Ajay Devgn to spring into action in September with Indra Kumar's Thank God; Sidharth-starrer inspired by Danish comedy Sorte Kugler
Upala KBR (MID-DAY; July 15, 2020)

Once he trains his focus on work, Ajay Devgn will have three movies demanding his attention, including the Kaithi remake, Indra Kumar's Thank God and the pending shoot of Maidaan. Of the lot, the actor has decided to bounce back into action with Kumar's comedy, which also features Sidharth Malhotra and Rakul Preet Singh. mid-day has learnt that the actors are gearing up for a September shoot of the film, which is inspired by Danish comedy Sorte Kugler (2009).

A trade source reveals that Kumar has been in talks with the principal cast to determine their dates. "Come September, the first schedule will be conducted at a set in Mumbai, in adherence with the safety guidelines. A chunk of the movie has to be shot in the United Kingdom; the makers will chalk out the foreign leg once the international travel restrictions are lifted. The project was to originally go on floors on April 10, but was impacted by the Coronavirus lockdown," says the source. After wrapping up the first stint of Thank God, Devgn will turn his attention to the final schedule of Maidaan in November.

Though the central idea is loosely inspired by the Anders Matthesen-directed venture, the source says Thank God has been adapted to suit the Indian audience's sensibilities. "Devgn will play a bitter and bankrupt middle-aged man, who gets a new lease of life after a car crash. Sidharth's character changes his outlook on life."

Kumar remained unavailable for comment.

Mayank Shekhar (MID-DAY; July 4, 2020)

Soon after the premiere of Sanjay Leela Bhansali's Devdas (2002) at New Excelsior cinema, both Bhansali and the leading-lady Aishwarya Rai drove off together to meet the film's choreographer Saroj Khan. Khan had been unwell even during the shoot of Devdas. But her health had deteriorated considerably since, and she'd been admitted to the ICU.

Bhansali told her they'd come straight from the premiere. As a colleague, Bhansali found Saroj Khan to be "temperamental, expressive, wild, 100 watt!" That night, dazed under heavy medication, barely able to open her eyes, let alone say hello, she still excitedly mumbled from bed: "Gaane pe seeti baji ki nahin! Paise ude ki nahin? [Did the audiences whistle, throw money at the songs!]"

I'm referring to Devdas's Indian first night. The world premiere of course took place at a special/gala screening — celebrating Hindi cinema, peacocking in full splendour — at Cannes that year. Call it India's growing soft-power, if you will, this was unusual for the world's top film festival at the time.

"Of course, there's more to Bollywood than just song and dance" — you can cry hoarse, tackling that common put-down among ignoramuses abroad. The fact is, there is nothing else globally unique about our cinema either. By which I mean traditional music, choreography that exist in movies, simply to lift moods, moments, or indulge in generic emotions alone. Unlike the sample western musical, where songs, dances must necessarily take the story forward.

Sure much has changed. Sepia-toned history of Hindi films is still best relived by visuals of heroes and heroines prancing on screen — Dharmendra, Hema Malini, Dev Anand, Waheeda Rehman…. Or, better still, dreaming about Helen. Everybody worships the dancing Helen.

I'll be a rich man collecting a buck each from her fans who have never even heard of P L Raj — the man behind Helen's cabaret moves; besides sensational steps in Sholay (1975), including Mehbooba mehbooba. Just the same, if I asked you to name the dance-director of the iconic Guide (1965).

That was B Sohanlal, his name suffixed with "South", because he was from Madras, and prefixed with Master because that's what choreographers were called.

And you were never supposed to hear about them (despite film credits like Madhumati, Sahib Bibi Aur Ghulam, Sangam). Because, who cares?

Sohanlal's dancing protégé Nirmala Kishenchand Nagpal changed that about her profession. Everybody knew Nirmala — as "Masterji" on set, and by her screen-name Saroj Khan otherwise. By sheer dint of her status/popularity within the film industry, seguing into high public-recall, Saroj Khan (always one word) did to choreography, what Manish Malhotra perhaps did to costume designing later, or Avan Contractor to hair-styling.

Give a profession a name first — among aam janta —and maybe also put a face to it. Nobody messes with you after. Much like what Salim-Javed pulled off for screen-writing in the '70s. That's a bigger legacy to leave behind, than simply one's private success. It helps those who follow.

