Emergency could well be among Kangana Ranaut’s definitive films. It not only sees her wield the directorial baton after she co-directed Manikarnika: The Queen of Jhansi (2019), but also holds the potential to be her most memorable role. What made her tell the story of late Prime Minister of India, Indira Gandhi? Was it the allure of essaying one of the most formidable figures in Indian politics? Or the desire to decode the darkest chapter of Gandhi’s political career?

The actor-director says, “I didn’t begin with the intention of making a movie on it. Since I am a socially and politically-aware person, I started reading about the Emergency. Apart from Coomi Kapoor’s book [The Emergency: A Personal History], I read Mrs Gandhi’s autobiography. Her guru Jiddu Krishnamurti had told her to stop the Emergency and she told him, ‘I feel I’m riding a beast, which I loved riding initially, but now I can’t get off it.’ This gave me an insight into somebody who had a conscience. Mrs Gandhi’s life was such a beautiful Shakespearean tragedy. There is a throne, a person destined to be the queen, her opponents, and her internal battle with her conscience.”

Ranaut’s position as a Bharatiya Janta Party member has also coloured people’s perception of the biopic. Many feel that she may have projected Gandhi in a negative light. Broach this subject, and she says, “What is it like to love your country and be loved back? That thought took over my existence. It reached a point where I was sure that I’d make the film, even if I have to sell my house to do it. I’ve been judged so much that I’m fed up. This film will be a tight slap on all those faces, who think I’ve projected her in a negative way! They didn’t even give my film a chance. It’s a week away, at least watch it [before forming your judgment].”

With the biopic, Ranaut believes she has shown Gandhi’s different facets—as a woman, a mother, and a politician. “Mrs Gandhi loved her son [Sanjay Gandhi] so deeply and then lost him! As the character, it was one of the most difficult things for me to come to terms with. Her life had so much pain, trauma and drama. I was keen to make this film because people don’t know those aspects of her.”

Directing the film, she admits, was an intense job. “My revenue took a hit. As an actor, I can do three films in a year, but as a writer-director, I can only do one film in three years. Then you’re selling your own things to pay for the film. So, I will take some time before I direct again. Selling the movie was a challenge. The protagonist is in her 60s, and everybody in the movie is wearing khadi kurta pyjamas, but luckily Zee Studios stepped in.”

Nailing the look is among the many critical steps when making a biopic. It becomes all the more important when you’re telling the story of the former Prime Minister of India, Indira Gandhi. Sheetal Sharma, who serves as Emergency’s costume designer, says staying true to the subject was actor-director Kangana Ranaut’s top priority.

“Kangana [found] references from archival videos of Mrs Gandhi’s speeches, newspaper articles, and albums from the Parliament,” he starts.

The film, also starring Anupam Kher as Jayaprakash Narayan and Shreyas Talpade as Atal Bihari Vajpayee, spans from the ’60s to the ’80s, with an emphasis on how Gandhi declared the Emergency in 1975. Ranaut’s brief was simple—the audience should be convinced that she is a spitting image of the late PM.

Sharma says, “In The Crown, [Elizabeth Debicki] looked and behaved almost like Lady Diana. Kangana too wanted to look like Indira Gandhi down to the minutest details—her clothes, prints, fabric, and glasses. We replicated what she wore during the Shimla Agreement signing, or when taking the oath as the PM. We also [incorporated] the way she draped her shawl, wore French chiffon sarees and khadi blouses, and her famous hairstyle.”

For certain looks, the stylist hired weavers to weave the sarees from scratch, as per the fabrics and prints of the original.

“The saree that she wore when she was killed is in Indira Gandhi Memorial Museum, Delhi. We took pictures and replicated it. She wore a stunning white silk saree at Sanjay Gandhi’s wedding. Kangana made sure the other characters also looked exactly like the real [politicians].”

It was the year 1980. Yakub Sayed, then assistant director at Mumbai Doordarshan, now called DD Sahyadri, received a phone call. It was to inform him that actress Nargis Dutt, who was in New York for medical treatment after being diagnosed with pancreatic cancer, had passed away. He informed his director, and a call was made to the I&B Ministry, which then connected with the Prime Minister’s office.

“We were informed that PM Indira Gandhi is on her way to Bombay and somebody should go to the airport to let her know the news. I was given this task. I went along with my cameraman. Just as she [PM Gandhi] began descending the airstair, I asked the cameraman to start shooting. When I informed Mrs Gandhi, she said that she was deeply saddened at the news. But it was a small reaction. To get more, I decided to pay a visit to Dev Anand’s office, which was in the vicinity. After I had broken the news to him, he offered us a long byte. To make it a whole package, I decided to pay a visit to Sunil Dutt’s home, hoping to get a reaction from the househelps and drivers. But once I reached there, I saw Sanjay Dutt having tea with his friends, laughing. I asked the cameraman to stay put and decided to ask him about his mother and he said, she is doing better,” Sayed tells mid-day between laughs. 

