do a certain scene together. It was not to put me down or challenge me, he did that out of respect for me as a co- star. That gesture made me confident as an artiste. Once, he told me, ‘Some actors always need to be choosy.’ His words have stayed with me since.
Not sure if Lisa Haydon is a part of The Trip 2-Shweta Tripathi
7:39 AM
Letty Mariam Abraham (MID-DAY; November 8, 2017)
Her understated performances in Masaan (2015) and Haraamkhor (2017) made critics sit up and take notice. Before one could bracket her as an arthouse performer, Shweta Tripathi sprung back on the scene with The Trip - a web series that couldn't be further removed from her previous projects. Signing on a light-hearted show, she says, is a deliberate attempt to continuously surprise the audience. As she returns with the second season of The Trip, Tripathi talks about forging a deep friendship with co-stars Mallika Dua, Lisa Haydon and Sapna Pabbi, and the joys of travel.
Will The Trip 2 kick off from where the last season left off?
Considering the last trip constituted my bachelorette party, I don't know if my character will be shown as a married girl this time. We'll know once the show goes on floors in January. I've heard that it'll be a road trip in Rajasthan, but there's no confirmation yet. This season too will be about the characters discovering themselves during the trip. I think travel helps you grow as a person.
Are all the protagonists reprising their roles in the new season?
Mallika, Sapna and I are on board. Since Lisa just had her baby, I'm not sure if she will be joining us. I hope all four of us get back together because the last season was a great experience.
Did you stay in touch with them in the interim?
Sapna and I manage to catch up. We are total health freaks, so we meet over salads or coffee. She does Pilates and I've got hooked on to it because of her [laughs].
Have you met Lisa and her newborn Zack?
We had planned to meet her, but it didn't work out as she has been travelling a lot. But, she has been sending us baby pictures regularly. I have been quite busy too. I had to travel to Paris and Busan for the screening of Haraamkhor at their respective film festivals.
Most of your films have won critical acclaim. Had you imagined this sort of appreciation this early your career?
Not in the least. I didn't know such films existed. I wanted to be the kind of actor who would wear a salwar suit and dance in the fields [laughs]. Now, as I attend film festivals, it all seems like a dream. I'm glad to balance my serious roles with something like The Trip, which is an opportunity to do something different.
What's in the pipeline?
I've wrapped up Zoya Akhtar's web series, Made In Heaven. I've also signed a Tamil film that is set in the late '80s. I play a circus girl and am taking Tamil lessons for it. I also have a sci-fi film with Vikrant Massey. Besides these, I'm also turning producer with two films.
I've wrapped up Zoya Akhtar's web series, Made In Heaven. I've also signed a Tamil film that is set in the late '80s. I play a circus girl and am taking Tamil lessons for it. I also have a sci-fi film with Vikrant Massey. Besides these, I'm also turning producer with two films.
If someone tells me to work in only one particular kind of film, then that’s obviously not possible-Nawazuddin Siddiqui
1:03 PM
Fenil Seta (KIAGIA.COM; June 28, 2017). ORIGINAL LINK: https://goo.gl/ccymMy)
He has three releases in less than two months – 'MOM', 'Munna Michael' and 'Babumoshai Bandookbaaz'. But Nawazuddin Siddiqui, who was very media-shy when he rose to prominence with 'Gangs Of Wasseypur' and 'Kahaani' five years ago, seems unfazed. He has probably got used to the hectic promotional activities and appears calm and jovial. Talking to us primarily about 'Munna Michael', this dynamic actor opens up about his experience, his idea of a 'hit film', process of picking up a film and a lot more. Here are excerpts from the interview.
How was your experience of shaking your leg in 'Munna Michael'?
It was very scary! I had never danced in my life. But we managed. I rehearsed rigorously for 2-3 days. Thankfully, we had with us choreographer Ganesh Acharya who can make even a bamboo pole dance! He says that "agar aap chal sakte ho, toh dance bhi kar sakte ho" (If you can walk, then you can also dance).
Was it difficult matching steps with Tiger?
I can never match steps with Tiger. He can shake every part of his body! I have tried to do at least 1-2% of what Tiger can do.
But isn't that great that now you also have dancing as one of your talents?
Exactly! I have always believed that the roles that make me insecure are the ones that I should grab ASAP. I have never aspired to work in my comfort zone.
Isn't it surprising that despite doing so many films, you never had to dance in any of them?
Yes of course. Maybe, it never crossed to any of the makers that "let's make him dance." Somehow director Sabbir Khan thought of it. At first, I didn't realize that I am required to dance. Later I found out and initially, I refused to take up the role. There was a huge mental block when it came to dancing. But at the same time, as I mentioned earlier, I thought that dancing is something that the actor should know. Also, this role was way out of my comfort zone. Hence, I took up the challenge.
It's shocking to believe that you have never danced in your life prior to Munna Michael.
Yes, I have never danced, not even with friends. Actually, as a kid, I did shake my leg in marriage processions in my village Budhana. We would roam around the groom, who used to be on a horse, and dance. We used to do this just so that we could grab the money thrown by 'baaraatis' (wedding guests).
You have an unrecognizable avatar in your other upcoming film, 'MOM'. How difficult it is to change your get up for a character?
I don't believe in get-ups or that it is simply needed to make a mark. What's important is to change your mindset, as per the character that you are portraying. You can't don different avatars in order to showcase your versatility. You can do two different kinds of roles but be in the same get up and yet ensure that both performances stand out – that's versatility. In 'MOM', the idea was to throw light on these unique characters that you might find in certain areas of Delhi like Daryaganj, Chandni Chowk etc. You might overlook them or not even notice them. But if you have a conversation with them, you might get gripped to their talks. They'll make you believe that whatever you want, they'll get it done. They are quite 'jugaadbaaz' (fixers). This is the kind of person I play in 'MOM'. We haven't made many changes to my look – I have only worn a prosthetic wig.
Is it true that nobody, not even Sridevi, was not able to recognize you, thanks to your look, in 'MOM'?
Yes, nobody could make out it was me. I was standing next to Sridevi and I heard her saying, "Where is Nawaz? Why is he so late?" I told her, "Ma'm, I am very much here"!