As it did Farah Khan, who gained much currency from choreographing songs with more western sensibilities in films (Jo Jeeta Wohi Sikandar, Dilwale Dulhania Le Jayenge) where Saroj Khan was already the main choreographer. Farah was the new style/voice. And that is premised only on the acknowledgement of an existing one.

Saroj Khan had been around in the film industry ever since she was a three-year-old child actor. She'd been a background dancer since she was around 9. She passed away at 71. Off and on she had been in the film industry for 68 years — fair portion of it, by all accounts, spent in pain, dealing with personal issues, deaths, separations, and ignominy, actually.

She'd had a series of "breaks" in her career as well — starting with Pratigya (1975), the mainstream Dharmendra movie, where she was hired as chief choreographer; or Jazbaat (1980), which was a Rajshri film, no less; or Subhash Ghai's Hero (1983), a full-on blockbuster, indeed.

So what really changed things for her and the scene? I suspect the gradual phasing out of the '80s blood-thirsty revenge actioners, making way for more musical romances by the turn of that decade. There was also a fresh constellation of female stars on the horizon, for her to polish and push her talent through: Karisma Kapoor, Rani Mukerji, Kareena Kapoor… But chiefly, Madhuri Dixit.

And the song Ek do teen in N Chandra's Tezaab (1988). While it was common for songs to be picturised in seated auditoriums and posh cabarets, Chandra says this was the first track with the wild energy of the public standing and dancing like they're gonna take their clothes off in excitement. Madhuri's steps made this response believable. This was shortly after Saroj Khan's Hawa hawaii that made Sridevi an even bigger sensation with Mr India (1987).

Filmfare apparently couldn't ignore this contribution anymore, and instituted for the first time an award for Best Choreography. Whether Tezaab had everything to do with it, the first black lady for dancing in 1989 did go to Saroj Khan. And the hat-trick — for 1990 (Chalbaaz), 1991 (Sailaab); then 1993 (Beta), 1994 (Khal Nayak). Phew!

Growing up in the '90s, the first other dance-director I'd heard of was Chinni Prakash! This was specifically in context to Bachchan's pumping-fists, gyrating-hips steps in Jumma chumma for Hum (1991). And that's only because it was seen as answer to Saroj Khan's stamping of the feet moves in Tamma tamma for Thanedaar (1990). Both songs simultaneously copied from Mory Kante's Yeke yeke!

Hey, she got Sanjay Dutt to dance, saala. That deserves a prize of its own, although Chinni Prakash's choreography still inspires Indian men to take on the dance floor. Jhumma chumma is the song you're most likely to see desi boys of varying vintage get together for that mandatory performance on stage, for their friend's wedding 'sangeet'.

What do the women do? Often show off their Saroj Khan steps rehearsed over weeks for the big day — Mehandi laga ke rakhna (DDLJ), Nimbooda (Hum Dil De Chuke Sanam), Dola re dola (Devdas), Yeh ishq haaye (Jab We Met), Mera piya ghar aaya (Yaarana), Radha kaise na jale (Lagaan)…

Like surely many others on Facebook/Instagram, I'm seeing my friend post/boast about her Saroj Khan dance from her own wedding, to the track Mehndi hai rachnewali (Zubeidaa), the same one playing in Nidhi Tuli's must-watch, first-rate documentary The Story of Saroj Khan (where I've quoted Bhansali and Chandra from). The sangeet is an Indian wedding function, wholly ritualised from '90s Bollywood. Pretty sure it has no pan-India basis in tradition. It did not exist before. And not to this obsessive extent anyway.

Bollywood is globally a dance style, even before a film genre. What does it entail? Basically the trademarked moves and tunes Saroj Khan made her actresses dance to — a mix of folk and Indian classical, chiefly kathak. Every traditional Hindi film heroine (notably Katrina Kaif) has enrolled in hardcore kathak classes, before joining films. It's probably the long-established equivalent of horse-riding for Bollywood.

But that's not all. I suspect a lot of the dance movements have to do with facial acting — the camera is fixed on the pretty face — or 'ada', as they call it. You only have to watch the Saroj Khan composition Maar daala (Devdas), where Madhuri literally has a different facial expression for every note in the song, to get the seductive sense.

