Showing posts with label Hera Pheri. Show all posts
Showing posts with label Hera Pheri. Show all posts
I got paid Rs. 11,000 for my first film, Love Sex Aur Dhokha-Rajkummar Rao
10:22 AM
Actor-producer RajKummar Rao reflects on family, career choices, and what drives him now after welcoming daughter Parvati
Sonal Kalra (HINDUSTAN TIMES; April 18, 2026)
It’s barely been five months since he became a dad, and now, actor RajKummar Rao is already on his way to becoming ‘Dada’ — on screen, that is, by portraying former cricketer Sourav Ganguly in his biopic. The 41-year-old’s life, both personally and professionally, seems to be in a happy space. Adding to this phase is his debut as a producer with the recently released Toaster. He spoke candidly on The Right Angle with Sonal Kalra. Excerpts:
What change has your daughter Parvati brought to your life?
It’s beautiful. Whenever somebody talks to me about Parvati, there’s a big smile on my face. A co-actor once asked me her name, and after I replied, he was like, “Have you noticed how our faces change when we talk about our kids?” So, I’d say everything has changed. Now, my motivation to do anything is how she’d feel about it, what kind of films she’d like to see. I just want to spend all my time with her. I took a five-month break after she was born, before going back to shoot for Dada. It was tough. I want to see her grow into this beautiful girl one day.
Being a father to a daughter really makes you vulnerable and sentimental, no?
Yes. And softer in life. I’ve decided I’m going to cut down on work and try doing only two films a year. I am also being very careful about the kind of films I choose. I just want to push myself and make Parvati, along with my mother (Kamlesh Yadav) and my wife (actor-producer) Patralekhaa, proud.
You have become a producer with Toaster. People think a producer’s job is the toughest. How did you and Patralekhaa decide to take this step?
Main aisa nahi sochta thha till we started doing this job and we realized that it is actually tough. We had been trying to set up a production house since 2018, but it didn’t materialize, and then the pandemic happened. Last year, we thought, let’s give it another try, because there are so many stories we want to tell. That’s how we started our production house, Kampa.
The name comes from the initials of our mothers’ names: Kamlesh Yadav’s ‘Kam’ and Papri Paul’s ‘Pa’, respectively. Then we got a one-page idea for Toaster. We both liked it, developed it, and Netflix came on board. This film is solely produced by Patralekhaa under our production house. I then reached out to friends: (director-choreographer) Farah Khan ma’am and (actors) Abhishek Banerjee, Archana Puran Singh ji, and Sanya Malhotra. All of them were kind enough to come on board.
The story is about a miser. How kanjoos are you in real life, Raj?
I’m not! There’s a thin line between majboori and kanjoosi. If you don’t have money, then you would have a banana instead to satiate the hunger; that’s majboori, not kanjoosi. So yes, majboori bohot rahi hai jeevan mein, kanjoosi nahi.
I don’t know if it’s right to call it a struggle period, but the guy from Delhi’s ARSD College must have faced some harsh times on the road to success. Was there ever a moment you felt close to giving up?
No, I was never close to giving up. I was sure I wanted to be in this city and chase my dreams, no matter what. My mother had unbelievable faith that things would work out, sooner or later.
It isn’t like you get your first film and life changes overnight. I got paid Rs. 11,000 for my first film, Love Sex Aur Dhokha (2010), and I didn’t earn well for many years after that.
I also had a difficult childhood; I wasn’t raised with money. The only thing that kept me going was a positive attitude. I was always surrounded by good friends and my mother, so I was always surrounded with wonderful people. Masti mein hi pura bachpan nikal gaya, kyunki hum bacche thhe.
I got into dance, martial arts, and then acting on stage. But when you come to Mumbai, you realize you’re all alone. That’s when it hits you, ‘now what?’ Financially, it’s tough too. I never had a plan B.
There’s a perception that in cities such as Mumbai, life for a Bandra or South Bombay kid is very different from that of others. Was there ever a moment where you felt that you needed to belong to a certain group or camp?
Times are very different now; we’re living in the age of social media. But when I came to Mumbai, I saw many people who didn’t have any kind of experience doing stage, theatre, workshops or film school. Sometimes people are told, “You look good, try acting,” but I feel that isn’t the right way.
Today, people are celebrating talent, but if you don’t know anything, you’ll be lost. Mumbai gives you freedom, but how you use that freedom makes or breaks you. Be careful about your company, stay inspired, and never forget why you came here. If you know your job, there are enough opportunities now.
You’ve excelled at straight-faced humour in comedy films. (Actor) Akshay Kumar, who did a cameo in your film Stree 2 (2024), is known for his comic timing. What have you learned from him?
To be free. I remember watching him in Hera Pheri (2000) and I was zapped. We had seen him in action and drama films, but his shift to comedy was a game-changer. His comic timing, the way he uses his body, face, and muscles, is amazing. That’s something I’ve learned from him. I’ve also learned a lot from (actor) Irrfan Khan sir; his comic timing was unmatchable.
How much does what’s written or said about you on social media affect you?
As long as I know my truth, nothing bothers me. People talk about everyone; it’s not like they want to target any one person in particular. Social media has given us the power to comment on anyone. But I don’t take it seriously, because I also get a lot of love. I focus on that.
Why 2020s haven’t been able to deliver generational comedies like years before
9:01 AM
The 2020s have not been able to deliver a generational comedy like Jaane Bhi Do Yaaro, Munna Bhai MBBS, and Hera Pheri. What are we missing?
Akshita Maheshwari (MID-DAY; April 5, 2026)
“Comedy films are a good indicator of where a country is,” argues film commentator Karan Mirchandani. He names a list of films that defined a generation and highlighted its problems: Jaane Bhi Do Yaaro (1983) and builder corruption; Munna Bhai MBBS (2003) and systemic issues and red tape within our education system; Hera Pheri (2000) and the struggles of a common man; Badhaai Ho (2018) or the plethora of films from this genre which tacked socio-familial issues.
The 2020s have not been able to produce a generational comedy. What’s changed? Actor Pratik Gandhi, from Madgaon Express (2024), says that it’s the audiences. The inherent nature of comedies is that they offend, but “today, anything can offend anybody. And in comedy, you have to just let loose. Only then, it’s fun,” says Gandhi.
“Censorship has also become wild,” Gandhi says, “You’ll hear things like, ‘Don’t say sex, instead say sambhog, then it’s fine’.”
Actor Abhishek Banerjee, who was last seen in Stree 2 (2024), also agrees. “The 1990s comedy style is no longer funny. I don’t think today’s generation will enjoy it the same way,” Banerjee says, “Comedies like the ones David Dhawan and Govinda made, or Andaz Apna Apna (1994), or Jaane Bhi Do Yaaro — those are evergreen.”
What does it take to make an evergreen comedy? “They have satire. They have irony. I think what we lack today is satire,” Banerjee answers.
As soon as we realized not-so-politically-correct humour doesn’t work, we stopped trying to find other forms of comedy. Gandhi adds, “Comedy has many sub-genres, and we still haven’t explored them fully. For example, survival comedy. Most of the time, films fall into slapstick comedy. That’s usually the first instinct. But there are many more genres as well.”
Banerjee says, “Situational comedy is becoming more important than dialogue-based comedy. It’s not about saying a funny line — it’s about being in a serious situation and saying something completely unexpected. Layering that with intelligence helps even more.”
The 2020s have also been the decade of the Reel. Banerjee says, “I keep watching comedy Reels and they’re genuinely funny.” When people already have their appetite for funny filled on their phones, why should they come to the cinema for it? Gandhi says, “I never thought a two-hour film would have to compete with a 30-second Reel. But here we are.”
In the last few years, one comedy has broken into the 100-crore club — Crew. Director Rajesh A Krishnan tells us, “If you open social media, you’ll get a laugh. And Instagram doesn’t even need a subscription.”
Throughout the country too, laughter is not dying. “It seems like comedies are reducing but how much comedy content are you actually also consuming from Kerala? If you isolate comedy films coming out of the Hindi film industry, then it starts feeling like there is less comedy. Otherwise, people have been making comedies,” he says, “The scope of comedy has also changed. It’s crossed genres now like comedy-thriller, action-comedy, or horror-comedy.”