I know it would be difficult for you to answer but please tell which film is closer to your heart – 'MOM' or 'Munna Michael'?
Every film is a joy and every film has its flavor. 'Munna Michael' is as important as any other film – it's a masala film. It has all the ingredients of an entertainer and not just for the heck of it. The plot is structured in such a way that masala is an integral part of it.
Your core fan base loves you as you do unconventional and art films. How have they reacted after seeing you dancing to "Gandi Baat" in a masala film like 'Munna Michael'?
I believe that my fans should understand that I am an actor and I'll be required to do diverse kind of roles. So keeping this in mind, if someone is able to love me, then that's great. But if someone tells me to work in only one particular kind of film, then that's obviously not possible. My advice to such people is that they should be fans of some other actor, not me! I feel most of my fans however love me because I attempt different kind of roles.
You are also doing Nandita Das's 'Manto'. What's the latest update on that?
The shoot is over but the post-production will take up a lot of time as it's a period film. The VFX itself will take many months. Hence, it should release next year.
After reaching this position, is there any added pressure on you to sign only good films?
Well, every actor thinks of doing only good films! However, I try my best to take up roles that not many actors would like to attempt as such roles have a lot of scope. For instance, 'Raman Raghav 2.0' was a role that no actor with a clean image would have touched even with a barge pole. I remember after the film released, a lot of women had extreme reactions, especially for the incest scene. But that's a reality that we are portraying. Even in my upcoming film 'Babumoshai Bandookbaaz', I am playing a 'besharam' (shameless) character. He has no ethics or social values. On the other hand, I am also balancing by doing 'Manto'. And it's the joy of doing various kind of roles is what drives me. The typical hero in Bollywood is a clichéd character. He can't go out of the box and has to work in a certain way. Thankfully, I am not bound by such rules and I am blessed to be working in the present era where I get such opportunities. I am not locked in a certain image.
Do you fear that a time will come when you have tried almost everything and there's nothing new left to do?
During my theatre days, I have essayed close to 2,000 characters! And I have just started in Bollywood with prominent roles. Imagine if I start doing the roles that I did on stage, just think how many films I'll be able to do! So I have no such fear at all. Even If I get a character that's similar to some characters that I played in the past, then I'll try my best to make it look different.
What are the most important criteria for you while signing a film? Is it chiefly the story?
I never take up a film for its story. I take up a film for its director. If the director is competent, he can take even an average story to another level. But if the director is not good, then he'll destroy even the world's best script. Hence, I always try to understand the director's thought, vision, his language for cinema etc.
What do you think is the chief reason for the failure of a film?
There are various reasons. Sometimes, I feel that we aren't upto the mark when it comes to screenplay. If you script is strong, then 90% of your challenges are over. Then of course, the actors need to do their job well. All of this also depends on who's calling the shots.
Does commercial failure of your film bother you?
Not really. I am not in that race of people who get affected by these things. I don't even get too excited if my film does too well. I don't sign a film thinking "This film can be a huge hit and hence I should do it." I feel blessed that I have come in this world to discover something new through the characters that I essay. I should be content with that. Those who think about collections have their own reason to do so. I try to find something new in each character that I play. I feel I am trying to discover myself with each character.
So do you mean to imply that you don't feel sad at all if your film flops?
No. I just move on. If a film is successful, I do feel good that viewers were able to understand what we were trying to convey. And anyways, whether a film is a hit or flop depends on the film's cost. 'Raman Raghav 2.0', for instance, was made on a budget of Rs 2.50 crore. It earned Rs 8-9 crore. It must have earned a crore or 2 more when its rights were sold. Isn't that good? It's not like each film has to cross Rs 100-crore-mark. Same with 'Haraamkhor'. It was made in just Rs 60 lakhs. We got nearly Rs 1 crore just by selling it to Netflix. The film was majorly promoted on Facebook and for that, only Rs 10,000 was spent. Ultimately, we earned Rs 6-7 crore from theatrical earnings and by selling other rights. It goes over my head how on earth can you call such films flops? You can't write off a film just because it had a poor weekend. Small films sometimes pick up from Monday. On the other hand, 'Gangs Of Wasseypur' made money at the box office. And when its DVD was out, it used to be sold like hot cakes. There were days when you won't find one single DVD of that film. At that point, it was the world's hottest film in the DVD market. Hence, it's important to understand various ways through which a film is making money.
There were reports that a biography on you is being penned by Rituparna Chatterjee? When will that be out?
It's a memoir actually and it will be out next year, possibly during the Jaipur Literature Festival.
I was quite nervous but Nawazuddin Siddiqui made me really comfortable, says Haraamkhor actress Trimala Adhikari
2:34 PM
Trimala Adhikari – the name might not sound a bell but viewers will surely remember her as the wife of Nawazuddin Siddiqui in Haraamkhor. In the midst of Nawaz, Shweta Tripathi and the two kids, she left a huge impact in this small-budget, high concept flick. Not much is known about her and her struggles and hence, it was an exciting and curious experience to interview her. As we sat in a coffee shop in Lokhandwala, Trimala, who had then just came from the rehearsal of Nitin Bharadwaj's play Ek Rupaiya that will be staged at NCPA’s Experimental Theatre on May 7, talks about experience of doing Haraamkhor, her beginnings, theatre background, nepotism, her favourites in cinema and a lot more. Over to this beautiful and opinionated actress…
What kind of feedback did you receive for Haraamkhor? Most of the critics said very good things about you…
Yes and I got a lot of appreciation. The feedback was good and I am happy with the response.
The film took a long time to be made and then when it was ready, it was stuck for close to a year thanks to the Censors. Did that frustrate you?
Well, sometimes you are not aware of what exactly is happening. As in, once you finish your work as an actor, it’s difficult to understand the process later on and how much time it takes. But I’d say that the wait was worth it!
Director Shlok Sharma revealed that the film was shot in just 16 days in more or less the same location. How was the experience?