Exuding sheer temptress- like qualities, as it were. Things might seem subtler in Bollywood, but if you scrolled casually at gestures and faces made by millions of desi girls on the Chinese social-media that got banned this week, you'd totally appreciate how Saroj Khan is hands down patron deity of the TikTok generation!

And yet, up until Saroj Khan, choreography in Bollywood was considered a man's job! And boy did she change that. Rocked it like a hurricane. What was her most famous song from the '90s? Pretty sure Choli ke peeche kya hai. It was, I'm told, one of the first Hindi songs to play at Ghungroo, the posh night-club in Delhi, which was gradually getting okay with playing 'Bollywood' in the country it's from. Not so the case with Bombay, for years after.

Now you could have issues with the double-meaning lyrics of Choli ke peeche. There was quite a drama around the time. Pretty sure the unapologetic Saroj Khan was unfazed by the moralists. Only a couple of years earlier, director Indra Kumar had taken her along to the Censor Board office for the preview screening of Beta (1991).

A lady in the Censor Board had raised objection to Madhuri's heaving chest moves in the song Dhak dhak karne laga. "She is doing it deliberately," the lady complained, moving her chest, that is. Saroj Khan asked the Censor Board member to get up, and walk a few steps. The lady did.

She said, "Look, your bum is shaking deliberately, sideways [because of high heels]. In a dance, we have to show (accentuate) more. And we're talking about heart, it's by the bust-line, can't make the bum move for it." The Censor Board member, surely baffled, was convinced, nonetheless. She let the song go, untouched. Tried best to avoid the cliché; but, no, this really is the end of an era.

With Thadam remake initially slated to roll in Delhi, makers of Sidharth Malhotra-starrer consider new location as they hope to kick off the film in August
Upala KBR (MID-DAY; June 12, 2020)

Sidharth Malhotra was eagerly waiting to kick off the shoot of the Thadam remake, and with good reason — the remake of the 2019 Tamil hit marks his first attempt at a double role. The schedule of the Vardhan Ketkar-directed venture, originally slated to go on floors in May, was naturally hampered by the lockdown. Now, as producers Murad Khetani and Bhushan Kumar are hoping to begin the project in August, they are in a dilemma over the film's location.

"As per the original plan, the unit was to head to Delhi in May where the film would be shot in a start-to-finish schedule. The director was keen on shooting certain crucial sequences across real locations. Now, even as the state government has allowed the resumption of shoots, there has been no such development in the capital. So, the makers are considering other possible locations where they can set the story," reveals a trade source.

Far from being bogged down by the delay, Khetani says they are charting out a plan to ensure the project kicks off on the right note. "Currently, Karnataka, Tamil Nadu, Telangana and Maharashtra have given permission to shoot. It is too early to decide whether we will film in Delhi or another city; we don't know which state governments will allow shooting by August. We will take a call early next month."

Given the recent turn of events, a November release is off the cards. "We were eyeing a November 23 release, but that is not possible," concedes Khetani, adding that they have the Herculean task of reworking the schedule. "Sidharth was to shoot for Indra Kumar's film before he began our movie, so he will have to work out his dates. Since he has two different looks, he will need to do look tests and a 10-day prep."

Upala KBR (MID-DAY; January 21, 2020)

High on the success of Total Dhamaal (2019), filmmaker Indra Kumar had announced the sequel to the comic caper. However, before he rolls out the ensemble comedy, the director will wield the directorial baton for a project featuring Ajay Devgn and Sidharth Malhotra. mid-day has learnt that the two-hero film will be a departure from the mindless entertainers that Kumar is known for, and will drive home a social message, laced with comedy.

A trade source says, "The filmmaker had narrated three scripts to Ajay. Since he has done a spate of serious movies including biopics, actioners and historical dramas, the actor was looking for a light-hearted comedy. Ajay zeroed in on this script as he liked the larger point the story tried to make while eliciting laughs. The film is along the lines of the Munna Bhai series as it revolves around two bumbling do-gooders with hearts of gold, who are out to reform society. It has been Indra Kumar's passion project; he had been scripting it for years. He is thrilled that the story will finally be translated on screen."

The movie, also featuring Rakul Preet Singh, is likely to go on floors in May after Devgn wraps up the shoot of S S Rajamouli's RRR and Abhishek Dudhaiya's Bhuj: The Pride of India, and Malhotra completes Shershaah. "Sidharth is thrilled about the project as this is the first time he will try his hand at comedy. Currently, the filmmaker is fine-tuning the script, following which pre-production will start in March."

