DRY PERIOD SETS IN AT THE BOX OFFICE, NETFLIX ORIGINAL FILM TO STEAL THE SHOW THIS WEEKEND

The dry period has begun in Bollywood and it’ll get over only when the holy month of Ramzan gets over, on March 31. Until then, this whole month will see not-so-exciting content though next week’s The Diplomat might surprise.

This week will see the release of several old films like Fashion, Highway, Queen, Lootera and surprisingly even Road Movie. The biggest re-release, however, will be Shaadi Mein Zaroor Aana. It is backed by Deepak Mukut who also produced Sanam Teri Kasam, which became a smashing hit on its re-release. Shaadi Mein Zaroor Aana is also a cult hit on satellite. But it looks like the audience might not be as interested in watching it on the big screen, looking at the ticket sales. Even Fashion, Queen, Highway, Lootera and Road Movie will have a tough time though there’s hope that Lootera can get decent footfalls.

The last week’s releases, Crazxy and Superboys Of Malegaon, have failed to entice viewers. Superboys Of Malegaon has received unanimous acclaim but will struggle to even cross the Rs. 3 crore mark. Crazxy is holding well on the weekdays, though it's thanks to the Buy One Get One Ticket Free offer. In a unique move, the makers will release the film with a new climax since the ending hasn’t got a great response. It remains to be seen if this novel strategy entices moviegoers.

On the other hand, Chhaava continues to rule though its collections suffered a drop. However, it will keep collecting at low levels until Eid. The three-week collections stands at around Rs. 460 crores and it might see a jump next weekend on Holi. If all goes well, it’ll have a lifetime collection of around Rs. 530 crores.

Speaking of new releases, there’s no major Hindi film storming in cinemas tomorrow. The major Hollywood release is Mickey 17. It is directed by Bong Joon Ho of Parasite fame and stars Robert Pattinson. The subject is novel and the word of mouth is overwhelmingly positive. Sadly, the advance booking is very poor as the awareness is limited. Hopefully, the film will gradually pick up.

Lastly, the film which will make the maximum noise is Nadaaniyan. It releases directly on Netflix and marks the debut of Ibrahim Ali Khan. He’s paired opposite Khushi Kapoor in this film, which also stars Mahima Chaudhry, Suniel Shetty, Dia Mirza and Jugal Hansraj. The makers haven’t promoted the film much and no interviews or events have taken place either. But due to the casting, it's sure to find a huge viewership.

Oscar-winning sound engineer Resul Pookutty on being mesmerised with Alia Bhatt since Highway, and hoping to cast her in his next, based on the short, Plus Minus
Uma Ramasubramanian (MID-DAY; June 11, 2020)

Jyoti Kapur Das's YouTube short Plus Minus, a slice-of-life take on Maha Vir Chakra awardee Captain Harbhajan Singh, has piqued the interest of Oscar-winning sound designer Resul Pookutty. Along with Avi Raj, Pookutty, who will produce a feature film inspired by the Bhuvan Bam and Divya Dutta starrer, has his heart set on Alia Bhatt as a prospective lead for his version. "When I worked with [Bhatt] on Highway, I told her she was going to be a phenomenal actor after her first shot itself. I wanted her to work with me in another film, but she didn't have time then. Now, this is something I hope she likes. She is on our wish-list," says Pookutty, adding that casting for the protagonist will commence after the female lead is arrived at.

Offering a glimpse of the life of the soldier away from the battlefield, Plus Minus grabbed Pookutty's attention owing to its depiction of how an army personnel's work impacts his relationships. "This film was brought to my attention by a classmate. We hear stories of our jawans' heroism, but never know how their personal life is affected, and what happens to those around them. [My version] will be a love story told from a woman's point of view."

With their take, co-producer Raj says they wish to instil the passion and determination that Singh harboured, in today's youth. "The story of his legendary work lives on. His grit is missing in today's youth. In order to present that, [we will include] a lot of fictional work. Not too much is known about his love life since he died at the age of 22," he says.

The reincarnation drama that will oscillate between two timelines — 1968, when Singh was martyred, and 2021, when the makers plan to release it — will borrow from facts and real-life stories.

Dear Mr Imtiaz Ali,

As audiences laughed heartily in scenes which were supposed to be moving and emotional in your recently released flick Love Aaj Kal, I underwent through a mixture of emotions. Yes, even I was amused by the absurdities of what was unfolding in my front of eyes. But at the same time, I was also heartbroken that the same man who gave us films like Jab We Met, the old Love Aaj Kal and Highway is today being ridiculed in such a way.