By the time he had reached DD’s Worli office, everyone had heard what had happened. “I behaved like I didn’t know. They told me I must pay Mrs Gandhi a visit and confess the blunder because she had already offered her condolences at a meeting that day. I refused, saying, I would rather resign than tell her that… she was known to have a temper. Someone else was given the task and I am sure a few people lost their jobs that day.”

A year later, when a call came saying Nargis Dutt had passed away, Sayed took a taxi and went to Breach Candy Hospital where she was admitted. It was only after he saw a crowd of mourners that he was convinced that the news was in fact, true. “But, it was a Sunday. So, everyone was on chhutti. I went to her brother Anwar Hussain asking if he had the reel of her last film, Raat Aur Din. He had the negatives. I got them developed, and that’s what we aired that evening,” recalls Sayed, now 88. “The viewers, I heard, loved that telecast.”

Mumbai Doordarshan completed 50 years last Sunday. Sayed, who was present at the ceremony held at its Worli studio, served the public service broadcaster from 1972 to his retirement in 1992, when he left as director of Doordarshan Kolkata, or DD Bangla.

We met him on a weekday afternoon in Bhiwandi where he put up for the day in an ancestral home that belongs to his daughter and son-in-law. “I moved here from Kurla because my daughter thinks I am too old to live by myself,” he says.

Over the next hour, Sayed takes us on a journey through the initial years of Mumbai Doordarshan, sharing anecdotes that shaped his life. This, however, wasn’t his first job. After a Master’s in Arts degree from Pune University, Sayed bagged a job at All India Radio. “It was after working there for a decade that I was told I have been selected for television and would have to undergo a six-month training at FTII [Film and Television Institute of India],” he says, of the broadcaster when it had just about 100 employees.  

“Since Bombay was catering to the Marathi-speaking population, about 80 per cent of our content was in Marathi. The most popular among this were the Marathi plays. On Saturday, we would show a 2.5 hour-long play which enjoyed better viewership than films; Maharashtrians love their theatre.”

Sayed directed and produced 180 plays himself, including the popular Dinucha Sasubai and Radhabai, Shyamchi Aai, Sharda, Naukri and Piano. “In fact, during the broadcast of Piano—a love story where a female piano player plans to elope with her lover after a performance but cannot—I got a call from Raj Kapoor asking about the actress. He asked me to send her to his office and she was offered the role of heroine in his film; she however, refused saying she was to get married. The film was Prem Rog; the role eventually went to Padmini Kolhapure.”

Another play that Sayed worked on, Beimaan, the story of two friends, was also turned into a film. “Hrishikesh Mukherjee made it into Namak Haraam in 1973 starring Rajesh Khanna and Amitabh Bachchan.”

Besides theatre, Sayed says shows that enjoyed large audience include a children’s shows called Khilbil; a light entertainment programme Garba that focussed on small skits; Aamchi Maati Aamchi Manasa which tackled challenges faced by farmers; a show revolving around home called Sundar Maze Ghar; a comedy called Has Parihas and a chat show featuring the legendary Tabassum, Phool Khile Hain Gulshan Gulshan.

“Tabassum’s Phool Khile Gulshan Gulshan [which aired until 1993] was then what Koffee With Karan is today. She interviewed top actors and musicians show from Prem Nath to Amitabh Bachchan, RD Burman, Shatrughan Sinha and Ashok Kumar, some even multiple times… only Raj Kapoor and Dilip Kumar refused saying they aren’t comfortable being interviewed by someone who was younger to them,” Sayed recalls.

For one of the shows, he turned actor, bringing him public fame. “In one of the meetings, we discussed the need for a comedy programme. The arrow pointed at me. I thought everybody who picks up newspapers does read a joke, why not enact them on television? The show was called Has Parihas. It began in 1973 and became very famous… Mahmood, Jeetendra, Daboo [Randhir Kapoor], everybody came on the show. Lata [Mangeshkar] would also request for jokes… It gave me a lot of fame,” he says, adding, “You know who was my biggest fan? Morarji Desai. He once asked me to meet him, saying he always calls for my tapes and watches them. He even asked why the show was shut down.” After airing for three years, the show stopped after his co-actor on the show Baban Prabhu passed away.