This was not my first film which was shot in such a short period of time. I did a film called Hansa, directed by Manav Kaul, which was also filmed in just 2 weeks. Hence, the Haraamkhor experience wasn’t new in that regard. Also, I shot only for 5-6 days. It was fun and moreover, I have never worked in a commercial film whose shoot goes on more for months. Films like Haraamkhor and Hansa on the other hand finish on time and are shot in just one go. There’s no long break which can be quite detrimental as it’s difficult to get back in the zone when you resume the shoot after a gap. In case of start-to-finish shoots, at least you are in the rhythm.
I was quite nervous since he’s such a great performer. But he made me really comfortable. He was ready to rehearse with me. He gives you as much time as you want. Acting after all is give and take. If I don’t give in properly, he also would not be able to react that well and vice versa. Also, he’s such a fun person to work with and he’s quite chilled out. He used to have food with us and talk to us. He used to share about his experiences during his struggling phase. He understands what I am going through and when you come across a person who has experienced all that and is doing so well today, it’s very motivating. He also pushes you to give your best and to not give up.
How was the experience of working with Shweta Tripathi? Were you in awe of the fact that she’s playing a character which is half of her real age?
Yes, of course I was. We in a way knew each other since we both do theatre. It was a good, fun experience working with her as well because when I shot for Haraamkhor, I was really new to Mumbai. But she made me comfortable.
Where are you from and how did you get into acting?
I am from Nainital where I did my schooling. I did my graduation from Delhi University (DU). My sister is from FTII (Film and Television Institute of India). She called me to shoot for a film when I was in my first year of college. That’s when the acting bug hit me. I always wanted to be a dancer – I am trained in Kathak. After my graduation, I came to Mumbai and I started working in plays. I did backstage and production too.
Tell us something about your struggling period? Were there moments where you really got frustrated?
When I came to Mumbai, I did my first play with Manav Kaul called Mamtaz Bhai Patang Waale. Soon, he signed me for his film Hansa as well. While filming for Hansa, I got the best supporting actor award from META (Mahindra Excellence in Theatre Awards). Once I was back from Hansa’s shoot, I was offered Haraamkhor. Life was going so well – after all, I was awarded for my play, I got 2 good films and I was working with such fine directors. Suddenly after Haraamkhor, I stopped getting films though I was constantly doing theatre. This taught me that you have to keep working. You can’t be asking that when will I get work. To survive in Mumbai, I have to push myself work hard. When I’ll get a film offer is something that’s not in my hand. If I keep thinking negatively, I’ll go into a shell. And this happened to me when both Hansa and Haraamkhor took a while to release. But I realized I shouldn’t be thinking that way.
How has been the experience of working with Manav Kaul?
I call him ‘dada’. I owe him a lot since I got to knew so many people thanks to him. One of the reasons why Haraamkhor was offered to me was because I did Hansa and the plays with Manav. So he’s like a big brother who has really helped me and pushed me to act. Watching films and then saying I am an actor doesn’t make you an actor! The discipline and the hard work required to be an actor is something I learnt from him.
Did Hansa get a release?Yes, it got a release under the PVR Director’s Rare initiative. Interestingly, we ourselves put up the posters of Hansa at night across Mumbai. It was quite fun! It was a small film and for it to get a release was a high for everyone in the team. It was a team of theatre people coming together to make a movie. Even Kumud Mishra was a part of it.
A lot is being spoken about nepotism nowadays especially after the Karan Johar-Kangana Ranaut row. As someone who didn’t have any connection with the industry, what are your views on this topic?
I think it’s okay and I don’t understand why people make a big thing about it. I agree why Kangana said so – she has also come a long way and so has someone like Alia Bhatt who’s also had her own journey. You can’t compare them. We should just keep working hard and we should always remember why we are here. For instance, we are nobody to pass judgements about a Tiger Shroff and whether he deserves to be in the industry. He’s here because people like him and he’s having a blast. If Karan Johar wants to cast me, he will cast me and if he doesn’t want to, he won’t. Also, we shouldn’t judge him for the kind of films he makes. After all, even he has to make money and survive. Hence, I don’t like to question somebody’s comfort zone.
Haraamkhor and even the short films that you have done like Hoop Diaries, Agli Baar etc were in the so-called ‘art films’ space. So do you do such films because you like such kind of movies?
No, I do these films because I get such kinds of films (laughs)!
But tomorrow, if you are offered a so-called typical Hindi masala film, would you do it? After all, you are trained dancer too…
Of course, I’d love to do it. If I like the script, I’ll do it. I don’t fear that a section of people would judge me. If a script requires a song and dance number and if the director wants it, it has to be there. Ask any actor who’s struggling or a part of indie cinema if they’ll like to do a commercial film and their answer definitely will be a ‘Yes’. I don’t understand when people say that they are more of an ‘indie’ actor’. But I am just an actor and there’s no division in my mind as such.
What upcoming projects are you a part of?
I finished shooting for Devashish Makhija’s Ajji. It’ll be releasing this year after doing the festival tour. Then I have done a film called Bhasmasur. It’s a small-budget but exciting project made my college passouts. I have a small part in the film as an actor but I did a lot of production, art direction, casting and workshop with them. Hence it’s very close to my heart and I am waiting for it to go to the film festivals. The film was shot in May 2015 in Rajasthan. This is partly a crowdfunded film and it will be great if people can support this film by logging onto Wishberry.
Tell us something about your FTII film Afternoon Clouds (pictured below). It’s the first FTII film to have been selected for the Cannes Film Festival…
Yeah, I was really happy when that happened. And the best part is that it’s just not a screening at Cannes. It is a part of the Cinéfondation section which is a competition section. Our film will be showcased alongside some brilliant flicks from all around the world. So it’s not like we have paid to get a screening. With no support, this film has managed to get selected which is quite brilliant. I have got an invitation and I might go to Cannes.
Do you have a wish list of directors you want to work with?