When I see the recent films of Ram Gopal Varma or Subhash Ghai, I often wonder how these directors who once gave legendary and classic films are today delivering such pathetic kind of movies. I never in my wildest dreams imagined that you, too, would get into this category, after the twin debacles of Jab Harry Met Sejal and Love Aaj Kal. I am sure you have gone through the reviews and what people thought about the film. But may I suggest that if possible, please revisit your old classics and understand what worked so well with the audiences. You came up with path-breaking stuff in your films at one point like break-up party and setting your ex-partner’s photograph on fire and then flushing it. These quirks were very cool and cathartic and youth could identify with it easily. In the new Love Aaj Kal, it seemed like a wannabe version of you. You were trying too hard to impress the young crowd and you thought by showing them confused and not knowing how to healthily express their emotions will earn you brownie points. But the opposite happened, as you can see.

Then you attempted to put a character called Justice Chaudhary and it misfired and how. Firstly, the placement of the scene was wrong. His sequence comes immediately after the interval and there have been reports of viewers not even realizing that the second half has started! And did you conclude that just by showing that this stand-up comedian is a rage and that people are sharing his videos on Instagram will make you ‘cool’? I strongly feel this could have been a nice touch but his dialogues were so poor. In fact, the entire film has mostly bad dialogues that fail to elevate the impact.

Jab We Met’s Geet, old Love Aaj Kal’s Meera and Highway’s Veera were memorable female characters from your films. They were flawed and confused but there was so much depth to them. Audiences fell in love with them and many wished they had a Meera or Geet as their partner. Zoe, in the new Love Aaj Kal, meanwhile, is someone you wish you’ll never meet in your life. Female audiences loved you so much and were your biggest fans. But today, you have let them down.

Not just your fans, even your lead actors’ reputation has suffered. Sara Ali Khan has given a fine performance but since she played the obnoxious Zoe, even she became a laughing stock. One can hardly blame her here. She’s new and you are someone who has delivered classic films. Obviously, she has just followed your instructions. She was perhaps hoping that she’ll have a landmark performance and her career will get better the way it happened after Alia Bhatt and Kareena Kapoor Khan worked with you. The same applies for Kartik Aaryan – he was hoping for a Ranbir Kapoor’s Rockstar-zone performance. Today, their credibility has taken a beating.

One can’t deny that there were several things in the film that you got right. Randeep Hooda’s track was interesting and the twist in the tale is something that no one saw it coming. A few aspects and touches were a treat like the graffiti on the walls, an upscale bar giving out tequila shots from a tiny window resembling a hole-in-the-wall cheap liquor shop, etc. I also liked the way Veer’s desktop screen was mounted on a height as this is how many creative people have their system arranged at their place. A few dialogues had the classic Imtiaz Ali touch especially when Zoe says that her work is her boyfriend.

And these minute aspects give us hope that we still haven’t lost the kal-ka-Imtiaz Ali forever. It’ll be great if you can team up with some young writer, buzzing with great ideas, and who is in sync with your line of thought. I know you usually write your own stories and scripts but in the past, you did make an exception for Rockstar which was co-written by Muazzam Beg. Also, desperate times call for desperate measures. You have some interesting ideas to tell and it’s important it doesn’t get lost when transforming it on celluloid. A support of another writer can be a boon in such cases. If the writing is overall strong, then a few minuses will be ignored. I remember while watching the old Love Aaj Kal, viewers also laughed in the scene where Meera claims “Main baad mein maafi maang lungi tumse.” Viewers, however, got a lot to take back home with that film and they didn’t mind a few minuses on the way. But when there are too many such mindless scenes in the film, it gets problematic.

Finally, just ask yourself after watching the latest Love Aaj Kal – are you really happy with the end product? Is this the best you can deliver? If yes, then we completely respect your decision and if that is so, please at least keep the budgets under control. Don’t let the investors suffer so much. You are a producer yourself now and you’ll understand what I am saying here. However, if your answer to the aforementioned questions is ‘No’, then it’s time to take stock of the situation. Many moviegoers still love you and are hoping you make a solid comeback because we know you can do it. You’re probably the only one right now regularly making light-hearted urban romcoms. There’s a huge market for these films among the youth and you can fill the void, if you come up with a well-made film, like you did earlier. Hence, we request you to understand where you went wrong and correct the wrongs.

I hope this letter is taken in the right spirit, if it ever reaches you. And apologies if any of my words have hurt you.

Yours Truly,

Fenil Seta

MUMBAI MIRROR (February 11, 2020)

Curiosity regarding Randeep Hooda’s character in Imtiaz Ali’s upcoming romance, Love Aaj Kal has been growing since the launch of its trailer. In line with the film’s promotional strategy, the makers kept his character under wraps till now. Randeep’s character, Raj, plays the charismatic owner of a chic co-working space, Mazi.

Starring Sara Ali Khan and Kartik Aaryan in the lead, Love Aaj Kal presents a contemporary and relatable portrayal of two stories—one set in Udaipur in the early ‘90s and the other in modern day Delhi, as they interact to learn (or perhaps unlearn) from each other the different facets of love, commitment and relationships. Raj is the bridge that connects the two stories.