Interestingly, television was still in a nascent stage and those who had TV set at home struggled with its operation. “Once I got a call from a minister, asking me to come over to his residence. Because he was an important man, I dropped everything and went across. He told me his TV was not working. I was no engineer. I asked his staffer to go to the roof and continue to gently move the antenna till I asked him to stop. When it was adjusted enough to sit parallel to the TV, the set came on.” In return as a goodwill gesture, the politico agreed to come on Kilbil as guest.  

But Sayed’s favourite story is from the inaugural day of Mumbai Doordarshan—October 2, 1972. “At around 6 pm, we realised that the hustle-bustle that should have marked the arrival of the chief minister was missing. On calling his secretary, we were told that his diary had a wrong date entry. The event that should have started at 6.30 pm was delayed; this irked Bismillah Khan [shehnai maestro], who had to miss his evening namaz. Then a cup broke in the green room and hurt Asha Parekh’s foot and she started to bleed. I went downstairs to find a doctor. To top it all, we ran the programme live but forgot to record it. DD Mumbai does not have a recording of its debut broadcast.”

Yakub Sayed with actress and television host Tabassum whose chat show Phool Khile Gulshan Gulshan was very popular and saw the presence of every prominent actor and musician

Yakub Sayed with popular Marathi actress Neena Kulkarni, who began her career in the 1970s with theatre

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Yakub Sayed and his co-actor on the show Has Parihas, Baban Prabhu with Amjad Khan

Himesh Mankad (MUMBAI MIRROR; July 14, 2020)

Mirror (June 20) was the first to report that writer-director Ali Abbas Zafar is gearing up to create a superhero universe, to kick off with a woman-centric fantasy-adventure led by Katrina Kaif. This will be followed by Mr India, with the next two films set against the backdrop of mythology and the army. The filmmaker is in Dehradun, prepping up to kick off this ambitious franchise while brainstorming on the best possible way to release his first production, the Ishaan Khatter and Ananya Panday-starrer Khaali Peeli, in the midst of a pandemic.

Ali had also completed the script for another production, set against the backdrop of 1984 riots, triggered by the assassination of the late Prime Minister Indira Gandhi on October 31, 1984, by two of her Sikh bodyguards.

“Ali has always been attracted to Indian history; both Gunday and Bharat grew from the past. He has wanted to make a film around the ’84 riots for a while and has finally found a subject that has him charged up. Besides producing the period-drama, he is creatively involved with the script,” informed a source, adding that the 38-year-old filmmaker is in talks with Diljit Dosanjh to play the lead. “Ali and the team believe he is best suited to play the role and will bring in local flavour too. Diljit has agreed verbally, with a final narration scheduled in a few months. The idea is to roll as soon as normalcy returns.”

Incidentally, Diljit has acted in a Punjabi film, Punjab 1984, based on ’84 riots, directed by Anurag Singh. It bagged the Best Feature Film in Punjabi at the 62nd National Film Awards. “Diljit is excited to revisit that tumultuous time in Bollywood,” adds the source. The yet-untitled film will mark the directorial debut of one of Ali’s assistants.

With many films opting for a digital release, rumours suggest that Khaali Peeli might go the OTT way, too. The source insists that Ali and his studio partner, Zee Studios, are keen on a theatrical release and willing to hold on to the film for a few months. “It’s an out-and-out commercial entertainer, meant to be viewed on the big screen. The team is wrapping up post-production, after which they will study the situation before taking a call. If cinema halls open and register occupancy, Khaali Peeli will be among the first films to arrive,” the source signed off.

Filmmaker Ananth Mahadevan’s soon-to-be-published book, Once Upon A Prime, takes us through milestone shows of Indian TV
MUMBAI MIRROR (April 29, 2020)



How Kishore came to sing for Yeh Jo Hai Zindagi
The title refrain of Yeh Jo Hai Zindagi is still high on the television memory charts. When pop star Ajit Singh composed it, S S Oberoi blew a bugle, “lets get Kishore Kumar to sing it!” Kumar, the maverick actor-singer-composer, had not stepped out of the movie circuit before. In his legendary style, without batting an eyelid, he rattled off a figure of 18,000 rupees, the fees he charged for a film song. Oberoi didn’t blink either. He could see the song playing on television every week. Over 52 episodes it would amortize to less than 4,000 rupees a week. And so, Kishore Kumar sang for television.