I really want to work with Christopher Nolan, which is kind of out of my reach. But I just don’t want to act on his film. I want to be there and see how he actually writes his script, what is his thought process, how does he function. If I get an invisibility cloak, I’ll definitely go to his house! Then I like the work of David Fincher and few others. In Bollywood, I’d really like to work with Devashish Makhija again. I love the way he makes cinema and hence he’s one of my favourite directors. I’d also love to work with Zoya Akhtar – the way she balances commercial as well meaningful cinema is praiseworthy. Dibakar Banerjee is also a favourite. I loved his film Shanghai and I wonder why people didn’t like it.
And who are your favourite actors?
One of my favourite actors, just like everyone, is Marlon Brando. I also like the work of Daniel Day Lewis – wish I was like him. Tom Hardy is also a favourite. In Bollywood, Adil Hussain and Geetanjali Kulkarni are two actors whose work I really love. I have worked with Geetanjali and the way she acts is just amazing. I’d love to work with Pankaj Tripathi. For me, he was the scene-stealer in Masaan.
Which of the films have impressed you over the years?
My all-time favourite is The Godfather followed by My Left Foot, Life Is Beautiful, Amélie etc. I also love Korean films basically like I Saw The Devil. In Hindi, I enjoy Jaane Bhi Do Yaaro, Lakshya, Dil Chahta Hai, Pyaasa, Teesri Manzil, Chalti Ka Naam Gaadi etc. In recent times, I loved Court, Killa. Dangal I felt was a good fun flick.
When I work with superstars, people notice me too & come to watch my smaller films-Nawazuddin Siddiqui
8:20 AM
Nawazuddin Siddiqui, who is currently part of Shah Rukh Khan starrer 'Raees' gets candid about how working with top stars like SRK, Salman Khan, Aamir Khan gives his smaller films wider reach
Sonil Dedhia (MID-DAY; January 12, 2017)
A complate antithesis of the quintessential Bollywood hero, Nawazuddin Siddiqui has found audience acceptance after a good decade and a half of being part of the industry. In the last few years, he has shared screen space with superstars Amitabh Bachchan ('Te3n'), Shah Rukh Khan ('Raees'), Salman Khan ('Bajrangi Bhaijaan') and Aamir Khan ('Talaash'), and still managed to get noticed.
As the actor gears up for the release of his next, 'Haraamkhor', after a long period of uncertainty (read: censor woes), Nawaz says having worked with the industry’s top guns helps bring audience for his smaller films. "When I work with them, people notice me too and come to watch my smaller films. My films always benefited when I work with big actors. Even if I manage to pull in five per cent of the audience, it gives my film a good footfall, leading to good collections. I am sure people have noticed the promos of 'Raees' and will come and watch 'Haraamkhor'," he explains.
The actor plays an upright cop in 'Raees' and his dialogues have caught on already. "The dialoguebaazi in 'Raees' is more like a conversation between my character and Shah Rukh bhai’s. Rahul sir (Dholakia, director) has kept them simple, yet impactful. I am glad people are loving it," he adds.
On SRK
"People know Shah Rukh bhai as a superstar, but he is one of the most down to earth people I know. Throughout the film, we were in character and not once did he make me feel that he was a big star. Whatever appreciation I get for my role in Raees will be because of him."
On Salman
"It has always been fun working with him because he is easygoing. Most actors don’t listen to your dialogues or see your expressions, and are mainly concerned about their lines, but that is not the case with Salman bhai. Ditto for Shah Rukh bhai."
Fenil's Bollywood Talk # 447
2:03 PM
AFTER 2 DRY FRIDAYS, DELUGE OF RELEASES THIS WEEK!
Since a biggie Dangal released on December 23, no filmmaker obviously released his/her in the subsequent two weeks. Coffee With D was to release last week but got postponed at the eleventh hour. But Dangal will enter its 4th week now and it’s safe to release films which have lots at stake. And this Friday will see as many as 3 releases, all of diverse genres! My analysis on these films:
OK JAANU: This is a remake of Ok Kanmani, Mani Ratnam’s 2015 romantic film that was loved for its storytelling, music and performances. The remake stars Aditya Roy Kapur and Shraddha Kapoor and is directed by Mani’s loyal assistant Shaad Ali who incidentally also directed the south director’s Alaipayuthey into Saathiya. Karan Johar is the co-producer along with Mani Ratnam. The trailer of the film got a mixed response and same goes for the title song. But The Humma Song has become a rage, despite the criticism over the rap portion. The song has been shot very well and has made an impact. Aditya-Shraddha jodi is damn good and their chemistry seems crackling. At the box office, the film can have an average opening and then can increase if the response is positive. The premise definitely has promise and here’s hoping Shaad has executed it well!
XXX: RETURN OF XANDER CAGE: This is a Hollywood film but what makes it special is that it features Deepika Padukone in a leading role. Vin Diesel is the leading actor and few are apprehensive if Deepika will have a major role in the film. However, her name appears third in the credit and hence one can expect her performance to be quite prominent. The buzz for the film sadly is not skyhigh but Deepika’s presence will surely give this film an edge, also in the Hindi version. XXX: Return Of Xander Cage can in fact open better than Ok Jaanu. Strangely, the film is releasing with limited shows on Friday January 13 and will have a proper release from Saturday January 14. Never has a film been released on a Saturday in many, many years. An interesting thing is that the film is releasing first in India and it will open in USA and other markets on January 20!
HARAAMKHOR: This is a small-budget film from Sikhya Entertainment directed by Shlok Sharma. It stars Nawazuddin Siddiqui and Shweta Tripathi and tells the story of an illicit affair between a tuition teacher and an underage student. The film has been ready since sometime but it faced issues at the Censor Board. Ideally, this is not the right time for the film to release as it would get very less shows due to the humongous release of Ok Jaanu and XXX: Return Of Xander Cage. But then, Haraamkhor is anyways a niche film and it can make a mark even with a small release. Futher, there’s no film release next week and hence it has all the time till January 24 to earn as much as possible!
WHICH FILM WOULD YOU LIKE TO SEE OUT OF THESE AND WHY? DO LET US KNOW!
Nawazuddin Siddiqui expressed sadness on his desi movies getting constantly stuck with Censors
7:54 AM
MID-DAY (January 9, 2017)
Many of his films have earned acclaim in the festival circuit, but have often run into trouble with the Central Board of Film Certification (CBFC) in India. Nawazuddin Siddiqui admits that he is saddened that things haven’t changed as much as one had expected.