Talking about Raj, producer-director Imtiaz Ali says, “He is a modern day metropolitan man who stumbles upon a growing relationship between a young couple—Veer and Zoe. It begins with him being surprised by the fact that Zoe does not want a serious relationship with Veer at this stage in her life and this makes Raj compare her story with his own story of romance back in the 1990s. He finds that the rules of romantic engagement have completely changed between the 1990s and 2020. He begins to tell the story of his romance to Zoe and it affects the story of Zoe and Veer and this is how the two love stories in different eras interact with, and influence each other. As the story progresses, not only does Raj learn a lot about the nuances of modern day relationships, but Zoe also learns a lot from the story in the past.”

About Randeep Hooda, Imtiaz says, “Working with Randeep Hooda in Love Aaj Kal was like working with an absolutely new actor. Randeep is a fantastic actor with many great qualities but the most impressive quality he has is that he completely transforms himself for the role he plays. While working with him as Raj for Love Aaj Kal, I wasn’t even reminded one bit of the actor that I worked so intimately with in Highway as Mahabir Bhati. His passion and dedication to the craft of acting is exemplary and I hope to work with him many times in many different roles.”

Raj and Zoe’s breezy interaction highlights the essence of the film that the expression of love changes with time but the emotion remains the same.

This Valentine’s Day, Jio Studios, Dinesh Vijan & Reliance Entertainment present Love Aaj Kal, a film By Imtiaz Ali. A Window Seat Films & Maddock Films production and Jio Studios Worldwide Release, the film opens worldwide on February 14, 2020.

Onkar Kulkarni (BOMBAY TIMES; February 11, 2020)

Last seen in Baaghi 2 (2018), Randeep Hooda is all set to end his break from movies with director Imtiaz Ali’s Love Aaj Kal. In a chat with BT, the actor talks about working with Imtiaz, the young star cast of the film and missing out on the sports drama, ‘83. Read On...

This is your second film with Imtiaz Ali, after Highway (2014). Was the experience any different this time around? Also, what should the audience expect from your reunion?
It is always a joy to work with Imtiaz, as he is organic in his approach. Talking about Love Aaj Kal, working on this film was a different experience altogether. The environment on the set was more fun, as this is a lighter film. Even Highway had romance, but it was tragic. It showed the complexities in a relationship between two individuals, who belong to different strata of society. But in Love Aaj Kal, they are from the same strata. Also, compared to Highway, I have a lot more dialogues in Love Aaj Kal. Highway was a well-made film, but the shooting process was not enjoyable. My character had a lot of emotions, which he was unable to express. To bring those expressions on screen was taxing. When Imtiaz narrated the script of Love Aaj Kal to me, I liked the concept of love set in two eras — in the 90s and the present times. As far as ‘kal’ is concerned, in the 90s, there was no social media, and people weren’t so casual about physical intimacy. The ‘aaj’, on the other hand, is high on finding love through social media and dating apps.

You have been appreciated for your performance in films like Highway and Sarbjit (2016), among others. While one would expect you to sign more solo-lead projects, most of your outings feature an ensemble cast. Have you ever felt that you have not got your due as an actor?
Well, that has always been the case with me. I was appreciated in Once Upon A Time In Mumbaai (2010), but there was a lull post that. It was the same after Highway, Main Aur Charles (2015) and Sarbjit as well. I am just happy that in my journey as an actor, I got to portray a plethora of characters and work with many talented directors. Every movie has been special for me. After Sarbjit, I felt that I should take my craft a notch higher and signed Battle Of Saragarhi. I immersed myself in it, and did not take up any other projects for the next two years. However, the film didn’t happen and I ended up being on a hiatus. Then, Baaghi 2 happened in 2018 and now, I am back with Love Aaj Kal. In between, I shot for an international project for an OTT platform. I am also currently shooting for Radhe with Salman Khan, with whom I have done films like Kick (2014) and Sultan (2016). As an artiste, I explored my talent, and I am happy about that. However, the one thing that I lost as an actor, and which I am trying to get back, is my vanity (laughs)!

You are often referred to as an actor who goes ‘unnoticed’. Do you think that like most of your contemporaries, you, too, need to go all out on social media, especially when it comes to promoting your work?
I think they call me that because it is hard to make a parody of me. I see people imitating other actors, but maybe, they are unable to pin me down. As far as social media is concerned, there are times when I feel that I need to be more proactive, but at the same time, I strongly believe that your work should speak for itself, rather than you going all out. Having said that, I am active on social media — I put up wildlife pictures on Instagram and address social causes on Twitter. Overall, I want my work to speak for itself and I guess, it has not gone unnoticed to that great an extent.

You have worked with some of the most popular and established names in the industry, including Salman Khan, Ajay Devgn and Aishwarya Rai Bachchan. Compared to them, how was it working with relatively younger actors like Kartik Aaryan and Sara Ali Khan?
It is wonderful to work with a bunch of young actors, as they are high on energy. I like their enthusiasm to learn constantly and their willingness to surrender themselves to the director. In fact, Kartik and Sara were so good that they didn’t seem like newcomers. I had a lot of scenes with Sara, and she is extremely disciplined — she would wake up at 4 am, go to the gym, come on the set, get her hair and make-up done and by the time the camera is ready to roll, she would be ready with her lines. I was really impressed. She would bring healthy food from home, while I would be bingeing on burgers.