In the Hindi film industry, comedy films are surviving on franchise fame. “If we think from the producer’s perspective, franchises have been working well,” Krishnan says, “Sometimes standalone projects work so well that they get turned into franchises.”
The onset of OTT has meant that the theatre is saved for larger-than-life spectacles. So why should you step out to watch a comedy today? “I always feel like great comedies are a tool or even a weapon to critique the establishment. It has a softer touch to do it. And it’s one that lasts with you.”
From the times of the Angry Young Men, films have centred around the common man and his problems. Today, he is no longer at the core of our cinema, instead he is a “big, bearded, angry man on screen,” says Mirchandani.
Mirchandani also points out, “Films today exist in a kind of hyper-reality. They’re not rooted in a specific time or context. Because the moment you ground them — show real problems or systems — you’re also making a critique, and that’s something people are avoiding.”
A lot of comedies like Andaz Apna Apna, though were box office flops, found a second life on DVD. “That pipeline is gone today,” Mirchandani adds. Nothing comes close to a theatre for Gandhi, though. He says, “Any comedy film works best in theatres. Three hundred to 500 people laughing together — it is very, very contagious. You have a lot of fun in those two hours.”
Paisa bolta hai: Is there money to be made with a theatrical comedy?
The comedy genre is an evolving one, says trade analyst Taran Adarsh. “Right now, we’re seeing a lot of horror comedies. But the out-and-out comedies excelled by Akshay Kumar and before him the Govinda-David Dhawan style really worked. But there has been a vacuum since then.”
But is there money to be made in this genre? “Lots. Who doesn’t want to laugh, smile, and come out of a film feeling happy? That’s what cinema is about.” Then why is the genre slowing down? “The market scenario has changed. Profits, losses, hits, and flops dictate the industry more strongly now. Especially since the stakes are higher,” he says, “Actors also tend to follow what’s working because everyone wants to stay relevant, popular, and deliver hits.”
All hope is not lost though. “In the last couple of years, Madgaon Express has done well,” with a box office collection of Rs. 49 crore, “Crew (2024) was a smashing success,” as it sits happily in the Rs. 100-crore club with a box office run of Rs. 157 crore.
Comedy is no funny business: All sources tell us that making a comedy film is the toughest genre to crack
Niren Bhatt, who’s written films like Stree 2 (2024), Bala (2019), and Bhediya (2022), says, “Comedy is highly subjective. What lands for you, might not land for me.” He adds that what appears effortless on screen is often the hardest to write. “You can’t just have characters delivering one-liners. That’s stand-up. It has to be woven into a story, with conflict, world-building, and character arcs,” he explains.
“You might write 10 lines and only one works,” he says, noting how audiences respond differently to the same jokes. While some enjoy meta humour or wordplay, others dismiss it as overdone or “too literary”.
For actors too, comedy is all about instinct. Pratik Gandhi says, “All other emotions have a range. On a scale of one to 10, you can adjust. But in comedy, if it has to land at two, it has to land at exactly two. Unlike drama, where intensity can fluctuate, comedy requires precision down to 0.0001 and years of riyaz.”
Abhishek Banerjee adds that the genre leaves actors exposed. “In comedy, you’re on your own. You have your dialogues, your co-actors of course, but timing is everything. Nobody can teach you comic timing. If you don’t have the funny bone, it will fail.”
Akshay Kumar always says, ‘jaldi sona chahiye,’ and reminds everyone he doesn’t go to parties-Tabu
9:02 AM
Onkar Kulkarni (BOMBAY TIMES; November 17, 2025)
Twenty-five years after Hera Pheri (2000), Tabu will be working with Akshay Kumar and director Priyadarshan on a new film. Their collaboration, Bhooth Bangla, marks a reunion which Tabu describes as nostalgic, surprising, and oddly familiar all at once.
Speaking about her first day on set, Tabu says, “I didn’t know what to expect. I hadn’t worked with Akshay after Hera Pheri, and we hadn’t even met socially very often over the years. I had stayed in touch with Priyan, so I knew he would be exactly the same person.”
That instinct, she says, was right. “There’s absolutely no change in Priyan. He’s still as impatient, still as vocal about what he feels. He’s still the one-take director. But, of course, time has passed. We’ve all grown in different directions and are now back to work with each other again. In some ways, we’re different people now.”
‘Akshay’s humour and energy are all the same’
Her Hera Pheri co-star, Akshay Kumar, however, seems untouched by time. “His humour and energy are the same. He still wakes up at 4 am, finishes early, and heads home, which is a very good thing for the rest of us. He always says, ‘jaldi sona chahiye,’ and reminds everyone he doesn’t go to parties. That part of him hasn’t changed at all. Of course, we’ve all grown up now, but the essence of who he is – that’s still the same.”
‘South is an intimate film industry’
Tabu did not have any releases in 2025, but she has been shooting for projects back-to-back. She says, “I finished two movies this year – Bhooth Bangla and a Puri Jagannadh directorial starring Vijay Sethupathi, which releases in Tamil and Telugu. Both films will be released next year. I shot for a south film five years after my last movie, Ala Vaikunthapurramuloo. It felt good to be home again in Hyderabad. It’s an intimate film industry. 2025 has been a very satisfying year. I was busy shooting from January to September, and in 2026, I will have two releases.”
Firoz Nadiadwala to launch family universe of A K Nadiadwala’s birth anniversary: "Will include new editions of Hera Pheri and Welcome"
9:55 AM
Upala KBR (MID-DAY; September 24, 2025)
Over three generations and multiple decades, the Nadiadwala family has backed numerous films, from the 1960’s hits Taj Mahal (1963) and Patthar Ke Sanam (1967) to the iconic Hera Pheri (2000). Today, as the family celebrates founder and late producer Abdul Karim Nadiadwala’s 115th birth anniversary, his grandson Firoz Nadiadwala reveals to mid-day that he is set to launch the banner’s own film universe that will include new chapters of his previous offerings Hera Pheri, Awara Paagal Deewana (2002), and many more.
Shedding light on his plan, Firoz says, “There are cop, horror, and spy universes, but after years of work, we have created a universe of all genres for the family audience. We will make sequels and prequels of Aan: Men at Work [2004], Awara Paagal Deewana, Deewane Huye Paagal [2005], and new editions of the Welcome and Hera Pheri franchise. We’ll also have new movies. All the films will be clean and larger-than-life. That’s why I call it the ‘Family Universe’, which will have new and older actors joining in and crossover characters.”
His family banner, AG Films, celebrated its 75th year in the movies this June. With the universe, the idea is to take forward the banner’s legacy of films that are a blend of comedy, romance, and thrills. The producer is also revisiting his father A A Nadiadwala’s Mahabharat (1965).
He adds, “We were the first to make a feature film on the Mahabharat. Now I am making Mahabharata — Right Over Might.”
Baburao is a pure character; this show is portraying him like a buffoon!-Firoz Nadiadwala
9:43 AM
Upala KBR (MID-DAY; September 20, 2025)
Comedian Kapil Sharma’s The Great Indian Kapil Show has landed in trouble before its season finale airs today. Firoz Nadiadwala, who produced Hera Pheri (2000) and Phir Hera Pheri (2006), issued a cease-and-desist notice to Netflix India on September 18, citing copyright, trademark, and character rights infringement with regard to the comedy show’s latest promo.
In the promo of the final episode that sees Akshay Kumar as the guest, show regular Kiku Sharda can be seen dressed as and mimicking Paresh Rawal’s iconic character of Baburao Ganpatrao Apte from the Hera Pheri franchise. This hasn’t gone down well with Nadiadwala, who has demanded a compensation of R25 crore from the streaming giant.
Talking exclusively to mid-day, Nadiadwala recalled that he was shocked on seeing the promo earlier in the week. “I was shocked and dismayed to see The Great Indian Kapil Show’s promo featuring the character of Baburao Ganpatrao Apte aka Babu Bhaiyya in a buffoonish manner. The character has been exclusively conceived, developed, and produced under our creative and commercial authority. The rights, derivatives, underlying rights, IP rights, and copyright of all the Hera Pheri characters are exclusively owned by our company till universal perpetuity. My advocate Sana Raees Khan served the notice to Netflix on Thursday,” he said. mid-day is in possession of a copy of the notice.