With the release of his next film Haraamkhor round the corner (after a long censorship battle), Nawazuddin told mediapersons, “There are lot of things we were expecting to move ahead, but they haven’t. Five years ago, there was a glimmer of hope because such good films were being made. Now, they go to festivals, get awards and acclaim, but the moment they come here, it all fizzles out. It is very scary.”
Quizzed if the Censor Board posed as a hurdle, he said films inspired from real life stories face difficulties in being cleared. “People like it when films are made on real topics, but they won’t let it pass or move ahead.”
The 42-year-old actor expressed displeasure over the delay in Haraamkhor’s release since the CBFC felt the theme was “unacceptable” for public screening. The film revolves around the relationship between a 14-year-old girl (Shweta Tripathi) and her tuition teacher (Nawaz).
It premiered at the 15th annual New York Indian Film Festival, where he received the Best Actor award.
He said the subject may look sensational to some, the treatment was anything but that. “The title might make people think we are trying to do something sensational. But it’s a smooth, well made film where the aim is not to sensationalize. There is nothing done to grab eyeballs,” he added.
Haraamkhor music team interviews 1500 young girls before penning lyrics for only number in OST
7:50 AM
Soumya Vajpayee Tiwari (MID-DAY; January 4, 2017)
Unlike most commercial movies, Nawazuddin Siddiqui-starrer Haraamkhor has only one song in its entire 90-minute runtime. But, coming up with Kidre Jawan was no mean feat. The makers and the music team went to great lengths before penning the track, which shows a teenage school girl falling in love with a teacher almost twice her age.
Composer-singer Jasleen Royal, lyricist Aditya Sharma and the makers toured various schools in Mumbai, Delhi and Lucknow to interact with girls aged between 12 and 16. They met around 1,500 students in all to unravel their idea of love and infatuation.
Guneet Monga, producer of the upcoming film, says, “We wanted the song to be authentic and ensure that Shweta’s (Tripathi, lead actress) character is represented well. It is about someone who is torn between choices, sometimes not for the best. We spoke to young girls because they tend to get exposed to love and infatuation [during the teenage phase].”
Haraamkhor makers swarmed with threat mails
1:56 PM
Producer claims title 'Haraamkhor' and teacher-student relationship shown in the film ticked off moral cops
Mohar Basu (MID-DAY; January 2, 2017)
After fighting an eight-month court battle to ensure the film sees the light of day, makers of Nawazuddin Siddiqui-starrer are in for fresh woes. Producer Guneet Monga and a few members of the film's cast have received threat messages from mischief makers, who have taken exception to the film's plot — relationship between a 14-year-old (played by Shweta Tripathi) and her tuition teacher (Nawazuddin).
Accusing them of polluting the culture of the country with such a story as well as for the expletive title, the moral police have been sending hate messages incessantly. Says Monga, "They have been sending messages, questioning why we are making 'provocative movies' and 'movies that aren't in keeping with the morals of the society'. I have got a number of mails, texts, and messages on social media and it's alarming."
The film was recently cleared by the Film Certification Appellate Tribunal after the makers challenged the Central Board of Film Certification (CBFC)'s decision of not giving it a thumbs-up for public screening. While the threats are getting a little too hot to handle, Monga wants to wait for a while before approaching the police.
"Even during the row with CBFC, we never went around talking about it. We fought the case for nearly eight months. We don't want to attract more negative attention. We are thrilled that the film is releasing in 12 days. People are shallow and will remain so. There's little we can do about it. Discussing the negativity will only take away from the essence of the film," she adds.
If the mischief mongers up the ante, the makers will consider taking serious action. "We haven't asked for extra security either. When we named the film Haraamkhor, we did so as it was cute and juvenile. It is a delicate story told from the perspective of three kids. It is not a sensational story, but a slice-of-life movie. We want people to watch the film and decide for themselves."
Nawazuddin Siddiqui is the most shelved actor of Bollywood
8:00 AM
Nawazuddin Siddiqui is the lead actor in eight unreleased films made in the last six years!
Subhash K Jha (DNA; December 24, 2016)
It took Nawazuddin Siddiqui 11 years to find a foothold in the film industry. But since becoming a star of sorts with 2012’s Gangs Of Wasseypur, he has been struggling with releasing some of his films.
When it began...
This began during GOW and Kahaani’s releases and the struggle continues to this day. In 2011, he was a part of Mangesh Hadawale’s Dekh Indian Circus, about a dad struggling to send his children to see this circus. The project remains unreleased.
Wins hai toh kya?
The internationally lauded Patang, (2012) by Prashant Bhargava remains unreleased. Geetu Mohandas’s road film Liar’s Dice, that won leading lady Geetanjali Thapa the National award for Best Actress was ignored by the distributors.
The brutal saga of gangsterism Monsoon Shootout, directed by Amit Kumar made an impact at the Cannes Film Festival in 2013, but left Indian exhibitors unimpressed. That same year, Nawaz played a detective in Buddhadeb Dasgupta’s political satire Anwar Ka Ajab Kissa. But no release!
Abhi bhi unreleased
In 2015, he played a teacher having an affair with an underage student in Haraamkhor, directed by Shlok Sharma, which remains unreleased. That same year, Bishnu Dutta announced Gawah The Witness with Nawaz and Emraan Hashmi in the lead. It never even went on the floors.
Sarthak Dasgupta’s The Music Teacher is complete and unreleased. There are other projects with Nawaz in the lead which are in financial trouble and may or may not eventually get released.
Says Nawazuddin, “What can I say? All these are films to which I have given my blood sweat and tears. I’ve worked hard and for nominal fees for these, as I believed in these films. They are important films not only to my career, but also as works of cinematic brilliance by directors who know their jobs. I was hopeful that after the success of my solo-hero film Freaky Ali, some of these films would get released.”