Your movie on the Battle Of Saragarhi created a lot of buzz. You grabbed a lot of eyeballs, too, for your look, but the film never released. Likewise, you did a look test for Sanjay Puran Singh’s film on the Indian cricket world cup victory of 1983. You were roped in to play Kapil Dev. The pictures of the look test went viral, but again, that film didn’t work out either...
I had put in a lot of effort for the film based on the Battle of Saragarhi. It is disappointing that all that hard work never reached the audience, and you do feel let down, but what can you do about it? In the end, one has to just pick up the positives and move on. I have imbibed the goodness of the character, and I also got to learn a lot about Sikhism from that project. In terms of ‘83, I would just say that as actors, we sometimes say ‘no’ to projects, but this time, it was the other way around. I wish the team well, and I am sure that it will be a great film to watch.

When Kabir Khan took over the reins of the film from Sanjay, did they get in touch with you?
No, there was no communication with me at all.

Imtiaz Ali says he knows nothing about love; relies on his thoughts and reflections to explore the concept
Prashant Singh (HINDUSTAN TIMES; February 3, 2020)

When he first made people sit up and take notice of his talent in Socha Na Tha (2005) followed by the cult hit, Jab We Met (2007), not many knew that Imtiaz Ali will soon leave an indelible mark in the Hindi film world with his inimitable, deep-rooted take on love. But just when you think of anointing him the ‘master of romance’, Imtiaz leaves you stumped, saying he knows nothing about it. “It’s not as though I am a master at it so I am telling you such stories but it’s more like I’m trying to understand it and movies are getting made,” says Imtiaz, as he readies for the release of Love Aaj Kal (LAK) starring Kartik Aaryan, Sara Ali Khan and Arushi Sharma. Excerpts:

2020 marks 15 years since you have been weaving stories...
Honestly, I don’t look back at my career or the professional life. But I do look back at my life, friends and people, so looking back is personal that way. I am always connected with people from my past. But I don’t try to learn too much from what [work] I did in the past. Maybe, I should (laughs). You work on one film and put all of yourself into it. And then, you kind of move on from there, and not go back. So, in some way, it’s poignant and good too because that way, you clear out the deck for newer things to come in. Else, it’ll be like being in a relationship that you don’t have anymore.

Your first film (Socha Na Tha) had an innate charm that stemmed from the fact that it was very raw, real and innocent. Have you managed to retain that magic?
I don’t think I’m the right person to answer that. And I don’t even know whether I have been able to maintain or conserve the innocence or rawness in my filmmaking. But whatever I do, even now, I don’t try to be more innocent or raw. I think the only way ahead is truthfulness and honesty. I’m a different person from when I made Socha Na Tha, and have learnt many things after that. Now, I have to look at how I perceive things at this stage and depict them beautifully. But my basic tools, fascinations, interests and process, remain the same. Also, since I’ve always written and directed my films, the process has remained intact.

Along with your legion of fans, a section of people also feel that you only make romantic films. How do you react to this?
I feel many emotions at the same time. If it’s said in praise, I feel like telling them, ‘I don’t know about it [love]. Maybe, you know more than I do. And that I am just more interested in it than you are.’ If someone feels I only make romantic films, I also wonder, ‘why that happens (smiles).’ But the fact of the matter is that I can show only those grains that grow in my garden. I just can’t invent or artificially inseminate something. So, most of the times, when such things are said, I try and not get affected by it as I want to enjoy the freedom of the range that I naturally have. I try to be in touch with my ‘real’ self, and not do things in reaction to something.

Coming to your next, Love Aaj Kal [LAK], it seems to have the same concept, pattern as your first Love Aaj Kal. Your take?
See, I’ve never done a remake, part two, a sequel or anything of that sort. So, vis-à-vis LAK, it all started with random conversations that if it was to be made today, it’d be very relevant and you would have a particular kind of guy and a girl. Also, I feel, it came from the fact that in the last 10 years, I’ve seen young people getting into relationships in a totally different — almost in a reverse kind of a process — than it was a decade back or 20 years ago. Yet, what they are looking for and their desire remains absolutely the same.

So, are you saying that your ‘regular’ conversations led you to this film?
Yes, and also, I guess the whole idea of love and relationships have gradually gone through such a dramatic change that I found myself talking about it time and again. I was going to make another film but I spoke so much about it that it started to form like a story in my head. While I was prepping to get into the shoot of the other film, I realised that I already have this story and I’m more excited about it. And plus, this was also more topical. So, I went for it.

Has your idea of love/romance changed, or metamorphosed over the years, or does the core remain the same?
I know that since I often make films about romantic relationships, I’m supposed to be someone who ‘knows everything about love.’ But the fact is that I know nothing. Since I don’t know anything about it and am still engaged with that concept, I’m still trying to understand it, as it remains a mystery to me. And the movies I make are a result of that churning in my mind. I don’t know anything more than anyone else. I do have some images, reflections and thoughts, and I’ve also realised a few things which I can present through stories.