The notice not only instructs the streamer to remove the Baburao references from the promo, but also states that airing the episode with those portions will lead to additional legal consequences. Nadiadwala added, “Use of the character in the promo constitutes a blatant act of infringement, including copyright violation. Baburao is a pure character for us, created beautifully by Paresh Rawal. This show is portraying him like a buffoon! We have asked for Rs 25 crore towards damages for using the character [in the promo] without authorisation, within two days of receipt of this notice. If they still telecast the show with Baburao’s character in it, those damages will be separate.”
With this move, Nadiadwala’s objective is to set a precedent for every producer “so that nobody can take advantage again”.
His legal counsel Khan added, “Unauthorized exploitation of my client’s iconic character is not just infringement, it is theft in its most blatant, commercial form.” mid-day reached out to Netflix India, which declined to comment. Sharma didn’t respond till press time.
Akshay Kumar, Suniel Shetty, Paresh Rawal met cordially and sorted it out-Priyadarshan
8:21 AM
As Paresh Rawal returns to Hera Pheri 3, insiders suggest Akshay Kumar called him to patch up; Priyadarshan reveals the three lead actors united to resolve the issue
Upala KBR (MID-DAY; July 3, 2025)
All is well that ends well, and the two-month controversy surrounding Paresh Rawal’s exit from Hera Pheri 3 has certainly ended on a happy note. On June 28, the veteran actor revealed that he has returned to the franchise’s third instalment that also stars Akshay Kumar and Suniel Shetty. So, how did the change of heart happen? Especially when things had turned intense, with Kumar — who also serves as the producer — reportedly suing the senior actor for Rs 25 crore for his “unprofessional conduct”, and the latter returning the signing amount along with interest. Apparently, all it took was an honest chat over a phone call.
An insider reveals that Kumar called the veteran actor on his birthday, on May 30. “Paresh’s stance initially softened when Akshay firmly defended him at the Housefull 5 trailer launch, where a journalist called the senior actor ‘foolish’ for leaving Hera Pheri 3. Then on Paresh’s birthday, Akshay called to wish him. The superstar told him that while movies will come and go, their friendship should withstand the test of time as they go back a long way. After that, the two met along with Suniel,” says the insider.
Fans are naturally cheering Rawal aka Babu Bhaiyya’s return to Hera Pheri 3, as is director Priyadarshan. The filmmaker tells mid-day that he was given the good news by the veteran actor on June 30.
“Both Akshay and Paresh called to say that everything is sorted. I was in shock when Paresh said, ‘Sir, I’m doing the movie’. He added, ‘I have never had anything except a lot of respect for you. I’ve done 26 movies with you, and I’m sorry to have left the film. There were some personal issues.’ He said that Akshay, Suniel, and he met cordially and sorted it out.”
While rumours suggested that filmmaker Sajid Nadiadwala and director Ahmed Khan had a role to play in the patch-up, Priyadarshan denies it.
Now, the National Award- winning filmmaker will sit down to pen the script of the laugh riot. “Whatever I do, I cannot surpass Hera Pheri [2000]. The second part [Phir Hera Pheri, 2006] was bad; it was a copy of a Hollywood movie,” he states, adding that while writing, he is certain of one thing.
“Hera Pheri cannot happen without any of the three lead characters. Recently, on a flight, a diamond merchant and his family came to me and requested me to bring Paresh back. They said they won’t watch the film otherwise.”
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Priyadarshan finally breaks silence on the Hera Pheri 3 controversy, and hints that the film’s shoot may begin next year
Rishabh Suri (HINDUSTAN TIMES; July 3, 2025)
Hera Pheri fans breathed a sigh of relief as actor Paresh Rawal confirmed his return for the third film, following his controversial exit in May.
Now that Paresh is part of the project again, director Priyadarshan speaks to us about things getting back on track: “I am living in South India; whenever a film is signed, I will go to shoot it. I am only committed to Akshay to do this film (as a maker); I don’t know anybody else.”
The 68-year-old continues, “You won’t see a single comment of mine on the whole issue till today. I don’t believe in the politics of cinema. Suniel (Shetty), Akshay, and Paresh are my best friends. There was a difference of opinion between them; that has been sorted. This is all I know. I don’t think anybody else is involved in it.”
Producer Firoz Nadiadwala recently claimed that his brother, producer Sajid had helped mediate the conflict. Priyadarshan doesn’t name anyone, and says, “Somebody is saying, ‘So and so is involved’, but there’s nothing. To the best of my knowledge, the three decided to do the film and informed me.”
On when Hera Pheri 3 will go on floors, Priyadarshan says, “I have just wrapped up my next Bhooth Bangla and am starting another film with Saif Ali Khan and Akshay. I think I will be doing Hera Pheri 3 next year.”
Will only talk about Hera Pheri after it’s released: Suniel Shetty
The actor has expressed happiness at Paresh’s return to Hera Pheri 3. Speaking on the YouTube channel Sai Safar, he said, “Main bhi sun raha hoon ki fine-tuning ho chuki hai. I will only talk about Hera Pheri after the movie is released. Yeh family ki film hai. Shayad woh ek film jahaan aap sab milke ek saath dekh sakte ho. Agar ek baar aap TV chaalu kar dete ho toh uske baad aapko tension lene ki zarurat nahin hai, sharmaane ki zarurat nahin hai. Aapko pata hai ki log sirf hasne hi hasne waale hain.”
Even after so many years, Hera Pheri remains to be the epicenter of memes-Suniel Shetty
8:26 AM
Sundas Jawed (BOMBAY TIMES; July 28, 2024)
Ghanshyam from Hera Pheri, or Dev Chopra from Dhadkan, Suniel Shetty has a special place in the hearts of every ’90s kid, because of his iconic roles. Set to turn 63 in a month, the actor and fitness enthusiast, who exudes age-defying energy and positivity, was in Kolkata to attend the seventh edition of Times Business Awards 2024. In an exclusive chat with us, the actor spoke about his fitness regimen, the importance of family and his love for mustard fish and nolen gur ice cream.
Family is everything
Speaking about how his family has helped him evolve as an individual, Suniel says, “It is only when someone goes through a rough patch, they know what their constants are. I truly believe my family has played an important role in turning me into a new person. Today, I can say no to whatever I don’t want and yes to whatever I want to do,” while pointing out how, in the long run of success, many tend to forget about their families.
Kolkata must-haves
Suniel loves Kolkata sweets. “The desserts here are heavenly. I had nolen gur ice cream for the first time here and have fallen in love with it. Mustard fish is also a must-have for me whenever I am in Kolkata.”
‘The Olympics shouldn’t just be about medals, but the journey too’
With the Olympics having started yesterday, Suniel highlights how one should celebrate the journey of a sportsperson. “We must acknowledge the players who make a conscious decision to play for the country, give up their youth.’
‘Hera Pheri proves good comedy is situational’
Suniel Shetty’s films with Akshay Kumar are helmed as some of the most iconic comedy films till date, be it Hera Pheri (2000) or Awara Paagal Deewana (2002). But the current state of comedy is not really impressive, he says, “People now believe being loud and vulgar is comic. Somewhere we have forgotten what the kind of food we need to serve when it comes to content.”
Talking about what made Hera Pheri one of the classics, he says, “Hera Pheri remains an endless source of memes. It proves that good comedy is situational.” Talking about the possibility of a sequel, he expresses, “I am waiting for Hera Pheri 3. All of us have aged and there are chances of different problems popping up.”
‘Fitness helped me evolve as an individual’
Speaking about his fitness regimen, Suniel said that right food comprises 80% of his routine, while exercise is just 20%. He adds, “Kids of today need to realise the importance of consistency. One has to manifest things for them to happen. I have seen that happen to myself.”
‘To me, social media is a platform to exchange learnings and experiences’
From being someone who was never into social media, to turning into someone who looks at it as a platform of exchange, Suniel Shetty believes in having no filters. “I put out whatever I feel like even if it is out of focus. I have started blogging to put my thoughts out there. For most people, social media is a business platform, but I look at it as a platform that helps me share my failures and experiences. When I joined social media, I came into a world that was alien to me and put out content that is alien to the world,” he says.