Tribunal passes Haraamkhor; feels the film is educative; love making scene reduced by 50%
8:08 AM
Avinash Lohana (MUMBAI MIRROR; December 23, 2016)
After suggesting as many as
90 cuts for Anurag Kashyap's Udta Punjab in June, the Central Board of
Film Certification (CBFC) objected to the premise of his upcoming
production, Haraamkhor. The Nawazuddin Siddiqui, Shweta Tripathi-starrer
revolves around a teacher-student romance and the Censor Board refused
to certify it. The makers approached the Film Certification Appellate
Tribunal (FCAT) in August, which cleared the film with a U/A certificate
on Wednesday.
Confirming the same, coproducer Guneet Monga told Mirror, “After the Examining Committee of the CBFC refused to certify our film, we appealed to the Revising Committee in July and were handed an 'A' certificate and two cuts which we were not ready to accept as it was impacting the story.“
The Revising Committee order read: 'Wherever the teacher (Shyam) hits woman or women to be reduced to flash so that the details are not shown.' Second: 'The love making scenes between the teacher and student (Shyam and Sandhya) to be reduced to flash.' “It's not that we haven't heard about such things and as filmmakers we too have handled the subject delicately,“ Guneet argues.
So, then they reached out to the Tribunal. It was a long battle which affected them financially, but the Tribunal has cleared the film after suggesting they edit the love-making scenes between Sandhya and Shyam by 50 per cent and the climax by 50 per cent along with a disclaimer at the beginning and a warning while depicting the three lovemaking scenes. “While the CBFC had refused to certify the film, the Tribunal after watching it felt that it could be used to propagate a social message and educate girls about their rights. They thought it would be educative for schoolgoing girls and stated this in their order. It's a landmark judgement,“ ex ults Guneet.
Confirming the same, coproducer Guneet Monga told Mirror, “After the Examining Committee of the CBFC refused to certify our film, we appealed to the Revising Committee in July and were handed an 'A' certificate and two cuts which we were not ready to accept as it was impacting the story.“
The Revising Committee order read: 'Wherever the teacher (Shyam) hits woman or women to be reduced to flash so that the details are not shown.' Second: 'The love making scenes between the teacher and student (Shyam and Sandhya) to be reduced to flash.' “It's not that we haven't heard about such things and as filmmakers we too have handled the subject delicately,“ Guneet argues.
So, then they reached out to the Tribunal. It was a long battle which affected them financially, but the Tribunal has cleared the film after suggesting they edit the love-making scenes between Sandhya and Shyam by 50 per cent and the climax by 50 per cent along with a disclaimer at the beginning and a warning while depicting the three lovemaking scenes. “While the CBFC had refused to certify the film, the Tribunal after watching it felt that it could be used to propagate a social message and educate girls about their rights. They thought it would be educative for schoolgoing girls and stated this in their order. It's a landmark judgement,“ ex ults Guneet.
If I knew this would happen, I would have cried earlier-Shweta Tripathi
8:08 AM
From casting to editing to acting, this fashion grad defines reinvention
Kunal Guha (MUMBAI MIRROR; December 18, 2016)
From a Disney star to breaking good on the indie circuit with last year’s arthouse hit Masaan, Shweta Tripathi is cherrypicking her roles. Her latest web series The Trip, also starring Lisa Haydon, Malika Dua and Sapna Pabbi, has her play a chirpy bride-to-be who embarks on a road trip for her bachelorette. Her long-awaited controversial release Haraamkhor, starring Nawazuddin Siddiqui, about an illicit relationship between a school teacher and his student, is also slated to release early next year. Having recently completed work on Shlok Sharma’s Zoo, Tripathi is happy that “everything is happening together” for her when we meet her at a Bandra café. “For a year, I went through a phase when little was happening,” she says, adding, “There were days of self-doubt. I would wake up and there would be nothing to do. A short film here and a commercial there but none of the big roles I auditioned for were coming through.” The 31-year-old remembers the day when she actually broke down in tears “and the very next day, things started happening”. “If I knew this would happen, I would have cried earlier,” she grins.
The Delhi born-and-bred NIFT graduate first came to Mumbai as photo editor for Femina. “I would call up celebrities to ask them the colour of the season. For me, it was such an important job,” says Tripathi, who initially wanted to pursue law and “make a difference”. Following a trailer editing stint with Pixion, and three failed and one successful attempt at Thespo (a theatre group youth festival), she got her first acting break via one of those big Mumbai clichés: she was spotted having Irish coffee at Prithvi theatre. “Somebody saw me there and asked me to come and audition for a TV show. And I did.” Before she knew it, she was cast as the lead in Kya Mast Hai Life, a role that demanded “hyper wali, excited wali acting”. A year-and-a-half and 130 episodes later, Tripathi was “done with GEC shows”. Unable to crack her dream role, she began assisting casting director Mukesh Chhabra, the man who is responsible for the mofussil funk that Anurag Kashyap’s cinema is known for. “I thought, so what if I’m not getting work, I could at least help my friends get work.” It was a job that got her to work with, among others, Michael Winterbottom, whom she assisted in Trishna (2011). “I learnt a lot from that experience. Riz Ahmed is a fabulous actor and it had the production designer of The Hurt Locker too,” she says with fond nostalgia.
Even though she debuted in Masaan, her first film was Haraamkhor — a role she pounced on, only to work with Nawazuddin Siddiqui. “I was blown by his performance in Kahaani and wanted to work with him. So, when Shlok (Sharma) offered me the role, I couldn’t refuse.” The film is been presently being reviewed by the CBFC, but Tripathi is a tad upset about the delay in its release. “Shlok says, every film has its journey. Besides, if this was my first film, people would say, it has Nawazuddin and that girl. Masaan has given me an identity,” she says of the film which was selected for Cannes.
Given that her upcoming release is about a 15-year-old girl falling in love with his married teacher, Tripathi isn’t worried. “My parents have watched it and have no issues, so how does it matter? Haraamkhor is bold because the subject is something people don’t talk about. For me, it was about telling a story, not showing a mirror to society,” says Tripathi, who was nervous during the screening of Masaan. “All our parents had come to watch it, and Vicky (Kaushal), Richa (Chadha) and I were holding hands throughout the screening,” says the actress, who had informed her parents about her kissing scene in the film prior to the screening. “My parents have always been very supportive. If I had to send money home and survive in Mumbai, I would never be able to do films like Masaan, Haraamkhor or Zoo,” she says.