You’ve seen many successes as well as failures. But by now, have you developed any software or hardware to deal with everything?
I think I entered the industry equipped with the software to deal with success and failure, and that’s shamelessness (laughs). It helps me not to ponder much. I always tell myself that I came from Jamshedpur/Delhi since I love making films. That’s what I should do and make them as well as I can since I enjoy that. I hope all my works is successful but if it’s not, then what different you can do. When Jab Harry Met Sejal didn’t do well, I, of course, didn’t enjoy that fact at all. But even if it was a success, I’d still be making the best film that I can. Right?

Talking about Love Aaj Kal [LAK], you chose the ’90s to showcase the past era. Do you feel a special affinity towards the ’90s?
I am at a different age now but when I see 20-year-olds, I think of the times when I was that age. That’s why the ’90s, when I was in my 20s. So, be it getting into relationships for the first time or the gamut of love-related emotions, it all happened to me then. In my case, it was even earlier but the 20s is the age when it happens to most people. So, if a person, who is nearly my age, looks at modern-day relationships thinking of times when he was that young, then the ’90s becomes the right period.

For you, did the ’90s also bring a personal connection?
Yes, because I understand the texture of the romance of that era because I was there. I have seen those things around me, in me. For instance, in our film, a group goes to watch Qayamat Se Qayamat Tak (1988), and that affects their romance. I know that emotion very well and also how people would wear clothes, especially in small towns. So, it’s about familiarity and also a secret desire to see what happens when Dil Deewana [from Maine Pyar Kiya; 1989] plays in a gully. Those things bring a smile to my face. So, I was like, ‘let’s depict it, and pay homage to those great films, which had a great influence on my life.’

Coming to film’s star cast, what made you choose Kartik Aaryan and Sara Ali Khan?
I was initially trying to work out another story. And when I happened to meet Kartik, I discussed that story with him and found him very accessible, someone you can talk to, and he also understands quickly. So, I knew I can work with this guy. And then I spoke to him about Love Aaj Kal. And the same happened with Sara too, who is very talented. I have known her for the longest time, and was very eager to work with her. Now, I realise — especially after watching the film — that they are more suited to this story than the first one. I feel it’s all about signs connecting you to the right direction, where I also wanted to go.

And then, you also have a newbie, Arushi Sharma?
I am very fond of her. We first bumped into Arushi at her engineering college near Shimla, when one of my assistants zeroed in on her for the part of Princess Sanyukta [in Tamasha; 2015]. And she did a great job in that little part. I was enchanted when I saw her for the first time. There’s something very pleasant about her. While working with her, I realised she has an innate, natural ability to act. So, I was looking for a chance to work with her again. When I finished writing LAK, I knew I will look for many girls — everyone out there — but I’ll finally choose her (smiles). Now, when people praise her after the trailer and songs, it kind of vindicates me. I feel relieved and gratified.

You don’t seem to be in a hurry to make your films. For instance, your last one, Jab Harry Met Sejal came in 2017…
Yeh ho jaata hai! I want to make films frequently. But I also write many scripts at one go. The same goes for my films such as Rockstar (2011) and Highway (2014). I made Highway 10 years after I wrote it. This time around too, I wrote four scripts but went with LAK. At times, subconsciously, you want to let a script be for a bit so that it grows organically. Even after Socha Na Tha (2005), I didn’t have work for a long time, so I wrote many scripts. This time too, the same thing happened. Since I have a bank now, I can, hopefully, come up with films sooner as a director. Also, since I’ve a production house now, I can present or produce more films than I direct.

Prashant Singh (HINDUSTAN TIMES; January 22, 2020)

Don’t be surprised if you spot Sajid Nadiadwala at a piano class soon. Well, the filmmaker has all the reason to sign up for one as he is now the proud owner of a classy grand piano, which has been gifted to him by a special person — music maestro A R Rahman.

“Not many know that Sajid and Rahman share a special bond. They first met during the making of Highway (2014) and the former found it a great experience working with the latter. In fact, Sajid, who produced Highway, still remembers that though the story didn’t have much scope for music but it was Rahman’s mastery that the film ended up having a melange of some beautiful tracks,” says an insider. Later, the two also went on to team up on the Ranbir Kapoor and Deepika Padukone-starrer Tamasha (2015).

Coming to the piano, since Sajid loves music and has a great ear for it, he was thrilled when Rahman, unexpectedly, dropped in to his office with a special gift — a classy, bright-red grand piano. “What made things even more special is the fact that Rahman personally came with the gift. It goes without saying that Sajid was extremely thrilled and elated to see him and was touched with such a thoughtful gift. Rahman got the piano especially from the US. It was an emotional moment for Sajid because he is extremely fond of Rahman and also has a lot of respect for him as well as his talent,” says the insider.