Adding about his no filter policy, the actor says, “Filters in life don’t work for me. At this age, I don’t want to compete. So, I dress the way I want to, I repeat my clothes as many times as I want, as I have always done. It is a conscious effort from my end to not follow rules and be happy in my space.”
However, he points out that he doesn’t live in the virtual world. “I live in the real world. I am still the Suniel Shetty of the 90s, enjoying every little thing that gives me satisfaction. For me my biggest joy is not what I am achieving through cinema but the success I have achieved with my own near and dear ones, my family, the love they have for me, and I have for them.”
On trolls and the bad Fridays
Speaking about trolls and celeb kids being in the spotlight, Shetty shared the concerns he has always had as a father. “As a father, the trolls do bother me but as a fellow actor I make sure my kids take it as a part of life. The only reason I told my children not to be a part of the film industry is the bad Fridays and the trolling that comes with it,” he says.
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'I have made wrong choices in films where I failed and then I took a step back and tried to figure out the disconnect. I stepped back, took a break, and spent time with my ailing father. I think God has his own plans. He gets you into trouble to get you into something more beautiful. Those four years with my father were probably the most beautiful years of my life'
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Filters in life do not work for Suniel. He says, “I have passed the age of competing. Now, the conscious effort is to be happy in my space'
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'I see Athiya as a responsible woman now, taking care of her home brilliantly. I keep telling her how lucky we are to have Rahul. He conducts himself so well both on the field and at home. I have a lot to learn from him'
I am starting a horror fantasy with a touch of humour, starring Akshay Kumar-Priyadarshan
11:12 PM
Dynamic duo Priyadarshan and Akshay Kumar are teaming up again after 14 years for a film
Rishabh Suri (HINDUSTAN TIMES; April 26, 2024)
Priyadarshan is gearing up for his next cinematic venture, which will mark his long-awaited reunion with actor Akshay Kumar after 14 years. The director-actor duo is popular for delivering cult classics such as Hera Pheri (2000) and Bhool Bhulaiyaa (2007), among several other movies.
Speaking about the upcoming project, Priyadarshan reveals, “After completing my docu-series on Ram Mandir’s history, I am now focusing on my most significant film — a horror fantasy with a touch of humour, starring Akshay, and produced by Ekta Kapoor.”
Addressing comparisons to Bhool Bhulaiyaa, the 67-year-old clarifies, “While it was a psychological thriller, this new venture will delve into the realm of fantasy, exploring black magic. Working with Akshay has always been a pleasure; he brings depth to his characters effortlessly. I’ve been awaiting the right project to collaborate with him again, and I believe this is it.”
When we remark that Hera Pheri and Bhool Bhulaiyaa are both getting third sequels, Priyadarshan shares, “The first one is always the best, like Hera Pheri. The original will always be good, even if you make second or third parts. People will always say they liked the original. In sequels, makers exploit the success of that market. There’s nothing wrong in doing that. As for remakes (he remade the 1989 Malayalam film Ramji Rao Speaking into Hera Pheri), I’m more open to them, provided they serve a purpose and resonate with audiences.”
Reflecting on his diverse filmography, Priyadarshan says, “Whether it’s horror, comedy or romance, I strive to create films that appeal to viewers of all ages without resorting to vulgarity or innuendo.”
Hera Pheri has remained alive all these years through memes, and satellite screenings-Farhad Samji
8:51 AM
Dismissing the tag of a comeback film, Hera Pheri 3 director Farhad Samji says social media memes kept film alive
Priyanka Sharma (MID-DAY; March 17, 2023)
Paresh Rawal, Akshay Kumar and Suniel Shetty-starrer Hera Pheri is easily among the films whose dialogues have been celebrated long after its release. The growth of social media gave fans a means to keep the movie alive with memes and jokes, none of which went unnoticed by industry folk.
Director Farhad Samji, who is set to helm the third edition of the film, asserts that the upcoming version cannot be called a “comeback film” since fans haven’t forgotten the first two editions to begin with.
“Hera Pheri has remained alive all these years through memes, and satellite screenings. Films like Hera Pheri, Munna Bhai, and Golmaal are the kinds that stay in our hearts and in pop culture, indefinitely,” he says.
An array of promising movies has established Samji’s command over his craft, but fans of the franchise appear to harbour concerns about the new edition, given that the previous films were helmed by Priyadarshan and the late Neeraj Vora. “The official announcement [of me serving as director] is yet to come. Let it happen, and then we can have a discussion on it.”
In the interim, he plans to train his focus on his next, Pop Kaun. The Disney+ Hotstar project is based on a man who has multiple fathers. “I remember the moment when I zeroed in on the title. The idea of a man having multiple fathers [needed attention]. The fun began when we cracked the title, Pop Kaun. It signifies two things — one, you can enjoy the show while having popcorn, and two, it refers to the actual narrative.”
Priyadarshan hits back at Hera Pheri allegations; says has no influence in Bollywood
8:26 AM
Priyadarshan responds to the multiple claims made by Nadiadwala, who says that the director gave him a tough time during the making of the film and even long after that
Onkar Kulkarni (BOMBAY TIMES; August 16, 2021)
Over the years, the comedy, Hera Pheri (2000), directed by Priyadarshan has gone on to become a cult classic. The film starring Akshay Kumar, Suniel Shetty, Paresh Rawal, and Tabu, produced by Firoz A Nadiadwala, was the remake of the Malayalam film, Ramji Rao Speaking (1989). When the Hindi film was released in the year 2000, the characters of the film Baburao (Paresh), Raju (Akshay), and Shyam (Suniel) became hugely popular, and some of the dialogues and scenes from the film remain unforgettable even to date. In 2006, a sequel was made, titled Phir Hera Pheri, directed by the late Neeraj Vora (who wrote the screenplay and dialogues of Hera Pheri) and was backed by Nadiadwala. In the year 2015, Hera Pheri 3 was announced by Nadiadwala, with Paresh Rawal, John Abraham and Abhishek Bachchan. The film went on floors briefly in June 2015, after which, it made little progress. Post that, Neeraj Vora’s health took a beating, and he subsequently, passed away. News about Hera Pheri 3 being in the planning stages surfaced again when Paresh Rawal and Priyadarshan were promoting a film last month.
While fans of the franchise have always been excited about another film in the series, in a recent interview, Nadiadwala made some startling revelations related to Hera Pheri. The producer claimed that Priyadarshan had left Hera Pheri incomplete, leading to a lot of stress. Bombay Times reached out to the producer and the director who shared their respective versions. Nadiadwala claims, “Priyan shot a three-hour 40 minutes long film. Usne copy hamare haath pakdadi, and he left. He was not there for the editing, background score, or for the final mix.”
Firoz says, “He was also not there for the dubbing, photo sessions, planning the publicity, or making the trailers. I sat for the edit with the late Neeraj Vora and the rest of the team. We cut down the film by one hour and 30 minutes. Today, when I look back, I am just thankful to Akshay Kumar, Paresh Rawal, Neeraj Vora, and Ahmed Khan (choreographer) because of whom we could complete the film.”
Reacting to Nadiadwala’s allegations, Priyadarshan says, “How could I make a film as long as three hours and 40 minutes? It is a remake of a Malayalam film, and so, I knew what I was making. All these claims are false. The whole film was made in Chennai. It was mixed in my theatre. I completed the film and I gave the final copy to him.”
Nadiadwala also claims that Priyadarshan had kept him in the dark about selling the Hindi remake rights to another filmmaker in Punjab. “Literally 10 days before the film’s release, we got to know that a filmmaker from Punjab had the rights to the film. I rushed to Chandigarh for the settlement. I had to pay him whatever he demanded. I have proof of all this,” says the producer.
Rubbishing these claims, Priyan says, “How can I sell the rights, when I never had them? It is the original writers of the Malayalam film (Siddique and Lal, also the directors of that film) who sold it. It was not written by me. It was written by Siddique, the one who directed Bodyguard starring Salman Khan. They sold the rights to someone else. Then, we started the film (Hera Pheri) and we were supposed to buy the rights from them for Rs. 5 lakhs.”