Acting is not the only passion that this fashion communications graduate is pursuing. She is at present working on a photo series: her take on the navrasa or the nine emotions. “For disgust, I will paint my face white since it conveys how I feel about fairness creams,” she signs off.
From a Disney star to breaking good on the indie circuit with last year’s arthouse hit Masaan, Shweta Tripathi is cherrypicking her roles. Her latest web series The Trip, also starring Lisa Haydon, Malika Dua and Sapna Pabbi, has her play a chirpy bride-to-be who embarks on a road trip for her bachelorette. Her long-awaited controversial release Haraamkhor, starring Nawazuddin Siddiqui, about an illicit relationship between a school teacher and his student, is also slated to release early next year. Having recently completed work on Shlok Sharma’s Zoo, Tripathi is happy that “everything is happening together” for her when we meet her at a Bandra café. “For a year, I went through a phase when little was happening,” she says, adding, “There were days of self-doubt. I would wake up and there would be nothing to do. A short film here and a commercial there but none of the big roles I auditioned for were coming through.” The 31-year-old remembers the day when she actually broke down in tears “and the very next day, things started happening”. “If I knew this would happen, I would have cried earlier,” she grins.
The Delhi born-and-bred NIFT graduate first came to Mumbai as photo editor for Femina. “I would call up celebrities to ask them the colour of the season. For me, it was such an important job,” says Tripathi, who initially wanted to pursue law and “make a difference”. Following a trailer editing stint with Pixion, and three failed and one successful attempt at Thespo (a theatre group youth festival), she got her first acting break via one of those big Mumbai clichés: she was spotted having Irish coffee at Prithvi theatre. “Somebody saw me there and asked me to come and audition for a TV show. And I did.” Before she knew it, she was cast as the lead in Kya Mast Hai Life, a role that demanded “hyper wali, excited wali acting”. A year-and-a-half and 130 episodes later, Tripathi was “done with GEC shows”. Unable to crack her dream role, she began assisting casting director Mukesh Chhabra, the man who is responsible for the mofussil funk that Anurag Kashyap’s cinema is known for. “I thought, so what if I’m not getting work, I could at least help my friends get work.” It was a job that got her to work with, among others, Michael Winterbottom, whom she assisted in Trishna (2011). “I learnt a lot from that experience. Riz Ahmed is a fabulous actor and it had the production designer of The Hurt Locker too,” she says with fond nostalgia.
Even though she debuted in Masaan, her first film was Haraamkhor — a role she pounced on, only to work with Nawazuddin Siddiqui. “I was blown by his performance in Kahaani and wanted to work with him. So, when Shlok (Sharma) offered me the role, I couldn’t refuse.” The film is been presently being reviewed by the CBFC, but Tripathi is a tad upset about the delay in its release. “Shlok says, every film has its journey. Besides, if this was my first film, people would say, it has Nawazuddin and that girl. Masaan has given me an identity,” she says of the film which was selected for Cannes.
Given that her upcoming release is about a 15-year-old girl falling in love with his married teacher, Tripathi isn’t worried. “My parents have watched it and have no issues, so how does it matter? Haraamkhor is bold because the subject is something people don’t talk about. For me, it was about telling a story, not showing a mirror to society,” says Tripathi, who was nervous during the screening of Masaan. “All our parents had come to watch it, and Vicky (Kaushal), Richa (Chadha) and I were holding hands throughout the screening,” says the actress, who had informed her parents about her kissing scene in the film prior to the screening. “My parents have always been very supportive. If I had to send money home and survive in Mumbai, I would never be able to do films like Masaan, Haraamkhor or Zoo,” she says.
Acting is not the only passion that this fashion communications graduate is pursuing. She is at present working on a photo series: her take on the navrasa or the nine emotions. “For disgust, I will paint my face white since it conveys how I feel about fairness creams,” she signs off.
Another Anurag Kashyap film, Haraamkhor, faces trouble
9:48 AM
Censors Refuse To Clear Movie With Student-Teacher Romance, Makers To Appeal
Himanshi Dhawan & Mohua Chatterjee (THE TIMES OF INDIA; June 19, 2016)
The controversy over Udta
Punjab has barely died down when another Anurag Kashyap production has
run into rough weather. The Central Board of Film Certification
(CBFC) has refused to certify Nawazuddin Siddiqui-starred 'Haraamkhor',
objecting to its theme, which deals with a student-teacher romance. The
filmmakers now plan to approach the Film Certification Appellate
Tribunal.
The Censor Board has “refused“ certification on the grounds that a teacher is a “respectable figure in our society“ and the film shows an illicit relationship between a teacher and a teenage student. “There are many filthy dialogues spoken by kids and body gestures of the kids were also found to be objectionable. Kids committing crime etc does not merit any certificate to the film. Hence, 'refused' because of its theme itself,“ the CBFC letter said.
When asked, Kashyap confirmed that the producers were planning to appeal to FCAT against the censor board's decision. The film, directed by Shlok Sharma, is a love story that revolves around a delicate relationship between a school teacher in a small Gujarati town and his teenage female student. It has been produced by Kashyap and Guneet Monga under the Sikhya Entertainment banner.
Haraamkhor was premiered in the 15th annual New York Indian Film Festival and Indian Film Festival of Los Angeles (IFFLA). Nawazuddin Siddiqui received the best actor award for the film at the New York Indian Film Festival. Filmmakers pointed out that such themes had been explored in several films earlier and it was disturbing that the board was over-reaching in its functions to sit on judgement over social issues.
Controversial film rakes in Rs 10cr on Day 1
Udta Punjab earned a total of Rs 10.05 crore on its opening day,
garnering a good response in northern India. “The best collections have
come in mainly from Delhi and Punjab,“ the producers said. The movie,
however, had a slow start in the south and eastern region. “The opening
of the film was not that great, but it picked up during the day. It's a
mixed response,“ said film distributor Rajes Thandani. Distributors feel
the controversy has helped pulling in audience to theatres. “It had an
occupancy of 75-80 %. We are confident that it will sustain as its
content is strong,“ said Thomas D'Souza, head-programming, PVR Cinemas,
Delhi.