Producer Deepak Mukut, who backed Anubhav Sinha's Mulk (2017) earlier, says, "The film is dramatically different from what Indra Kumar used to make earlier. We will make a formal announcement shortly."

Stationed In The South
Ajay Devgn is set to commence shooting for S S Rajamouli's RRR today. A source close to the production says, "It's a 25-day intense shooting schedule in Hyderabad. The team has been working on the pre-production, and has been building massive sets in the city. Ajay will shoot along with South megastars Ram Charan and Jr NTR over this schedule." The ensemble cast also includes Alia Bhatt, and foreign actors Ray Stevenson, Alison Doody, and Olivia Morris. The makers are eyeing a year-end release in 10 languages.

Actor-filmmaker reveals he’s adapting Amish Tripathi’s soon-to-be launched book and his third directorial is in the scripting stage
Hiren Kotwani (MUMBAI MIRROR; December 25, 2019)

For every actor/filmmaker, there’s a trigger point that drives him to tell a story. What was it for you with Tanhaji: The Unsung Warrior?
We had decided to create a franchise on unsung warriors of our history. Om (Raut, director) came to me with this story of Tanaji Malusare. It was fabulous to start our franchise with. The idea is to take stories out of the states these heroes came from, not only to other states of the country, but also worldwide.

Have you shortlisted your next subject for the franchise?
We’ve shortlisted quite a few. But the next one will be based on King Suheldev, who defeated Mahmud of Ghazni’s army in Bahraich (in Uttar Pradesh today) in the 11th century AD. Ghazni had got the Somnath Temple razed and after defeating his army, Suheldev rebuilt it. The film will be based on Amish Tripathi’s book, which he is currently working on. We have met and discussed the film adaptation.

Kajol told Mirror recently that when you offered her the part of Savitribai Malusare, you said if she liked it, you would develop the character for her.
The kind of scenes she has, required that level of performance. The film also shows the sacrifices of Tanaji’s wife, Savitribai. She knows that her husband may not come back from the battlefield. We needed a performer for this character and I told her if she liked the part, we’d write the scenes accordingly.

Saif Ali Khan as Udaybhan Rathod gives a sense of déjà vu after Omkara, in which you played the protagonist and he the antagonist.
Saif was brilliant in Omkara. We are comfortable working together and that ease comes across in our performances. When a pair attached to a film is appreciated, even performance-wise, it’s not unusual to feel déjà vu. But if a film hasn’t done well, you get a different kind of déjà vu (smiles).

What are the challenges of making a historical in the absence of adequate documented material?
While you may know the beginning, the middle and the end, you don’t know the process. How events unfolded, how Tanaji strategised the battle...For that, the writers and director had to imagine and create drama that is larger than life, connects with and inspires people, but at the same time, doesn’t get typically filmi. Whatever you do, you have to be prepared to face flak; someone will always say it wasn’t like this.

What was your favourite subject in school?
I was interested in History and Geography. I never understood Algebra. Talking of history, my fascination was with the stories; they make us converse. How someone overcame all odds and rose to great heights is compelling. Curiosity about such fascinating and inspiring stuff got me to read, whether it was ancient history like Mohenjo Daro, pre-British or during the British rule or even post-Independence.

You seem to be on a period film spree with Maidaan (based on football coach Syed Abdul Rahim) and Bhuj: The Pride of India (on IAF Squadron Leader Vijay Karnik, who rebuilt the airbase in Bhuj during the 1971 Indo-Pak war) coming up...
I just realised I have three back-to-back period films. All of them are fabulous scripts though, and I couldn’t say no. It wasn’t the intention to have them come one after the other. Now, I intend to break the pattern.

You begin Golmaal Five with Rohit Shetty and team in Sept 2020. What’s happening with Neeraj Pandey’s Chanakya, in which you play a modern-day teacher, philosopher and strategist?
Everything got a little pushed. Chanakya is not a modern-day story, but a historical (smiles). We plan to start in mid-2020. Neeraj wants to be thorough before we begin shooting.

Shooting with Akshay Kumar for Sooryavanshi (Rohit Shetty’s copactioner) must have been like revisiting Suhaag and Khakee days...
It was like getting back to where we had left. Akshay and I would often talk about the good old days.