According to Nadiadwala, Priyan also tried to convince the actors of the film to refrain from being a part of the film’s sequels. He elaborates saying, “When we were shooting for Phir Hera Pheri’s Aye Meri Zohrajabeen song at Filmistan, Priyan landed on the sets. He started making fun of me in front of the cast and crew. He started taunting me by saying, ‘Don’t listen to Firoz, he is going to spoil everybody’s reputation.’ The camera has captured him on the set. At the beginning of the song, one can notice him in the background. All these years, I kept quiet out of respect, but everything has a limit. I was fed up with his claims that he has turned down offers to direct the sequels. Even during his recent media interactions, he mentioned that. He gave me such a hard time during the making of the Hera Pheri, why would I approach him for a sequel?”
In his defense, Priyan adds, “Yes, he never approached me for the sequels. When Neeraj Vora was approached to direct Phir Hera Pheri, he was working with me for a film. He asked me if I wanted to direct the film. I said, no. He asked me if it was okay if he directed it, and I said that I have no problem at all. What do I do when the media asks me if I am directing the sequel of the film? I don’t know why this upsets Firoz. I have nothing against him. See, I personally didn’t want to direct Phir Hera Pheri. And this has been my answer to whoever asked me this question. Part 1 was the remake of a Malayalam film. I wasn’t sure where the story of the sequel will lead. So, I didn’t want to do it. In fact, when I had met Neeraj Vora, I frankly told him that he didn’t do a great job with Phir Hera Pheri. The film had become a brand and so it worked. He accepted it. He even told me that they had drawn inspiration from a few films and joined it all together because they didn’t know how to take the story forward. I shared a great rapport with Neeraj and after that film, too, Neeraj and I did 2-3 films together (Tezz, Khatta Meetha and Kamaal Dhamaal Malamaal).”
About Hera Pheri 3, Priyan says, “Suniel Shetty, who is like family to me, suggested that I should consider doing the film. So, we met Akshay Kumar, too, and I felt like giving it a nod. In fact, Firoz and I were supposed to meet as well, but that never happened. Then I heard that they had roped in Abhishek Bachchan and then finally, the film didn’t get made. I share a cordial relation with everyone, why will I ask anyone to not do the film? I continued to work with Akshay, Suniel, and Paresh on other projects. I have also met Firoz and we have had cordial talks before. I have nothing against anyone. During my latest film promotions when the media asked me if I was directing Hera Pheri 3, I said that I am not interested in directing it. I personally don’t believe I will be able to do justice to the sequel, so why will I even consider it? It is as simple as that! I don’t know what has irked Firoz. Maybe it is his anger and frustration at being unable to make Hera Pheri 3.”
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Sugandha Rawal (HINDUSTAN TIMES; August 16, 2021)
Filmmaker Priyadarshan has strongly denied allegations of him abandoning his film Hera Pheri midway and trying to bungle the plans for a sequel. He said he has no influence in Bollywood to even think of concocting such a conspiracy.
Recently, producer Firoz Nadiadwala made several claims against the director; from leaving the 2000 film midway to making a depressing version to try and convince the actors to say no to the sequel. “I’ve nothing against anyone. The so-called incident happened 20 years ago. Why are you talking about it now? And why should I say I didn’t do this or that,” the director shares, further adding, “I did that movie and went on to do many more films. I’m sitting on the 95th film of my career. If I had such behaviour, I wouldn’t have been in the industry.”
Talking about whether he convinced actors to not do the sequel, the 64-year-old asks if that would have been the case, then how have the makers made part two with the same actors? “And I have also worked with these actors after that movie. How can that be possible? I’m a small south Indian filmmaker, I don’t have any influence in Bollywood,” he reasoned. To the claim of making a depressing version, Priyadarshan reminds us that the film starring Akshay Kumar, Suniel Shetty and Paresh Rawal, was a remake of the Malayalam film, Ramji Rao Speaking (1989). “It was made frame by frame. It can’t be that I made a depressing or overly long version. The original was a super duper hit, and that’s why a Hindi remake was made in the first place.”
Priyadarshan's Hera Pheri version was full of depressing scenes; lot of funny dialogues were deleted-Firoz Nadiadwala
8:44 AM
Fed up of Priyadarshan stating he turned down Hera Pheri 2, producer reveals what went on behind 2000 laugh riot; claims director’s cut was “full of depressing scenes”
Shaheen Parkar (MID-DAY; August 13, 2021)
When it released, Hera Pheri (2000) left the audience in splits, and became a cult Bollywood comedy. But two decades on, producer Firoz A Nadiadwala reveals that the making of the Priyadarshan-directed venture was no laughing matter for his producer-father A G Nadiadwala and him. Recently, Priyadarshan stated that he had turned down the offer to direct Phir Hera Pheri (2006). Fed up of the director’s constant barbs that the Akshay Kumar, Suniel Shetty and Paresh Rawal-starrer did not deserve a sequel, Nadiadwala says he is now compelled to open Pandora’s box.
“I kept mum all these years out of respect for Priyan, and because the film became a blockbuster. But he has left no opportunity to run down my father and me. How can he talk about turning down our offer to direct the second and upcoming third part, when he did not even complete the first film?”
Nadiadwala maintains that the iconic characters of Raju, Ghanshyam, and Baburao were not a result of Priyadarshan’s vision. “He gave me a film with a runtime of three hours and 40 minutes. His version was full of depressing scenes; a lot of the humorous dialogues were deleted. He was absent during the background music recording, and dubbing.”
Nadiadwala claims the real work on the comic caper began after Priyadarshan’s “disappearance” as he completed the film with the cast, late writer-director Neeraj Vora, and choreographer Ahmed Khan. At the edit table, the movie was condensed to a sharp 130-minute runtime, and two songs — Jab Bhi Koi Haseena and Tun Tunak Tun — were added. In what might come as a shock to fans, Nadiadwala says that Priyadarshan’s version was not a comedy, but the story of an economically challenged family. He credits Vora for turning the film around. “He added a lot of punchlines. We deleted the sad scenes. We did a lot of improvisations during the dubbing and editing to make it what the audience knows it by today.”
The problems did not end there. After Nadiadwala announced the film’s release date, a filmmaker from Punjab claimed that he had the Hindi remake rights of the Malayalam film, Ramji Rao Speaking (1989), on which Hera Pheri was based. “At no point had Priyadarshan told us that he had sold the rights to another filmmaker.” The producer had to fly to Chandigarh to settle the matter.
Later, Nadiadwala’s sister, Noorie, held a screening of the movie for Priyadarshan and his family in Chennai. “He did not tell her how he abandoned the project midway. This was the first time he watched the final cut, which was completely different from what he had [given]. The film, which the audiences saw, was the director’s cut in the sense that the director was cut from the final version,” he says sarcastically, adding that Priyadarshan tried to “convince the actors to say no” to the sequel.
With Bellbottom, we’ve taken a step ahead of returning to the big screen-Akshay Kumar
8:41 AM
Kavita Awaasthi (HINDUSTAN TIMES; August 13, 2021)
From taking a 200-member crew to the United Kingdom to shoot a film from start to finish amid the Coronavirus pandemic last year, to wrapping up five films since then, Akshay Kumar has been leading by example. In a chat with us, the actor divulges what led to the decision of releasing Bellbottom in theatres at a time when they aren’t operating in full capacity, and how he drew inspiration from frontline workers. Excerpts:
Being one of first actors to start shooting after the lockdown, last August, how do you look at the experience, uncertainty and risk of shooting in the UK?
I still remember that flight, being on the tarmac with a crew of 200 plus members. Everyone was quiet while we were about to take off, as there was so much uncertainty and apprehension, the underlying fear that anytime, we’d get a call about a change in rules and regulations, and we won’t be able to fly. But, as soon as we were airborne, the entire crew screamed in jubilation, almost deafening. That was such a special, liberating moment... maybe my most memorable flight till date!
We’ve been living with Covid-19 for 15 months now. Going forward, what changes do you see in the business of filmmaking, theatres and the mood of the fraternity?
I can’t comment about others, but I am going about doing business as usual. I’ve already completed five films during the pandemic. And, I’m onto the next one, Cinderella, with the same team as BellBottom, directed by Ranjit Tewari. But then, this has always been the way I’ve worked — doing an average of four films a year. Yes, the avenues to showcase our films may change a little. I know even before shoot begins, that some films are being planned for an OTT release only. Also, another term I have recently learnt is hybrid release — when a film releases in theatres and on an OTT platform, simultaneously. One way or another, the show must and will go on.