When Colonel Kapoor ran behind ‘Fauji’ Shah Rukh Khan with a stone
He (Director Colonel Raj Kumar Kapoor) first ran into the 23-year-old lad named Shah Rukh Khan at Gulmohar Park in New Delhi. Kapoor’s brother-in-law auditioned him along with a bunch of others, and let them loose on the training ground. The Colonel put them through a grind unfamiliar to them. Not surprisingly three of them dropped out with a curt “we haven’t come here to join the army”. Only Khan kept up with Kapoor.

It ended in a sparring match with both donning boxing gloves. “I goaded him to hit me and he finally did. I could sense his aggressive nature. It was a presence that the camera loved. My Abhimanyu Rai was born, though honestly, I hadn’t penciled him in for the part. He was a bit of a bum though, turning up late for shoots. Once I ran behind him with a stone and that put an end to his punctuality ills.”

The other ‘bums’ weren’t a piece of cake either. The Colonel had recruited a barber on the set to clip their Samson locks. Yet the cadets continued to sport long hair. “I later discovered that they were bribing the barber,” he says. Corruption had seeped into the ‘army’, courtesy the civilians.



Govind Nihalani asked Indira Gandhi for government support for Tamas
Tamas lay untouched in Nihalani’s (director Govind Nihalani) room for more than a week. He preferred to read it when he had sufficient time out from filming. When he did get down to reading it, every sentence struck him not as words, but images. Something told him ‘this is it’. He decided that he wanted to do it, but didn’t have a clue how to go about it.

It was around that time that Nihalani’s searing human drama, his first film, Aakrosh (The Cry of the Wounded) was selected in the Indian Panorama section of the International Film Festival of India, held that year in Delhi. The directors of the films screened were invited for a tête-à-tête with then Prime Minister Indira Gandhi. An evening with Gandhi, however, turned into a rationed two minutes with each person.

Nihalani who was deeply under the influence of the book came straight to the point. “Madam, if a serious film were to be made on the Partition, would the government extend support?” “What do you mean by government support?” she enquired.” “The National Film Development Corporation, for instance. Regular producers do not fund this kind of film.” Gandhi instantly asked him when he wanted to make it. “It is a sensitive film. It will all depend on the political situation at that time.”

Nihalani realised that her sharp mind had taken cognizance of the Hindu-Muslim elements in the story. The communalism in the film and the country would not be without repercussions. “I realised I was sitting on a potent subject. I was certain as hell that I wanted to make the film.”

Why the Big B was apprehensive about KBC
Amitabh Bachchan’s participation in (Kaun Banega Crorepati) evoked the expected skepticism. I was privy to groups turning into all-knowing prophets of doom: “What works in formula films will not work on TV”, “Imagine diminishing his status to that of a television host”, “Did he need this at this stage of his career?”… Strangely, Bachchan himself echoed some of the sentiments “Yes, I was most apprehensive about the idea of going on to the ‘small screen’, as were most of my family members. I felt that the uncertainty of my ability to pull off something like this, was weighing more than the actual danger of reducing my size from 70mm to 21 inches. But as is with most pioneering efforts, since there were no yardsticks or examples to use for reference, I merely took the decision, and the plunge. I have never thought of myself as being in possession of any stature or for that matter being some kind of a star. I looked upon this as another job to be done and that is how I approached Kaun Banega Crorepati.”

Actor, who plays former cricketer-commentator in Kabir Khan’s sports drama featuring Ranveer Singh, on spending time with him
Himesh Mankad (MUMBAI MIRROR; August 27, 2019)

Mirror was the first to report (May 17) that Kabir Khan’s Kapil Dev biopic, ’83, featuring Ranveer Singh as the protagonist and his actress-wife Deepika Padukone as the former skipper’s better half, Romi, will go on the floors on June 5 in London. Now, we have learnt that Boman Irani has joined the ensemble cast of the film, which includes Pankaj Tripathi, Tahir Raj Bhasin, Saqib Saleem, Ammy Virk, Chirag Patil, Jiiva and Harrdy Sandhu.

The actor, who plays legendary former opening batsman and wicket-keeper, Farokh Engineer, in the film, informs from London, “He was the only Indian commentator during the 1983 World Cup. His story, along with co-commentator Brian Johnston’s, runs parallel to the main narrative.” During the historic World Cup final between India and West Indies, Johnston had jokingly asked Engineer if the then Prime Minister, Indira Gandhi, would declare a public holiday if India wins, to which his Indian counterpart had quipped, “She is an avid listener of the show, and would declare a public holiday just hearing this.” Turned out, Engineer’s prediction came true.