Now that he has the piano, Sajid, who is equipped to play the guitar, plans to take the piano lessons as well. When contacted, an ecstatic Sajid told us, “I feel extremely overwhelmed accepting Rahman’s token of love, and respect towards me. I just want to thank him a lot for such a beautiful piano and hopefully, I’ll learn to play it soon.”

Neha Maheshwri (BOMBAY TIMES; November 27, 2019)

Day six of the ongoing International Film Festival of India (IFFI) in Goa got movie enthusiasts hooked to a session on ‘The Contemporary Filmmakers of Different Generations’, which was spearheaded by filmmakers Imtiaz Ali and Rahul Rawail. Just as the moderator kick-started the session, Ali requested to be allowed to interview his co-panelist and thus began an interesting trail of conversation. Right at the start, Ali told us how he ended up on stage. He shared, “We often give interviews, in which we are asked the same questions and we give the same answers, which makes us feel that our life is boring. So, when I got a call from Mr Rahul Rawail asking me to come as a guest to IFFI, I gladly accepted his invite, but had just one request — that I would like to interview him.”

‘WATCHING RAJ KAPOOR AT WORK CHANGED MY OUTLOOK TOWARDS FILMS’
Interestingly, Rawail said that he didn’t want to become a filmmaker to start with. He recalled, “My childhood friend Chintu (Rishi Kapoor) invited me to watch the shoot of a circus sequence in Mera Naam Joker (1970). I was 15 then. I wasn’t interested initially, but then he told me that there will be Russian girls in skimpy clothes (laughs!). On the set, when I saw Raj Kapoor at work for the first time, it changed my outlook towards cinema and I decided to become a filmmaker.”

Talking about the influence of Rawail’s film Arjun (1985) on his life, Ali said, “I remember how my friends stayed over at my house and watched Arjun back-to-back two times on a VCR. After that, we came out on the street, trying to pick a fight with everyone, ki maarte hain kisi ko.”

Rawail recalled, “We struggled for six months to crack the story. Then one day in Khandala, we read an article on the growth of Dawood and Pathan gangs. I was woken up at 3 am by Javed ji (Javed Akhtar is the writer of the film). He called me over to his room, as he wanted to narrate something to me. He had this habit of writing on scraps of paper, including toilet paper. In three hours, he had written an entire script, which was an absolute achievement.”

Praising Ali, Rawail said, “I feel a great connect with Highway (2014), because somewhere, the atmosphere of the hut where they (characters played by Randeep Hooda and Alia Bhatt) lived reminded me of Betaab (1983).” Ali agreed, “Yes, it was shot in the same terrain. There is a place in Pahalgam, called the Betaab valley. The scene in my film was shot a bit ahead of Pahalgam.”

‘THERE HAVE BEEN TIMES WHEN I HAVE GOT THE ANSWER WHILE MAKING A FILM AND NOT WHILE WRITING IT’
The filmmakers also got candid about their inspirations. Rawail explained why most of his male characters displayed a lot of fury. “Those films came at a time when the educated youth was unemployed, and it was a huge problem. Aaj bhi hai, but uss zamaane mein bahut tha,” he said. On his part, Ali said, “The stories that I have written are about things that have not happened directly in my life. But because of imagination and a certain type of sensitivity, I might have felt strongly about it.”

When asked by an audience member if he gets closure while writing or directing, Ali replied, “Sometimes, I don’t understand the difference between writing and direction. There have been times when I have got the answer while making a film and not while writing it. In a way, it’s the question that leads me into making that film or scene. For example, I had this recurring dream of missing a train before I made Jab We Met (2007). A few months after the film, I stopped seeing that dream, so in a way, something was addressed.”

‘IT’S NOT FAIR TO JUDGE A FILM ON THE BASIS OF THE AUDIENCE’S REACTION DURING INTERVAL’
Talking about the perception that networking is necessary to land work, Ali said, “Chahe jitni bhi dosti ho, but kaam jiska achha hota hai kaam ussi ke pass aata hai. In that sense, every filmmaker is selfish; he wants the best actor and director. There are actors like Ranbir Kapoor, who don’t socialise, and he is not on social media either, but is doing pretty well.”

When asked what was plaguing the industry, Ali said, “Business is very myopic. If a film doesn’t work in the first two shows on a Friday, toh iska matlab hai usko utaar do. There are movies that are made with a legacy and love. There are movies that are not like T-20 matches. They can give you a lot of money, but you have to be patient. I feel that that the movie fraternity shouldn’t do business like the stock market. We may perish, but our films will remain. So, that should be kept in mind and it’s not fair to judge a film on the basis of the audience’s reaction during interval.”

Rawail added, “The degradation of cinema is that we are not shooting movies, we are shooting numbers, which is a big crime. People are only bothered about what happens on a Friday, Saturday and Sunday.”