First Dhoom 4, now a Neeraj Chopra biopic — speculations around you don’t seem to die down, not to forget the memes. How do you handle these?
Some of the memes are really funny. The recent one, which was a still from my film Saugandh (1991), of me with a stick, read ‘Akshay Kumar preparing for Neeraj Chopra biopic’. Jokes aside, it actually feels good. The worst thing for an actor is to be missing from public memory. I guess this whole experiment of juggling different genres seems to be working.
Airlift (2016), Gold (2018), Kesari (2019) — your films are patriotic, minus the jingoism. Is that by choice or chance?
I pick subjects which I find entertaining. If they help convey a message to the audience, it’s the icing on the cake. As far as jingoism is concerned, it’s a conscious choice. If you overdo something, audiences can see through it. I prefer to keep it to a degree which is believable. The idea is to make audiences aware of stories of India’s unsung heroes, honour them and instil a sense of pride for their achievements. If we manage to do that much, mission accomplished!
In BellBottom, you play a spy who turns saviour. What attracted you about this film?
We have so many interesting, untapped stories in our country. For instance, when I did Airlift, I didn’t know something like this had happened, and to this day, it’s the biggest civilian evacuation in aviation history. Many people weren’t aware of this fascinating story. Same was the case with Gold, Kesari, Mission Mangal (2019), etc. I love real-life stories, and when I hear of an extraordinary incident, I get all the more fascinated. I feel more people should know about it, and there begins the process of filmmaking. BellBottom is no different, it’s a story based on events of India’s first covert operation.
Lara Dutta Bhupathi’s transformation as Indira Gandhi is being lauded. Director Ranjit Tewari said you recommended her for the role?
When Ranjit narrated the story to me, we knew it would be tricky to cast for the character of Indira Gandhi, but we had to get it right. Mrs Gandhi had a certain body language and gravitas, which I felt Lara could bring to the character, and look what an amazing job she has done. Congratulations to the makeup artist, Vikram Gaikwad, and his team for pulling off the look.
BellBottom is releasing at a time when theatres haven’t opened in full capacity. Does it perturb you?
It did earlier, but with time, I’ve learnt that the lesser time you spend mulling over things which aren’t in your control, the happier you’ll be. We had two choices — sulk and postpone again, or go ahead and let the film decide its fate. Taking control of what’s in our hands, we chose the latter.
Any update on the release of Sooryavanshi?
I’ll have to redirect this question to two people, God and Rohit Shetty (laughs). In case you have an update, let me also know! On a serious note, with BellBottom, we’ve taken a step ahead of returning to the big screen. Hopefully, the results will give others confidence to follow suit.
You have six films lined up for release. Is this a business decision or a chance for thousands in the industry to earn their livelihood?
Last year, most of us had the privilege to stay safe and work from home. But doctors, policemen and essential service providers didn’t have that choice. They continued doing their jobs, despite the looming fear. I took inspiration from them. The only job I know is to act, so I decided to get back to work. I have been fortunate to have cooperative producers and directors who agreed to resume shooting amid the pandemic. And, I’m glad if one decision, in turn, helped people who are associated with me to get back to their normal livelihood as well.
With projects that spell versatility, such as BellBottom, Atrangi Re, Sooryavanshi, Bachchan Pandey and RakshaBandhan, to name a few, you seem to be living every actor’s dream.
I have been very fortunate that such diverse roles have come my way. Earlier in my career, I’d gotten too comfortable as an action hero. It was sheer luck that Priyan (director Priyadarshan) sir offered and convinced me to do Hera Pheri, which helped me step out of my comfort zone. The reward of that one risk of trying to do something totally new, taught me to keep an open mind and play different roles, be it a transgender character, a homosexual or Pad Man. In a way, I’m still reaping the benefits of Hera Pheri.
Akshay Kumar said he hasn’t done a good comedy in a long time-Priyadarshan
8:05 AM
As Kumar and Priyadarshan’s shared love for laugh riots reunites them after 11 years, director says their next will go on floors in early 2022
Uma Ramasubramanian (MID-DAY; July 27, 2021)
Earlier this month, Akshay Kumar shared a picture of himself with director Priyadarshan, thus confirming that the two are reuniting to do what they do best — tickle our funny bone. The bar has been set high with most of their previous collaborations hitting that sweet spot between box-office success and critical acclaim. The filmmaker hopes to recreate the magic as they join forces 11 years after their last outing Khatta Meetha (2010). “Akshay and I share a great equation, and have always stayed in touch. When he said that he has not done a good comedy in a long time, we decided to [team up for a film]. We have been planning this for long. The film would have gone on floors at the start of this year if the second wave of the pandemic had not hit. Now, the film will roll in [early] 2022,” says the director, eager to take the final draft from paper to the screen.
His filmography is proof that Priyadarshan doesn’t tire of comedies, doling out one after another. It is the rarity of the genre that draws him in. “There are so many thrillers and horror films nowadays, but humorous films are rare. It’s not easy to make a movie that cracks up the audience. I am a miser when it comes to laughter. When a certain situation makes me laugh, I am certain it will make others laugh too. That’s how I [go about crafting comedies].”
While his command over comic capers led to the creation of gems like Hera Pheri (2000) and Bhool Bhulaiyaa (2007), the franchises have been taken ahead by other filmmakers. Quiz him on why he did not helm the sequels, and Priyadarshan says, “I refused to do Hera Pheri 2 because I thought the first part was the best I could do [with the premise]. Similarly, I didn’t want to do Bhool Bhulaiyaa 2 because I don’t think [the narrative lends to] a second part. But if the one holding the franchise [rights] wants to take it ahead, I am not against it.”
The team intends to make Hera Pheri 3 but some differences have to be ironed out first-Suniel Shetty
8:27 AM
Meanwhile, Suniel Shetty is storming South films, asserts language barriers don’t matter anymore
Himesh Mankad (MUMBAI MIRROR; May 19, 2020)
Suniel Shetty, who took a break from acting to spend time with his ailing father, returned to films as the antagonist in the Sidharth Malhotra-led action-thriller, A Gentleman. Soon after, he crossed over to the South film industry. After playing Sudeep’s mentor in the Kannada sports-drama, Pailwaan, the 58-year-old actor signed up for a face-off with Rajinikanth’s cop in A R Murugadoss’s Tamil action-thriller, Darbar. Now, he is gearing up for the release of Priyadarshan’s Malayalam period-drama, Marakkar - The Lion Of Arabian Sea.“Films like Baahubali and KGF, and digital platforms, have bridged the gap between the Hindi audience and films from other regions. Language barriers don’t matter anymore,” Suniel explains his foray down South, adding that he was also drawn to them because of the projects, the money offered and the respect he got there. “Darbar and Pailwaan are in line with my stature. I’d rather make an impact with a big film, even if it doesn’t revolve around me, than sign up for junk.”
The actor also has the Hollywood film Fraudsters, to be dubbed in Telugu as well, and another Hindi-Telugu bilingual, in the offing. Priyadarshan’s film, fronted by Mohanlal, was to release on March 26 before the nation-wide Coronavirus lockdown was announced. Instead of sighing over the delay, Suniel chooses to rave about the action done by an international team with its production values. He is sure it will appeal to a wider audience.
One of his most iconic comedy films, Hera Pheri, completed 20 years on March 30. It is frequently in the news with talks of a sequel. “Everything is on hold for now. The film’s team intends to make Hera Pheri 3, but some differences need to be ironed out first. The film is a big hit on television as well as in the meme world and we are all aware of the anticipation among the audience for the film,” Suniel signs off.
Paresh Rawal is not as mad as his Hera Pheri character, but he’s great fun to grow old with-Swaroop Sampat
8:24 AM
With Paresh and Swaroop Sampat Rawal’s son, Aditya, making his acting debut, the family talks about adapting to the times and the changing face of cinema
Kunal Guha (MUMBAI MIRROR; May 17, 2020)
The only “silver lining” in the nationwide lockdown so far, says Swaroop Sampat Rawal, is that the family has got a chance to watch Aditya’s acting debut in the web film, Bamfaad.
“After watching it, Aditya and [older son] Aniruddh spoke to Paresh at length about cinema and acting. It was like being part of an in-house masterclass,” says the 61-year-old actor and education counsellor, who made her comeback on the big screen with Uri last year.