You’re also playing a modern-day Yama (God oO Death) in Indra Kumar’s next that has Sidharth Malhotra and Rakul Preet Singh. Apparently, you’re helping him and Ashok Thakeria (producer) since they’re going through a rough patch.
All I can say for now is that it’s not a typical Indra Kumar film; it’s got comedy and drama. Indu ji, Ashok ji and I go back a long way. Not just me, all actors of Total Dhamaal went all out for them.

What’s next from Ajay Devgn, the director?
I’m writing something. I can’t reveal anything now. It’s a different space altogether. It’s also a difficult film to make and will require a year and half of prep. So, there is still time.

Looks like your son Yug will follow your footsteps into the movies...
He is just nine. He plays a lot of football and follows the sport avidly. We’ll come to know in a couple of years.

Riteish with brothers Dheeraj and Amit Deshmukh

Riteish Deshmukh on why he’s not interested in rajneeti despite being Vilasrao Deshmukh’s son, what he finds fascinating about the Tanaji chapter in history, and fourth instalment of Dhamaal
Himesh Mankad (MUMBAI MIRROR; November 11, 2019)

His mood is as cheerful as the red jacket he is wearing. With the sun on his back and the calming blue of the sea before him, Riteish Deshmukh sits back to take our salvos. And this time, he is not three-and-a-half foot, but all of five feet and nine inches tall. Excerpts from an interview:

Your last release, Housefull 4, was panned by all the critics as abysmal in its efforts to raise laughs. Did that worry you?
We knew what we were getting into with this franchise. May be the critics didn’t like it. But from its first Monday, the audience took over and then, there was no stopping it. Sometimes, we get carried away by what people are saying on the social media, but it is equally important to see what is happening on ground. People in large numbers have enjoyed and one must acknowledge that.

You once said that the adult comedy genre had reached its saturation point. Do you fear the same happening with family entertainers like Housefull?
It reached a saturation point from the perspective of the audience. The kind of material that I was offered at one point had nothing new to offer, it was all so monotonous. As far as comedies, there is still a lot of scope. For example, Housefull 4 was about reincarnation. And I would like to be a part of films which explore new dimensions in this genre.

You have another film with Sajid Nadiadwala, Baaghi 3, in which you play Tiger Shroff’s cop brother.
We were half way through the Housefull shoot when I got a call from Sajid. He wanted me to hear the script of Baaghi 3. I was surprised by the offer, but when I heard the narration, I discovered it’s an extraordinary story and was on board immediately.

This Friday, you have another release coming up in Marjaavaan and writer-director Milap Zaveri describes your character, Vishnu, as the Raavan of his plot. Would you agree?
(Laughs) Milap calls me the Raavan of his life. It’s a synonym for evil… the ultimate obstacle in one’s path. Gabbar was the Raavan of Sholay, likewise, Vishnu is the Raavan of Marjaavaan.

Did you take on the film for the challenge of playing a three-and-a-half foot baddie?
It all came together as a package. Yes, the role is challenging and blended well with the narrative. It doesn’t work when you have a great character in a bad script. I had to do every shot five times and act against the green screen. When I spoke my lines, I couldn’t look my co-star in the eye because our eye-lines didn’t match. Though technology helped, we didn’t go the whole hog like Zero (SRK’s space drama) due to budget constraints.

Do you think Ek Villain opened new avenues for you as an actor. Before that you were mostly cast in comedies?
That was off-beat casting at the time and I agree that it opened new doors.

Marjaavaan initially was perceived as a sequel to Ek Villain.
Was it? But when you see the film, you will realise that it is a distinctly different story. Calling Marjaavaan, Ek Villain 2 is like calling Ram Balram a sequel to Sholay because both films featured Amit ji (Amitabh Bachchan) and Dharmendra ji.

Mohit Suri is spinning a sequel now…
(Shrugs) Well, I died in the first film, so I can’t be a part of the sequel. But I am looking forward to it.

You have announced a film on Chhatrapati Shivaji Maharaj…
We have reworked it a bit and should lock the script soon. With a subject like this, it’s a huge responsibility to get everything right which is why the scripting took longer than expected but we should go on the floors next year.