The Censor Board has “refused“ certification on the grounds that a teacher is a “respectable figure in our society“ and the film shows an illicit relationship between a teacher and a teenage student. “There are many filthy dialogues spoken by kids and body gestures of the kids were also found to be objectionable. Kids committing crime etc does not merit any certificate to the film. Hence, 'refused' because of its theme itself,“ the CBFC letter said.
When asked, Kashyap confirmed that the producers were planning to appeal to FCAT against the censor board's decision. The film, directed by Shlok Sharma, is a love story that revolves around a delicate relationship between a school teacher in a small Gujarati town and his teenage female student. It has been produced by Kashyap and Guneet Monga under the Sikhya Entertainment banner.
Haraamkhor was premiered in the 15th annual New York Indian Film Festival and Indian Film Festival of Los Angeles (IFFLA). Nawazuddin Siddiqui received the best actor award for the film at the New York Indian Film Festival. Filmmakers pointed out that such themes had been explored in several films earlier and it was disturbing that the board was over-reaching in its functions to sit on judgement over social issues.
Controversial film rakes in Rs 10cr on Day 1
Udta Punjab earned a total of Rs 10.05 crore on its opening day,
garnering a good response in northern India. “The best collections have
come in mainly from Delhi and Punjab,“ the producers said. The movie,
however, had a slow start in the south and eastern region. “The opening
of the film was not that great, but it picked up during the day. It's a
mixed response,“ said film distributor Rajes Thandani. Distributors feel
the controversy has helped pulling in audience to theatres. “It had an
occupancy of 75-80 %. We are confident that it will sustain as its
content is strong,“ said Thomas D'Souza, head-programming, PVR Cinemas,
Delhi.
Movie Review: HARAAMKHOR by FENIL SETA
8:05 AM
When a film is titled Haraamkhor, one obviously expects it to be dark and maybe even violent and depressing. But it is always nice to see a director giving viewers a pleasant surprise by going much deeper than what a film is intended to be. Haraamkhor, directed by Anurag Kashyap’s protégé Shlok Sharma is one such film that presents a tale that is very dark and immoral of sorts, but it is told in the most sensitive and entertaining manner possible!
The story of the movie: Sandhya (Shweta Tripathi) is a teenager in a small town who lives with her father with whom she has a dysfunctional relationship. She falls for her school and tuition teacher Shyam (Nawazuddin Siddiqui). Both start having an affair despite Shyam being married to Sunita (Trimala Adhikari). Trouble arises when Kamal (Master Irfan Khan), Sandhya’s classmate, also falls in love with Sandhya. And he is assisted by the very wise Mintu (Master Mohd Samad) in his ‘mission’ to win over Sandhya.
Honestly, the first 5-7 minutes of Haraamkhor are not that great. One doesn’t quite understand what’s going on and it’s only after a few minutes that one gets a hang of things. And when that happens, there’s no looking back. The characters are quirky and their interactions with each other make for a great watch. Also, each principle character is treading on a wrong path and is bound to hit a dead end, and yet they carry on. But it looks extremely convincing, and entertaining. The manner in which Shlok balanced both the dark and funny moments and delivered a well-balanced film deserves brownie points. Haraamkhor has a low-budget feel, especially in the camera movement, but that’s fine. It actually works in the film’s advantage. And he never goes too gory or explicit in violent and lovemaking scenes respectively. He knows where to draw a line which again is a feat in itself! The film ends on a shocking note and one is sure to wonder what just happened and most importantly, what will happen next.
As expected, Nawazuddin Siddiqui delivers a yet another award winning performance. There’s something so lovable about him despite that he’s playing a ‘Haraamkhor’! He subtly makes a deep impact and that is amazing about him. My best scene of him would be when he is trying to convince his wife to not leave. He just rocks! Shweta Tripathi, who wowed everyone with Masaan, is back with another great performance. In fact, it’s great that Haraamkhor is releasing after Masaan as this film shows Shweta’s worth as an actor in a far better way. This is no easy performance but Shweta makes it seem like a cakewalk. And she’s extremely cute and the manner in which she performs in some scenes is sure to bring a smile on one’s face! The kids, Mohd Samad and Irfan Khan, are bound to be loved the most. They are the scene stealers! Hats off! The kid playing Shaktimaan is also damn good. Trimala Adhikari initially doesn’t make a mark but in the later scenes, she does a great job. The actors playing Sandhya’s father and Neelu also perform very nicely.
Vishal Khurana’s music is subtle and makes an impact. Siddharth Diwan’s cinematography is raw and works well for such kind of a film. In a few scenes however, it could have been a bit better especially in the house sequences. Production design is first-rate and the film has been shot in some great locations. Dialogues are damn good and sharp. Shlok Sharma’s story is superb and it’s praiseworthy that he thought of such a plot in just three days! Screenplay is very effective. It’s amazing how the humour arises in the most unexpected of places and this is bound to leave one amazed and obviously in a guffaw as well! Shlok Sharma’s direction is also great despite all the limitations that he faced. In the beginning portions however, it could have been better. But overall, this is a great job by Shlok!
Some of the best scenes:
1. Sandhya follows her father
2. The kids bring fees
3. Sandhya loses her chappal
4. Mintu and Kamal break into Sandhya’s home
5. Shyam tries to start the ‘Luna’
6. Kamal clicks his picture
7. Sandhya and Shyam go to the town
8. The last 20 minutes
On the whole, Haraamkhor is wicked and twisted but it’s handled very sensitively. And the humour is infused smartly and at places, in the most unexpected of situations, which adds to the fun! Anurag Kashyap’s protégé Shlok Sharma makes a great directorial debut despite the limitations that he must have faced while filming (in just 16 days, that too!). Nawazuddin Siddiqui and Shweta Tripathi rock but it’s the kids who steal the show! Here’s a film whose theatrical release is desperately awaited!
My rating - **** out of 5!
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