Surprisingly, Aditya’s father, veteran actor and former Lok Sabha MP, Paresh Rawal, only learnt about his son’s decision to face the camera five hours before he went on set. “For some reason, he decided not to tell me earlier,” says Rawal Sr, whose only bit of acting advice for his son was “to preare hard and be spontaneous”.
Before his debut, the 28-year-old had pursued the dramatic writing programme at the Tisch School of the Arts, New York, and an initiation course in theatre and performance at the London International School of Performing Arts. He also wrote and directed The Queen, a stage production about a 16th century Rajput queen who is abandoned by her husband for a younger woman. The play, which premiered in New York, was to be staged in Mumbai, but had to be postponed due to the Coronavirus pandemic. It did, however, enjoy a 12-week run in the Big Apple, and earned him the New York Innovative Theatre Award.
Reflecting on her son’s debut, Swaroop points out how the entertainment industry has become a lot more organised now. “In my time, it was just luck by chance. I became Miss India in 1979 and shortly after, landed two roles with Yash Raj [Dilip Naik’s Nakhuda, 1981] and Hrishi da [Hrishikesh Mukherjee’s Naram Garam, 1981],” she says, of her memorable onscreen turns. “Even Paresh got one of his early breaks in Arjun (in 1985) because the one of the producers [Karim Morani] was in college with him.”
Swaroop says she took a break from films in the mid-1980s, when she felt she was seen as “too old to play the heroine”. “I have a problem of not being able to look old. Even when I played an older character, I would look as young as the heroine,” she laughs, adding that her decision to turn away from films was also to be a full-time mum. “Paresh was working two to three shifts a day. Someone had to be at home with the boys.”
Aditya says his childhood was far removed from the world of cinema, where conversations about films and theatre were few and infrequent. “In fact, the only time I remember being on a film set while Dad was shooting was OMG Oh My God [2012], where I was an assistant director,” says the youngster, who has also assisted Ashutosh Gowarikar with the story and screenplay of Panipat [2019]. But he does have his share of memories of his father speaking fondly about theatre and acting in plays. “My favourite performance of his is Khel [2000], with Naseeruddin Shah. Watching them together was fabulous and enlightening. They are both so passionate about their craft,” says Aditya, referring to the Hindi adaptation of British playwright Anthony Shaffer’s Sleuth.
In recent years, Swaroop has delved into experiential learning, which essentially employs her skills as an actor in teaching. Having received a full scholarship from a UK university, she completed her doctorate in education on the role of drama in enhancing life skills. Last year, Swaroop trained 2.5 lakh teachers in the subject over a four-day workshop in Gujarat, and plans to conduct a similar session for nearly five lakh teachers in Maharashtra soon. She has also visited tribal areas in the country and taught life skills through drama to children from low income households.
“They were so excited to learn from me that they went home and proudly told their parents, ‘Our teacher is a Miss India’,” she says. Her newly-discovered passion for teaching has had a profound effect on her. “While narrating a story in a classroom, you have to be louder than usual, which makes Paresh often ask me, ‘why are you so animated?’ In fact, when I’m on screen now, I have to readjust my levels,” she says, adding that her work in cinema has given her a lifelong training in adapting to new things. “I remember Hrishi da would explain a whole scene and ask me to do it in one take… and if I protested, he would say, ‘you guys are theatre actors, you should manage it’.”
Her return to films has been smooth, even though she sometimes “feels like a dinosaur” on the sets. “I didn’t grow up in the digital age. I was thrown into it. We had huge cameras and lights then, and now, the camera has shrunk so much that you don’t even feel its presence,” Swaroop says.
Even a veteran actor like Paresh Rawal finds it tough at times to keep up. At 64, he feels there’s “plenty to learn and even more to unlearn”. “You realise that a lot of what you’ve picked up over the years is rubbish,” he says, lauding contemporary actors such as Nawazuddin Siddiqui, Ayushmann Khurrana, Rajkummar Rao and Adil Hussain for their compelling work. “When you look at them, you can see that the standards of acting have also changed.”
Films, too, have come a long way since he made his debut in 1982 with Naseeb Ni Balihari, says the Padma Shri recipient. Earlier, films were clearly categorised as either commercial or arthouse and parallel cinema, the latter being dominated by heavyweights such as Shyam Benegal, Ketan Mehta, Govind Nihlani and Syed Mirza. “Now, films are not so segregated,” he says. “Another blessing is that since the foreign companies have opened offices here, we can no longer copy from their films, lest we get penalised,” he says with a chuckle. “This is also why we have begun mining our own stories and histories.”
Known for his comic timing, Paresh likes to subject his family to his one-liners. “Often, his sense of humour lands us in sticky situations,” Aditya says, referring to his father’s tweets. “He’s not as mad as his Hera Pheri character, but he’s great fun to grow old with,” says Swaroop.
Twinkle Khanna didn't watch Housefull 4-Akshay Kumar
8:52 AM
Actor Akshay Kumar on movies and criticism...
Ashwini Deshmukh (HINDUSTAN TIMES; February 23, 2020)
You’ve just given your 11th consecutive hit. Certain sections of your audiences still question you though...
I don’t know about that. I just know that I’ve signed my next four films. Having a job matters. Your company is running. That matters. I have another three films lined-up, which I have to give a go ahead to. (Smiles) So according to me, I’m doing pretty well.
Your films are critic-proof. No matter what, they rake in the numbers…
I respect critics. It’s important to have critics for an honest feedback. Also, comedy is subjective. What you like, the other person may not. My kind of humour is different from that of my wife’s (Twinkle Khanna). Opinions vary. Similarly, one critic’s take may vary from that of the other. Especially, when it comes to comedy.
What was Twinkle’s reaction to Housefull 4?
She didn’t watch it.
Why was there so much negativity around the film?
Those who’ve written the negative stuff would be able to tell why. Main toh unke ghar gaya nahi kabhi. People can say what they want. People can keep talking. It doesn’t matter. What matters are the box-office figures. They alone talk.
A character in Housefull 4 faking pregnancy says, main abla hoon tabla nahin. This was dissed by some sections…
Yes, you’re right. It may not have gone down well. The writer has to take care of such things. I may not be around when some scenes are shot. So I may not know about them.
How difficult is it to pull off a comedy?
It’s difficult to pull off humour when you have to rely solely on physical comedy and keep logic away. Only Charlie Chaplin could do that.
Without dialogue, he could make people laugh. Or even Laurel And Hardy. We’ve grown up watching them. An actor can churn out dialogue and make people laugh. But to make people laugh without words is the toughest.
Do you feel comedy as a genre has been ignored?
I’ve been trying to find the answer to this since the last 30 years. I still don’t have one. Everyone believes comedy’s easy. Ask anyone in Hollywood and they will tell you comedy is the most difficult genre.
Your transformation from action films to the comedy genre… was it a planned process?
It’s not some thought out method. I just go with the flow. I didn’t go to any acting school. I just add what I’ve gained through my own experiences. I tend to hold the director’s hand because he knows the film a thousand times better than me. He leads me and that’s why he’s called the captain of the ship. You can only pray that that ship doesn’t turn out to be a Titanic.
Are you always confident of the choices you make as an actor?
No, I’m not confident ya. My team knows how scared I am before a release. You work hard for months. You have to consider whether the audience/critics will like your film. Gharwalon ka alag tension hota hai... whether they’ll like it or not. You’ve got to handle the PR stress, the studio’s tension...
Which have been your path-defining movies?
Sangharsh (Tanuja Chandra, 2000), Jaanwar (Suneel Darshan, 1999) and Hera Pheri (Priyadarshan, 2000). Priyadarshan saab, Rajkumar Santoshi ji (Khakee, 2004) the late Neeraj Vora (Phir Hera Pheri, 2006) are three people who contributed greatly in making me realise that I could attempt different genres, and mould myself as an actor.