Ajay Devgn’s Tanhaji is about his commander-in-chief, Tanaji Malusare, who fought various battles alongside Shivaji Mahara j. Won’t there be an overlap?
It’s a great chapter from our history and I am looking forward to Ajay’s film. In school text books, there’s just a paragraph on Tanaji. So it’s important to know what he stood for, learn about his bravery, his love for his land and Chhatrapati Shivaji Maharaj. I am fascinated with this chapter.

Despite coming from a family of politicians, you have managed to keep yourself away from rajneeti…
I am my own person and while I respect everyone’s views, my job is to act in films, and that’s what I am doing. I leave politics to my brothers.

But weren’t you ever attracted to power?
I have seen it all my life, so power has never really been attractive. I am happy acting, that’s power for me.

Has your script selection changed after becoming a father? What are the dining table discussions like with your wife (Genelia D’Souza)?
My script selection is still the same. As far as dining table discussions go, we discuss everything that a husband and wife do—from what our kids eat to what happened at their schools and our gym. We even read scripts together.

Finally, is Housefull 5 and a Dhamaal 4 in the works?
It’s too early to think about Housefull 5, but I hope it happens. And we have discussed an idea for Dhamaal 4. I am sure Indu ji (director, Indra Kumar) is working on it.

Shalabh Anand Bajpai (DNA; September 14, 2019)

While most star kids are looked up to in awe for their famed lineage, for Karan Deol it was a different story. Being Sunny Deol’s son often became a source of embarrassment for him! He recalls, “I still remember that sports meet in my school that I was part of. Three boys from a higher class came and lifted me in the air and said, ‘Agar Sunny Deol ka beta hai to apne aap ko bacha ke dikha.’ I was so embarrassed!” The teachers were not far behind in doing something similar. “The only support I had was my mother. So, at the time, it was tough to be a Deol,” says Karan. As he is being launched in Pal Pal Dil Ke Paas with the heavy-duty tag, Karan aka Rocky talks about being directed by his father, nepotism, upcoming projects and current relationship status.

Your father has directed you in your debut film. Was there any pressure working under his direction?
Actually, it was not a pressure. This is my first film and I have to prove myself to the world. I had to work hard for it and he (Sunny) just pushed me to the verge of a breaking point. There were times when I would break down and cry but I still shot the same sequence the way he wanted. He was preparing me for the world I am entering because if I don’t perform well, the industry won’t recognise me.

Your granddad Dharamendra and father are both known for action movies. What made you start your career with a love story?
My father and bade papa had a discussion at home before, ‘hum log kaisi story karein, love story, thriller ya action?’ I left everything to them as they have spent more time in the industry. I had complete faith and trust in their judgment. My dad and Bobby (Deol) chachu’s first movies Betaab and Barsaat respectively, were also love stories. It was the same with Abhay (Deol) chachu too. Also, my dad thought launching me in a romantic outing would be easier to connect with the audience.

Of late, there has been a lot of talk about nepotism in the industry. Do you think you will be the latest target?
It’s obvious. I got the launchpad because of my father. I can’t run away from that fact or lie about it. That doesn’t mean I have not put in work or effort in this film. Before this film started, I started working on it. I was well-prepared for every scene because I don’t want people to target me. Nepotism doesn’t bother me because I’m giving 100 per cent for the film I am working in.

Have your grandfather and dad given you any advice to survive in the industry?
My bade papa only told me to just try to love everyone and be humble to them. Dad asked me to give my 100 per cent, told me that I will have to face criticism but have to take it positively.

Do you have friends in Bollywood?
I don’t have a single star kid as a friend. Now, as my film is ready for release, I will try to make some. But there are things that I have to keep in mind before making friends in the industry because we have too many ‘yes men’. If I am wrong, they won’t tell me to my face. They will only drag you down and not let you grow in future. I only have my family and a few close friends from school.

Going forward, what kind of films do you want to do?
Right now, I’m in talks with Indra Kumar for a movie and it’s is almost final. This film will be different from the one I am doing right now. It will be a rom-com. But in future, I want to do action-based films.

Any actors you look forward to working with?
Vicky Kaushal is one of the actors I want to work with because with every film he is experimenting. One actor should not be recognised by his genre and he is one of those.

Newcomers are often linked with each other... What about your co-star Sahher Bambba?
No, there’s nothing between us at all. The chemistry that people saw in the trailer is only for the film not beyond that. But yes, I am in a relationship that’s complicated right now.