‘WHAT GUARANTEES PROFIT IS THE QUALITY OF THE FILM’
Talking about what makes a film successful, Rawail said, “What guarantees profit is the quality of the film, which according to me is completely dependent on the director.” On his part, Ali said, “Going by the success and failure of my own films, I can tell you that the movie has to be good qualitatively. We need a bit more vision from the fraternity that sells the film. They need to believe in somebody’s vision and story, only then can a director make a good film. Then, there are greater chances of success with or without stars.”

Neha Maheshwri (BOMBAY TIMES; April 9, 2019)

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

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

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

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

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

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

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



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

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

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

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

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

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

Nayandeep Rakshit (DNA; February 12, 2019)

Over the last seven years, Alia Bhatt has emerged as one of the most powerful Gen-Y actors, thanks to her acting prowess and eclectic mix of films. However, despite her stardom, the 25-year-old has ensured that her choices aren’t dictated by the idea of success or failure. We caught up with the talented actress, who discussed her character Safina, in her upcoming release, Gully Boy, and explained how she needs to respond to a film instinctively before giving her nod to it. Excerpts...

You’ve maintained that you want to do a good mix of commercial and content-driven films. Which space does your new film fit in?
It falls in the space of an honest and a good story. For me right now, to pay attention to categorising any of my films would be wrong because I feel times are changing. People are looking at cinema as good or bad and that’s the way it should be. The commerce part of it depends on how much the movie reaches out to people. I don’t think one can decide its commercial outcome before its release. So, Gully Boy is more about somebody’s journey — it has its intensity as well as entertainment because of the music. There’s a real, rooted love story but at the end of it, it’s a journey and once you get in, it can take you anywhere. That’s what I love most about this film.

In Udta Punjab, you played a girl who’s weak initially, but later becomes strong due to the situation around her. But here, you are quite feisty…
The character in Udta Punjab belonged to a much lower social strata. As a person, what I like about Safina is that she’s strong but vulnerable. She has certain insecurities and sensitivity. She’s extremely intelligent because she’s a medical student. She knows exactly what she wants and I connect with that aspect. I’m strong yet sensitive. But I’m definitely more brave than I’m strong. It doesn’t mean that I don’t have fears. I do have them but I’m constantly working on my strengths.

You’ve been instrumental in changing the prototype for newbie actors in the industry...
I think everybody has their own instinctive journey which is carved out for them and works beautifully for them. There’s no fixed way of working at all. If it’s about me giving advice to newcomers, I don’t think they need any of it. Look at the current crop of new actors — whether it’s Janhvi (Kapoor), Sara (Ali Khan), Ishaan (Khatter) or Radhika (Madan) — they are so fabulous. All of them have their own individuality and that’s what makes them special. I wasn’t taken too seriously after my debut film and no one could believe I was doing a Highway. But nobody forced me or told me to steer my career that way. The best thing that happened to me, when I started out, was that I didn’t get too much advice. There may have been something specific about which I lacked knowledge but my mentors looked out for me. Other than that, all my film choices have been dictated by my instincts.

You have tried various genres. While picking a subject, how difficult is it to find something new?
It’s not that just because my movies are doing well and things are going my way, I'm becoming more particular in the way I look at myself. After every film, I try and forget what happened on it, as in why I chose it, etc. I don’t want any of it to cloud my judgment. I want to respond to a film purely on my gut feeling or maybe see if I would pay to watch that film, as an audience. These are the two parameters which I look out for. And if it ticks these boxes, I know I’ll be happy and satisfied with my decision. What becomes harder is not to find something new but to get that feeling within where you have to constantly tell yourself that this is just another project. Suddenly, you have a little more expectation from yourself. But that doesn’t mean that we treat our films lightly. There’s a fine line between the two. It’s just about not worrying too much while making a movie because you have to believe things are going to be okay. And that might get harder each time.

Today, when you are on top of your game, does the idea of success alter your choices?
No, and it shouldn’t. I know it’s difficult but one should try to not look at oneself from a wide shot. You stay within yourself, maybe not even within a close shot (smiles). If I make my decisions on the basis of what I had been all these years, nothing much will change. Of course, success alters certain things — you may feel that there's a beautiful film but you can't do every movie. Sometimes, there are date issues and you might even have to let go of a few movies even though your heart is in them. Those changes are new. But other than that, every decision you take or every film you do is because you feel at that point, it was the right thing to do.

Have you ever felt hesitant to go to a set and work?
Yes, that happened to me during the shoot of Udta Punjab. I used to be so sad that I would sit in a room alone and wouldn’t want to go. The milieu and setting of the film was disturbing because the story we were trying to tell was such. I would wait for pack-up so that I could go back home. That’s normal because you're human and sometimes, you just don’t feel particularly excited about having such kind of an experience.

Your ads with Ranveer Singh were funny. But this film is quite different. Was it difficult to switch on and off during the shoot?
This was also fun, but in a different way. It was interesting because even on set, when we had our characters in hand, we stayed within that. We didn’t fuss about it too much. Both of us would be quiet and talk every now and then between shots. But as two actors, there was a solid give and take, which worked well for our respective characters. Hopefully, people will feel that connection when they see the two of us together on screen. We have shown a real relationship. And for that to come across, both of us had to feel it. Ranveer and I are mad enough to get lost in a shot and believe that we are Murad and Safina.