Boman joined the team at the Lord’s cricket ground on Sunday. “I will be shooting for a couple of days here, and then join the team in Mumbai. It’s a great honour to play this legendary character,” the actor beams. Ask him if he has met Engineer as a part of his prep, and he reveals, “I went to Manchester during the World Cup this year and stayed with him for a few days. We even watched the India versus Pakistan match together. It was so surreal; like meeting your boyhood hero. I stayed at his house and we had some good laughs while trying to understand the man for the role.”

The actor also opened up about what drew him to the film, produced by Sajid Nadiadwala, Reliance Entertainment and Madhu Mantena, in which he represents India from the commentator’s box. “Kabir called me a few months ago and offered me this role. Instinctively, I replied, ‘If you give this role to someone else, we’ll not be friends anymore.’ I’m here now, shooting,” Boman shares.

Putting on make-up and prosthetics to transform into Farokh Engineer for the big screen was memorable as well. “While I was getting into make-up, I called Engineer to thank him for the honour of portraying him. The ’83 World Cup is a big part of our lives, not just as cricket lovers, but as Indians,” the actor signs off.

Vidya Balan busting the myths around girl bonding in Bollywood, the shelf life of actresses and why her career isn't a chore for her
Mohar Basu (MID-DAY; August 18, 2019)

We meet Vidya Balan on the last day of Mission Mangal promotions. Dressed in finery after swiftly wrapping up last-minute work, she settles in her sea-facing room at a suburban five-star. "During Kahaani (2012), I made a personal record of 58 interviews in a day. This feels a lot a lighter," she starts off. Feet up, sinking inside a quilt, a visibly exhausted Balan retains her affable smile as we chat about the shifting definition of a female actor, the reason behind her long gaps, the myth of female catfights and the long wait up to her passion project—the Indira Gandhi biopic.

Edited excerpts from the interview.

It's been a year and half since Tumhari Sulu (2017). Why did you take such a long gap?
I did three films back to back [Kahaani 2, Begum Jaan, Tumhari Sulu] and after that I didn't want to jump into another one immediately. I loved Mission Mangal which is why I took it up. I need time to rejuvenate after gruelling work and family time is sacrosanct; I prefer to take things at my own pace. There have been instances in the past when I have gone on set and said, "Pack up kab hai?" That's a red flag for me. My work cannot become a chore. I am not here to churn films, neither am I in any tearing hurry to get anywhere. I am here for a lifetime.

But the common assumption is that actors have a shelf life.
Actors don't have a shelf life, stars do. Being in the public eye and living under constant scrutiny can get daunting and draining after a while. By design, that is changing because the fabric of movies and audience is changing. Hence the concentration is on becoming a better actor [with each film], not a star. My 'care-a-damn' attitude works and it is the only way I know [how to survive], which is why I am here [in Bollywood] for as long as I want to.

In a cast full of women, all stars in their own right, how regular were the catfights?
(Laughs) That's a cliché. People believe when female actors work together, tensions and insecurities run high. However, in my experience, that is hogwash. I did Begum Jaan with an ensemble female cast [and there were no catfights]. It's even more creditable here because each of us—Taapsee (Pannu), Nithya (Menen), Sonakshi (Sinha), Kirti (Kulhari)—are stars in our own right. We were secure and it was a joyous experience to work together. High time we made a girls' road trip film in India. The cliché [about catfights] was probably true in the past, but women stand together today.

Being the primary lead in the film, doesn't it bother you that Akshay Kumar's face is more prominent on the poster?
[The emotion is] far from it. If Mission Mangal does well, we will all gain from it. Having his face [on the poster], guarantees more footfall in the theatres; and I have no qualms using his stardom. In the films I headline, I am prominent on the poster. We all have prominent roles, but when there is a star like Akshay Kumar, it makes sense. I know the film I signed up for and I am okay with whatever they do to market it. My experience helps me see things in perspective.

Last November, filmmaker Radha Bharadwaj reached out to mid-day about a legal suit she filed on you for passing her film idea (similar to Mission Mangal) to R Balki.
And we won the case. Although I never met Radha, her script came to me through my agent, Bling [Entertainment]. I was offered four films on the same subject. One script that Atul Kasbekar wanted to produce was still at the ideation stage; and there was nothing for me to do in it. Ronnie Screwvala had a similar script with two character options—a 22-year-old and a 55-year-old—I declined it because I fit neither. Each of the scripts gave me the feeling of something missing. Mission Mangal scripted beautiful personal lives for each scientist, the science was simplified, the mission was detailed and I loved it. I was on board as soon as I finished reading. Having spent 15 years in the business, I respect everyone who comes to me and I pride myself for my integrity. Not once have I shared another person's idea with another filmmaker. I am happy truth prevailed.