Madhuri Dixit on why the actor is so dear to her
Avinash Lohana (MUMBAI MIRROR; April 13, 2019)

At a recent award show you paid a tribute to Sooraj Barjatya’s Hum Aapke Hain Koun..! (HAHK). which completes 25 years in August. What are your memories of Nisha?
(Smiling) So many, we were like a family, always sitting together on the set. I miss the late Laxmikant Berde and Raj babu (Raj Kumar Barjatya, producer) whom we lost recently. Once he asked me why I wasn’t eating and when I told him that the food was too oily, he instructed the caterers to cook all the food in ghee from the next day. During Abodh, they learnt that I love chocolates and I’d get one every day. That continued during HAHK!

Can HAHK! be remade? Indra Kumar also has plans for a Dil sequel...
As far as HAHK! goes, I don’t know where they’d pick the story from or how they’d adapt it. I haven’t spoken to anyone yet. Even Indu ji (Indra Kumar) hasn’t discussed Dil 2 with me.

Your last film with Indra Kumar, Total Dhamaal, did well. More films in the pipeline?
Dhamaal is a popular franchise but what also worked for it this time was Anil ji (Anil Kapoor), Indu ji and my reunion after Beta. Anil ji and I too were working together 19 years after Pukar. It’s been years since Ajay (Devgn) and I collaborated as well. I’m looking for interesting scripts, backed by a good studio and marketed well. All this is a must.

Your next, Kalank, reunites Sanjay Dutt and you after over two decades. And since the trailer launch you have been addressing each other as ‘sir’ and ‘ma’am’.
(Laughs) We enjoy pulling each other’s leg. We both have kids now and discuss their education. It’s been great working with him again.

Five years after Gulaab Gang, Saroj Khan has choreographed you in a mujra for Kalank...
As soon as I heard the song, “Tabaah Ho Gaye” I knew it needed Saroj ji as only she can bring certain emotions to the fore. We have a history of songs and a strong empathetic bond, besides being devoted to dance in a similar way. Remo (D’souza choreographer-filmmaker) has also worked on it, I think this is the first time two choreographers have collaborated on a song.

In an interview to Mirror recently Saroj Khan confided that she’d like to choreograph more often following which Salman Khan has promised to work with her...
That was very sweet of Salman. Saroj ji is teaching on my dance app as well. In fact, we’ve taught together a couple of times. Ups and downs come in everyone’s life, I’m sure she will come out of this too with flying colours.

Many actresses have come out with singles, when are you following them?
I’ve cut an English album but am yet to shoot the songs. Hopefully this year we will get that done.

Kalank came your way after the untimely demise of Sridevi who was earlier supposed to play Bahaar Begum. Did you accept the film for an emotional reason?
Yes, Karan (producer Karan Johar) is a friend and has also been my cojudge on Jhalak Dikhhla Jaa for the longest time. When he came to me with the script, I accepted immediately, before I’d even read the script.

Comparisons with Chandramukhi from Sanjay Leela Bhansali’s Devdas are being drawn…
Given the lavishly-mounted visuals and the period setting that was expected. But once they see the film, they’ll know that Bahaar Begum is very different from Chandramukhi who was more giving and all heart. Sometimes you take decisions that not only affect you, but also the people around you and when you realise this, it causes a lot of angst. That’s Bahaar Begum for you.

Varun Dhawan and Alia Bhatt idolise you…
(Smiles fondly) I’ve seen Varun as a child when we were filming his dad’s (director David Dhawan) Yaraana in Switzerland. He couldn’t sit in one place for long and was always running around. I would tell him to dance and give him marks to keep him occupied. He always wants to do the best and is a marketing whiz. There are so many ideas buzzing in his head all the time.

And Alia?
She’s a hardworking girl and I was pleasantly surprised to see her dancing on the set. She confided she’d gone on my dance app to take a few lessons from Maharaj ji (Birju Maharaj).

Upala KBR (MID-DAY; April 10, 2019)

The success of Total Dhamaal behind him, director Indra Kumar was to collaborate with Akshay Kumar for Hera Pheri 3. The third edition of the laugh riot — that has been plagued with several hurdles over the past five years — would see Suniel Shetty and Paresh Rawal reprise their memorable roles.