It seems Zoya has moved away from her comfort zone with Gully Boy. What was your reaction to it?
Honestly, she has written the story and no matter how much we call it out of her comfort zone, it's still Zoya who's made the film. So you will see a lot of her when you see Gully Boy. It's a story and a world that she's taking you into. And that's her forte. Before you realise, you are already in it. You would think you are watching someone’s life come alive on screen and not look at it as just a film. Once it's over, you will feel you can watch it for another hour. That’s the ability Zoya has, as a filmmaker. Also because she’s a fabulous writer, she can create these worlds beautifully and it was just an organic process for us actors to get into it.

As he brings another timeless romance, Laila Majnu, to theatres, Imtiaz Ali on how he'd rather create a legacy with his work than be part of the rat race
Mohar Basu (MID-DAY; August 12, 2018)

When you've said almost everything about love in your last eight films, is it difficult to find uniqueness in a concept?
I don't approach a story based on the concept of love. I love the idea of telling stories about men, women and their relationships. People are unique and that makes it interesting for me. I don't start thinking that I am making a 'love story'. I have a lifelong interaction with my movies and choose to showcase the experiences well that keep the audience entertained for three hours. I am a greedy filmmaker, hunting for stories to satiate my greed. I don't uphold the genres I am said to be known for.

But ultimately, they are all love stories.
I don't deny that they are, because that's what they are categorised as eventually. However, these categories are defined by people. The audience finds what they are looking for and what is missing from their lives, in my movies. Filmmakers are categorised by their abilities. If my films explore the relationship between a man and woman, someone else's beat revolves around a man's relationship with guns. When Yash ji [Chopra] started making films, he introduced the concept of the angry man with Waqt (1965). In the latter half of his career, he made movies like Dil Toh Pagal Hai and was hailed as King of Romance. Who knows what I will be known for (smiles)?

What about Laila Majnu's story compelled you to write it?
There is divinity and an eternal quality in stories that never end. To understand that is essential in improving my craft. I was reading an anthology on great love stories and my focus was on Heer Ranjha, especially because I was making (2011) at the time. Laila-Majnu has a philosophical stature, like Sufi saints, which hooked me. I wrote about 35 scenes and 10 years later, people who read it thought it could be made into a film.

Is it easy to part with a script that you have written?
I never intended to direct this. Usually, I write scripts with the intention of directing it, otherwise, I hate writing. But once a story is given away, like Cocktail (2012) and Ahista Ahista (2006), I let go. I make no bones about the treatment of a story once I've handed it over to someone else. I don't grudge Homi [Adajania] for Cocktail; once it is someone else's baby, it is easy.

Are you critical of the films they make?
I am critical, but only as much as I am of my own work. I am aware of the mistakes in Cocktail, that happened because of me, as well. Work in this industry is collaborative; at any time, over 150 people are involved in making a film. An Imtiaz Ali film is a product of many people; movies are never a one-man show. All my films could have been better and I can list scenes which could have been shot differently. It's a curse I live with because unlike other industries, the work we do here exists for eternity.

Since you are critical of your own work, can you deduce why Jab Harry Met Sejal was panned so brutally?
It's difficult to say what it deserved. I don't think it's a bad movie and won't shoot it down as a mistake. I have worked hard on that film, like all my other projects. I know what went wrong with that film. Had I done few things differently, it would have turned out better. As far as criticism goes, people will say things, but you have to believe in what you are making and stand by it. I've got contrasting views on Tamasha (2015). Some hailed as a masterpiece and some called it boring as sh** on the same day. They will always try to convince you that their feeling is the universal truth.

When you move forward from a commercially unsuccessful film, are you cautious about your next?
There are no guidelines on what would work and what wouldn't. I am a clean slate when I sit down to write. Stories last a lifetime; box office calculations are transient. I don't operate from a mindset that movies are made for cashing out. I don't know what Sholay (1975) or Andaz Apna Apna (1994) earned but I want to give the audience what these movies gave me. I am creating a legacy.

Have you managed to create a trademark legacy?
I haven't made a legacy, but I am in the process of creating and producing what I wish to. I believe in the power of movies. Market respects talent and creativity, but creativity doesn't necessarily have to respect the market. Making something like Baahubali is beyond my purview.

Do you have a favourite in your filmography?
I can pick a thousand reasons why none of my films are my favourites. But as passionate experiences, I'd pick Highway (2014) and Rockstar.

What is next in the pipeline?
I am writing four stories, will figure out what I want to make next at a later stage. I will be producing these and hence won't be under pressure to stick to time frames. I have had these stories for a long time, and each film will have its own destiny. Right now, I am in the hatching period. I can't be compelled to be part of the industry's rat race.