Did you feel targeted because you are a star?
We are definitely scrutinised more. I felt it was unfair to me, considering I never announce my own films. It always comes from a director or producer. I was taken aback when it happened and that too on the first day of our shoot. Last one month, the pressure increased because Radha wanted clarity before our film's release. I can empathise with that, especially for someone who has worked on a script for long. The information is on public domain and there is no limit on how many films can be made on the same subject, like the Bhagat Singh biopics that all happened at the same time.

What is next in the pipeline?
I start prep for the Shakuntala Devi biopic soon. The Indira Gandhi biopic [based on author-journalist Sagarika Ghose's book Indira: India's Most Powerful Prime Minister] will take more time to be structurally drafted and Ritesh Batra is working hard on it. The web series is a mammoth amount of work. It is a passion project.

Are you involved in the writing process of the series?
I don't have the talent, bandwidth or discipline for it [writing]. I respond better to what is being written. May be by year-end, once the material is ready, we could start discussions. It may also take another two years, but it's worth the wait. Sometimes, I worry that it's taking too long, but then, I don't have to go anywhere. Good things require patient brewing.

Any plans to venture into production someday?
No. Ronnie offered me the producer credit [for Natkhat] because there is no money in short films. Siddharth [Roy Kapur, husband] is a producer. Honestly, I am living my only dream of being an actor. Producers have plenty to handle, and I am clear, I want to be on the other side, being handled (laughs).

Vidya Balan on her early struggles as an actress and how it helped forge a bond with her screen alter ego in her next, based on the Mars Orbiter mission
Roshmila Bhattacharya (MUMBAI MIRROR; August 12, 2019)

Today, who doesn’t know Vidya Balan. She is the lovelorn Lolita of Parineeta, the desi siren of Ishqiya, The Dirty Picture’s unabashed Silk, the surprise twist of Kahaani and housewife-next-door of Tumhari Sulu with a call-in-the-night radio show. And these are just some of her screen turns which have made the National Award-winning actress a household name. But there was a time when her aspirations made her cry.

“Coming from a non-filmi family I had no idea how to go about becoming an actress, yet I wanted to be one. It worried my family, though they have always supported me. It must have come as a relief to them when my first TV show, La Bella, shut down after a few months. They must have thought, ‘Chalo, abhi to bhoot utar jayega,’” she reminisces.

But Vidya continued to chase after her celluloid pipedream, despite friends telling her she needed to her studies or at least a back-up plan in plac She did enroll for her Masters to keep herself occupied after some of the offers she had been banking on fizzled out. “It was three years of constant rejections from down South and there were days when I would go to sleep in tears. But next morning, I and smiling, hop something good would happen, and Parineeta did,” she smiles. Perhaps it was her real-life struggle, along with the fact that in the last decade she has spearheaded many films which can get frustrating when things are not going right, that helped Vidya forge an instant connection with Tara Shinde, her character in the upcoming Mission Mangal. The Independence Day-release is inspired by India’s Mars Orbiter Mission which had once seemed like an impossible dream too. “But even when the challenges seem insurmountable, Tara refuses to give up,” says Vidya, pointing to the similarities between herself and her screen alter ego.

You wonder if as a child she had wanted to be an astronaut and reach for the stars, and she laughs, “The closest I have come to that is being on the sets of this film. In fact, I was nervous about spouting all the technical jargon because these concepts were so alien to me. I spent hours reading and watching the videos Jagan (Shakti, director) had given me for my prep.”

Her journey with co-star Akshay Kumar goes back to 2007, Heyy Babyy and Bhool Bhulaiyaa. How much has he changed in the years since, you wonder, and Vidya admits she was thinking the same thing before they started shooting. “But I quickly discovered that the madness is intact, while interestingly, Akshay has reinvented himself as an actor, exploring different genres, moving from action and comedy to socially relevant subjects which he feels strongly about. Which is perhaps why these films are working for him,” Vidya reasons. And for her, how different was it moving from a woman centric film to a women centric one? Vidya is quick to correct you, pointing out that both genders contributed equally to the Mars mission, though the five women, played by her, Taapsee Pannu, Sonakshi Sinha, Nithya Menen and Kirti Kulhari, have a significant role to play in this narrative. “Personally, I like all the girls and the work they are doing. All of us in our own ways are trying to push the envelope and do something interesting,” she avers.