However, mid-day has learnt that the Firoz Nadiadwala production has been pushed again. On his part, the director has moved on to another project that will see him reuniting with Total Dhamaal star Ajay Devgn.

Reveals a trade source, "Indra was set to take Hera Pheri 3 on floors by year-end. But the film has hit another roadblock as the dates of the cast members are apparently not working out. Since the comedy does not seem to be happening anytime soon, the director has set his sights on another story."

While mid-day had earlier reported that Kumar was keen on taking the Dhamaal franchise forward with the fourth instalment, the source adds that the actor-director jodi is in discussion for an actioner. "The fourth instalment of Dhamaal is on the cards, but it won't happen right now. Indra has discussed the concept of an action-drama fare with Ajay.

The actor has liked the idea and agreed to it in principle. Since the star's date diary is full with Tanhaji: The Unsung Warrior and SS Rajamouli's RRR, this movie may go on floors only by early 2020. Indra will utilise the time to develop the script." Nadiadwala and Kumar refused to comment.

As filmmakers take stand against Pulwama terror attack, Total Dhamaal director Indra Kumar says film not releasing in Pakistan won't affect business
Sonil Dedhia (MID-DAY; February 22, 2019)

In a mark of solidarity with the bravehearts who lost their lives in the Pulwama terror attack, several Bollywood filmmakers have decided to not release their films in Pakistan. While Ajay Devgn announced last week that Total Dhamaal will not hit theatres across the border, filmmaker Dinesh Vijan too followed suit for his forthcoming films, including Luka Chuppi, Arjun Patiala and Made In China.

With Indian films suspending their release in one of their markets, one wonders if the movie collections will be affected. However, Total Dhamaal director Indra Kumar is not worried about a drop in business. "The loss of not releasing a film is not bigger than the loss of our army men. This is the time to show solidarity. That's why we took the decision of not releasing our film. We aren't concerned about the money, our country comes first."

While big-ticket films earn a chunk from their overseas collection, the revenue from Pakistan reportedly comprises only four to five per cent. Trade analyst Amod Mehra says, "The collections generated from there make up a minuscule portion of the total box-office collection. The decision won't have a large impact on the films' fate."

Producer Dinesh Vijan says, "This is a small way of showing our soldiers that we are with them."

Nayandeep Rakshit (DNA; February 22, 2019)

Indra Kumar, who has given us memorable romantic films such as Dil (1990), Beta (1992), Raja (1995) and Ishq (1997), proved that he was adept at comedy after he helmed the immensely successful Dhamaal (2007). He soon developed the laugh riot with an ensemble cast into a franchise. Now, the filmmaker is back with its third instalment — Total Dhamaal, which releases today. This time, the former cast members — Arshad Warsi, Jaaved Jaaferi, Riteish Deshmukh and Sanjay Mishra — are joined by Ajay Devgn, Anil Kapoor, Madhuri Dixit-Nene and Pitobash. Induji, as he’s lovingly called, speaks at length about the film.

‘COMEDY IS ESSENTIAL TODAY’
Talking about his affinity towards comedy, he says, “Today’s generation should watch films of this genre. I hear stories of young boys and girls suffering from sue to stress. When we were young, we would hardly be upset. We used to upset others with our pranks. Just being young was happiness and I feel so even now. That’s why, I believe laughter is the best medicine.”

‘WE CLEARLY DESERVE MORE RESPECT’
Comedies have been money-spinners at the box office. However, many actors, including Akshay Kumar, Ajay and Anil, who have acted in several such films, have commented on how these movies don’t get the respect that they deserve. The director says, “It’s true. We deserve more respect. Making comedies isn’t easy. I admire Rohit Shetty because he helms comedy films with flair and all of them have done well at the box office. I have done the same for the last 15 years and it’s the toughest to make people laugh. If you can do that, you are super talented.”

‘I’M INDEBTED TO MY FRIENDS’
Getting a cast that boasts of such big names in the business isn’t a cakewalk. But it was Indra’s goodwill that worked for him. “Ajay stood by me and it would not be possible without him. All my friends came along and the movie took off. I’m indebted to them, especially Ajay,” he adds.

Total Dhamaal also brings together the filmmaker with his Beta actors Anil and Madhuri. “We are in a different zone with this film. I haven’t made them do anything serious, instead, they are doing a comedy. They have done a brilliant job,” he signs off.