I am a greedy actor. If I am constantly changing my image, it is because I am enjoying it-Akshay Kumar
8:05 AM
Rounding off the year with a comedy about IVF, Good Newwz star Akshay Kumar says he constantly attempts different genres to stay relevant
Sonil Dedhia (MID-DAY; December 24, 2019)
Going by the success of his movies, one would imagine that Akshay Kumar has cracked the box-office formula. And yet, look closely at his offerings, and they are anything but formulaic. With his interesting choice of movies — that range from a historical in Kesari to a sci-fi drama in Mission Mangal — Kumar has stayed relevant, giving the younger crop of actors a run for their money."It's fun to reinvent. I get bored easily; I learnt this early on in my career when I was doing only action films. Filmmakers were not offering me anything different," recounts the superstar of the days when he was itching to break his Khiladi Kumar image. "Fortunately, Hera Pheri [2000] turned things around, and since then I am trying to explore different genres. I am a greedy actor. If I am constantly changing my image, it is because I am enjoying it. I am not doing it to set an example."
After four releases in 2019, the coming year will be just as busy for Kumar with Sooryavanshi, Laxmmi Bomb, Prithviraj and Bachchan Pandey. "From action to horror to comedy and romance, I am blessed to have such diverse films."
Before he steps into 2020, Kumar will round off this year with Good Newwz that sees him reunite with Kareena Kapoor Khan. The film adopts a humorous approach to tackle the sensitive issue of IVF. "We have been careful [not to offend anyone], like we were while making Toilet - Ek Prem Katha [2017]. But the incident that we are depicting [mix-up of sperms] has happened in real life. IVF is an important subject, especially for families who cannot have children. Many working women who thought they would have to give up on their careers as their [biological] clock was ticking feel relieved because they have an option. Eight million babies have been born through [the assisted reproductive technology]."
Gopi Kishan opened doors of comedy for me & I went on to do films like Hera Pheri-Suniel Shetty
8:09 AM
Sangeeta Yadav (HINDUSTAN TIMES; December 2, 2019)
From setting trends of oversized shirts to funny dialogues and dance moves that were later made into memes, Suniel Shetty hogged all the limelight with his double role as a cop and a criminal in Gopi Kishan — the cult comedy that completes silver jubilee today.Walking down memory lane, the 58-year-old says, “Before Gopi Kishan, nobody was willing to cast me in comedies. I’d only get action film offers. So, when director Deepak Shivdasani offered me the role, I jumped on it. It opened the doors of comedy for me and I went on to do films like Hera Pheri.”
Suniel further adds, “It was one of the toughest films to shoot. I had to keep changing my look for the double role. I picked up Gopi’s way of pulling his trousers from Director Rajiv Rai’s CFO.”
The film is remembered for its famous one-liner, Mere Do Do Baap. “I never imagined that such simple dialogues would become so iconic. I wonder what the child actor, who mouthed the lines is doing these days,” he says, adding, “Even Athiya, after watching the film, started saying, ‘Mere Do Do Baap’ and I used to tell her, ‘No, no Athiya… it’s not funny.’ She loved repeating it (laughs).”
Suniel says that the 1994 film was one of the first few to begin the trend of remake of movies down South. “It’s one of the first Bollywood films remade from Tamil films. (Gopi Kishan is a remake of the 1990 Tamil film Avasara Police 100). The Haye Hukku song with jeans and oversized shirt became a trendsetter. Choreographer Chinni Prakash knew that I’m not a good dancer, but still he made me match up to Lolo’s (Karisma Kapoor) moves. Some of them have now become memes,” says Suniel.
Not many know that Suniel met with an accident and was limping in the song Chatri Naa Khol Barsat Mei, “That time I used to shoot from 9 pm to 5 am for Mohra and 9 am to 6 pm for Gopi Kishan. While shooting for Mohra, I had a ligament tear. The doctors had advised me bed rest and surgery, but I strapped a bandage on my knee and did the entire song.”
And, if the film is remade now, who would Suniel want to play his role? He replies, “Ranveer Singh or Varun Dhawan. They are brilliant.”
Making a comedy film is like social service-Priyadarshan
7:43 AM
Flexcia Dsouza (BOMBAY TIMES; November 30, 2019)
At the masterclass at International Film Festival of India (IFFI) 2019 titled Master of Multiple Genres, filmmaker Priyadarshan spoke about making comedy films, Hindi remakes of south films and more. Excerpts from the session that was attended by film critics, students and movie lovers:
‘MAKING COMEDY FILMS IS LIKE SOCIAL SERVICE’
With films like Hera Pheri, Garam Masala, Hungama and Khatta Meetha in his oeuvre, Priyadarshan was asked why he didn’t experiment with hard-hitting films in Bollywood. “In Bollywood, I am accepted for my comedies. There’s nothing wrong with making a comedy. I don’t think you’ll be taken seriously only if you make a serious film. The most difficult thing for a filmmaker is to make people laugh. In a world that has so many worries and problems, making a comedy film is like social service,” he says.
‘MOST HINDI REMAKES OF SOUTH FILMS FLOP’
Priyadarshan’s hit comedy Hera Pheri is a remake of his 1989 Malayalam film Ramji Rao Speaking. About being able to express himself in various languages, he says, “There are some things that we cannot translate situationally, especially the humourous parts. So, we had to change a lot of dialogues of Hera Pheri, since the humour is lost in literal translation. Most south films flop when they are remade in Hindi. The basic reason is, when you watch a remake, it still seems like a south film, not a Hindi film.”
‘MY NEXT FILM IS IN MARATHI’
Instead of just working with languages he is comfortable in — Malyalam or Hindi — he also makes movies in Tamil and Telugu. “There is no difference in language, cinema in one language. My next film is in Marathi. Maybe I’ll do one Bengali and Gujarati film also, because it’s nice working with other language actors and understanding the culture. We should have unity in diversity in cinema, too.”
About continuing his work in south as well as Bollywood, he says, “I got interested in films watching Amitabh Bachchan and Dev Anand. When I was watching films in school, I used to wonder why South actors don’t dress like Hindi film actors. Everything, except the content, was very bad. Today South films have improved a lot, so I don’t find any difference in working in either industry. My comfort level in highest in Hindi because of the bigger budgets they give us in Bollywood! But I enjoy making Malayalam films the most.”
I should charge double of what I do-Tabu
8:33 AM
Tabu is glad that female actors are getting the fee they demand nowadays, but believes there is scope for improvement
Pooja Sharma (HINDUSTAN TIMES; November 8, 2019)
After three back-to-back hits, Tabu feels she is in the most gratifying phase of her career. The actor, who has delivered hits such as Andhadhun (2018) and De De Pyaar De, in the recent past, says, “I am happy about the growth that I have seen in movies, and myself. To get the opportunities, to grow with your work, and have your growth reflect in your work is an amazing thing.” Being in a fulfilling stage in her career, she is more open to push the creative envelope even further. Excerpts from an interview:
After playing intense roles in the past few years, were comedies such as Golmaal Again (2017) and De De Pyaar De a breather?
I did what was required of me as an actor. Having said that, aisi type ki filmein beech mein nahi ban rahi thi. My presence in the serious films worked well. But people have not forgotten my roles in Chachi 420 (1997), Biwi No 1 (1999), or Hera Pheri (2000). When people cast you, they want to give you roles which you are good at. But at that time, these films were being made and so everything worked out in tandem. But my approach for every film has been the same. Every project has a different requirement of course. So, you try to fit into that and do justice to what is required of you.
Now, do you want to charge double after the success of your last few films?
(Laughs) I really should charge double! I am sure the makers who come to me will have that respect for what I deserve and will give me my due.
Are female actors now getting the fee that they demand?
I think so. A lot of demands are being met. I am sure the makers are smart enough to understand that if an actress is bringing them that kind of revenue and is pulling the crowd, they will give her the due. Actors are also intelligent; they know their position and demand accordingly. Of course, it’s a business so everyone will try to get the best deal. But, it is better now.
Are you ever unnerved on the first day of any shoot?
There’s a lot of excitement but no apprehension. Since you have done it for long, so you know the pattern. But, when you go on sets, it takes a day or two to settle, unless you know the people or have worked with them earlier.
How important is it for you to take breaks between movies?
Long enough breaks toh nahi, thoda sa just to regroup, because the process of making a film tires you. I like to take some time off because I like to prep for the film. By prep I mean like costumes etc. I don’t like last minute things such as fittings theek nahi hai, etc., because it distracts you from the shooting process. There are last minute changes, but if we can keep things in order, it saves time.
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