Next up for her is the Shakuntala Devi biopic which kicks soon. Vidya admits that since it was reported that she is doing the film, several people, including her Kahaani director, Sujoy Ghosh, have told her that they had met the mathematician, and all of them have an interesting story to tell about the ‘human computer’. “For me, Shakuntala Devi was just a photograph in the newspapers—her head slightly tilted, a smile playing on her lips and a bindi dotting her forehead. Since I am a South Indian, academics come easily to me, still when I heard the narration, I was left gobsmacked!” she exclaims. Prod her on what impressed her the most, and she says, “She wasn’t only about numbers, she had a wicked sense of humour too.”

There was a time when Vidya was offered as many as eight biopics, but apart from the one on M S Subbulakshmi, which has hit a roadblock, she steered clear of the rest. “It’s not enough to just make a film on an imposing personality. The person should have a story to tell too,” she explains, sighing over the fact that she’d been approached for a Meena Kumari biopic soon after The Dirty Picture, and since their trajectories were similar, she’d turned it down. “Since then no one else has come forward, but I’d still love to play my favourite actress on screen.”

For now, she is working towards resurrecting our former Prime Minister Indira Gandhi on screen, after having bought the rights to Sagarika Ghose’s book, Indira—India’s Most Powerful Prime Minister. “The project is not likely to take off soon, it needs a lot of work. The material is vast, Ronnie Screwvala is helping me figure out what we want to tell,” Vidya informs.

The high for now is that after several misses in the early stages of her career, she has just featured in her first Tamil film, the remake of Shoojit Sircar’s Pink. “I worshipped Sridevi as an actress and for the love I have for her and my affection for Boney Kapoor (who produced the film), I agreed to a special appearance,” she points out, as she gets ready to blast off into space with another mission impossible. 

BT captures an interaction between the actor, his wife Aaliya — the brain behind the film — and Teejan Bai, who recalls her journey and the storms she had to brave
Renuka Vyavahare (BOMBAY TIMES; February 11, 2019)

It’s raining biopics in Bollywood and there’s one more in the making. BT has exclusively learnt that Nawazuddin and wife Aaliya Siddiqui are set to make a film on Chhattisgarh’s legendary folk artiste, Padma Vibhushan awardee Teejan Bai. The veteran artiste is the greatest exponent of Pandvani (Pandavon ki katha in Chhattisgarhi language), a traditional performing art form involving narration of tales from the Mahabharata.

Nawaz has been a huge admirer of Teejan Bai’s work since his early days as a theatre actor and has seen her perform live.

However, the thought of making a film on her was Aaliya’s, who will soon make a foray into cinema as a producer with a film helmed by Sai Kabir. The Teejan bai biopic will be her second outing as a producer. While the film is still being scripted, BT was the first to catch up with Nawaz, Aaliya and Teejan Bai in Mumbai. It was also the first time that the three were coming together for a discussion. Excerpts from a tête-à-tête with the trio...

As we entered the room of a suburban five-star hotel in Mumbai, Teejan Bai welcomed us with a warm namaste and expressed gratitude to Aaliya and Nawaz for dedicating a film to her. Though she isn’t too acquainted with the current crop of actors, she acknowledged Nawaz’s work and told us that she is aware of him as an actor. She even recalled her meeting with director Imtiaz Ali (during Tamasha, 2015) and said, “Itney bade director hamare ghar aaye, hamare saath khaana khaaya. Woh Tamasha bana rahey the tab. He spent almost four hours in my village. I showed him around.”

Explaining why she chose to make a film on Teejan, Aaliya explained, “I’ve always wanted to make a film on amma (Teejan Bai). Even at this age, she performs on stage for hours and doesn’t forget a single word. She fought the norms created by the society, at a time when women barely had the right to speak up and that’s admirable. I would love to see Amitabh Bachchan sir playing the role of her nana, as in reality, her grandfather played an integral part in her life and career. Interestingly, we discovered that Amitabh ji’s legendary father Harivanshrai Bachchan was also an admirer of Teejan ji. Amitji had also invited amma to his home on his birthday.”

Teejan was accompanied by her assistant, who helped us communicate with her better. He innocently pointed out that she barely remembers her age. While she says she is 63, she could be well in her 70s, but can still perform on stage for over an hour at a stretch. She cut in, “Government ne naukri diya tha. Main anpad gawar insaan kya jaanu. Naukri ke time age poocha toh aise hi bata diya. Mujhe baad mein pata chala ke mera age toh zyaada hai.”

In times of women empowerment and fight for gender parity, as Teejan recollects her life’s journey, and her success against all odds, you wonder why it took so long for Bollywood to notice her. She regrets her lack of education and despite enjoying global recognition and receiving various national and international awards, it is heartwarming to see her simplicity and honesty.

NAWAZUDDIN’S FANBOY MOMENT!
A self-confessed Teejan fan, Nawaz recalled, “Like hundreds of people, I have also been a fan of Teejan Bai. Her shows were always houseful. People used to stand on their seats and clap. They would queue up to catch a glimpse of her. I must have been 20 years old. I got goosebumps when I watched her perform live in Delhi for the first time, in the early 90s. Woh ek mahol create karti thi. Traditional folk artistes like her have a way of telling a story with their gestures, voice, and body language. It’s dramatic, OTT and magnificently enthralling. Legends like her have kept our country’s culture and art alive.You need to conserve what is yours. It hurts to see that today’s generation might not even know about her. ”

As far as his involvement in the film is concerned, he added, “Aaliya is my wife and I will support her as much as I can. I will be involved in this film as far as the creative part is concerned. Teejan Bai is a legend and we hope we can make this film relevant, not just for the film festivals, but also the audience in general.”

Happy to know that a film is being made on her, Teejan Bai said, “Maine apni zindagi mein kaafi utaar chadhav dekhi hain. Mujhe khushi hai ke mere jeevan par ek picture ban rahi hai. It reminds me of all the problems and hurdles that I have overcome in all these years.”


TEEJAN BAI’S LIFE STORY
Attributing her art to God, Teejan revealed that Pandvani was her calling and it came naturally to her. But that was a problem, as women weren’t supposed to perform on stage at that time. It was condemned. Since she didn’t pay heed to her parents’ disapproval, she was asked to leave the house. She explained, “I hail from Ganiyari (Chhattisgarh) and I’ve been performing since the age of 13. I am no poet. I used to hear my nana (grandfather) sing at night and I learnt it from him. Words and pictures came naturally to my mind. Pandvani yeh kaam ladkon ka hai, ladkiyon ka nahi, aisa mujhe bola gaya. Mujhe mana karte the sab log. Maa kehti thi ke sab gaon wale taana maarte hai. Main ladki hokar ladkon ka kaam kar rahi thi. I never understood why I can’t do it. Why shouldn’t a woman perform on stage? I was told that if I continued doing it, no one would marry my siblings and that we would be ostracised by our village and society. Uss zamaney mein Hindu dharam mein aisa samajhte the ki jinka gharaana accha nahi hai, wohi aurtein stage pe perform karti hai. I was told to focus on household chores. I felt, Bhagwaan ki katha bataane mein kyun katrana’, so I continued singing. Maine maa ka nahi suna isliye mujhe ghar se nikaal diya. I was very young then. I’ve looked after myself from a very young age. Mujhe chulha jalaana bhi nahi aata tha. I became a nomad. I travelled wherever the work took me. My parents loved me, but they were adamant that I give up Pandvani, which I didn’t do. I got married thrice. Even my in-laws would say, ‘Humein gaana gaanewali nahi, khaana bananewali bahu chahiye’.”

AWARDS, GLORIES AND A MEETING WITH INDIRA GANDHI
Speaking of awards and degrees conferred upon her, including the recent Padma Vibhushan, Teejan naively admitted, “I didn’t have the knowledge of these awards (Padma Awards) until people told me what they meant. When Bilaspur University awarded me with a D.Litt (doctorate) honour, much to their amusement, I told them that I can’t have two D.Litts as I was already offered one by Raipur University. I told them give it to someone else. They laughed and told me, ‘Aisey Dr ki upaadi aapko dus bhi mil sakti hai’. That’s when I thought, ‘Oh, I just got two. I want more (laughs!)’. I have four such D. Litt degrees today — from Raipur, Bilaspur, Raigarh and Jabalpur universities. I have even performed in front of Indira ji (former Prime Minister Indira Gandhi), and unko bhi mera performance pasand aaya tha. She thought that my courage was admirable. She even joked with me saying, ‘Chhattisgarh mein Mahabharat karvati ho kya?’ To which I replied, ‘Karvati nahi, sunaati hoon’. Impressed by my repartee, she couldn’t believe that I wasn’t educated.”

IMTIAZ ALI’S TEEJAN BAI CONNECT!
Like Nawaz, another huge fan of Teejan Bai from the industry is filmmaker Imtiaz Ali. Interestingly, his Ranbir Kapoor and Deepika Padukone-starrer Tamasha was strongly influenced by her craft.

Describing her as the ‘rock star of Indian tamasha (grand show)’, Imtiaz told BT, “Before starting Tamasha, Ranbir and I decided to visit the rockstar of Indian Tamasha, Teejan Bai. We went to her home in Ganiyari village (Raipur) where she still rehearses and figures her lines. She even performed for us. I wanted Ranbir to see how stories are told with drama, the real Indian way.”