Aditya Chopra plans a global celebration for studio's golden jubilee with film festivals lined up in US, UK, Russia and Switzerland
Mohar Basu (MID-DAY; August 31, 2020)

The countdown to the golden jubilee celebration of Yash Raj Films has begun. While head honcho Aditya Chopra is expected to announce the slate of movies for the coming year on Yash Chopra's birth anniversary on September 27, he plans to take the global audience down memory lane with the studio's past blockbusters. It is heard that the suits at the production house are charting out a plan to conduct YRF Film Festivals across the USA, United Kingdom, Australia, Russia, Singapore, Malaysia, Switzerland, and several other countries.

"The festival will showcase iconic movies made under the banner, including Aditya's directorial debut Dilwale Dulhania Le Jayenge [1995], and Yash ji's swan song Jab Tak Hai Jaan [2012]. Since Yash ji gave the industry some priceless songs, radio concerts are being planned where the original artistes will revisit these gems," reveals a source.

The on-ground teams are working out the logistics, given the current restrictions, and a final call will be taken soon. Chopra is apparently keen to have a large-scale promotion next year too when the films announced under the YRF 50 project will be ready for release.

DNA (May 11, 2019)

Ajay Devgn has done a couple of fleeting on-screen kisses. In fact, he had one in his own directorial, Shivaay (2016).

However, the actor says he is not comfortable locking lips on celulloid. He explains, “Most of the scripts I choose are aimed at a family audience. Given this, doing an onscreen kiss or showing intimacy beyond a certain limit doesn’t work. I like watching films with my family. I’m sure others too enjoy watching movies with their entire family. Onscreen intimacy can therefore be uncomfortable especially if you are watching a movie with a child or a young adult. Or for that matter with an elder. So, I would best avoid smooching.”

Apart from Ajay, Salman Khan is another Bollywood biggie who shares a similar thought process. In a recent interview to After Hrs, he had said, “I’m not for kissing and nudity in films at all.”

Incidentally, at one point, Shah Rukh Khan’s film contracts reportedly had two clauses — one saying he will not lock lips with his co-stars and two, stating that he will not ride a horse.

Clearly, he made exceptions when he kissed Katrina Kaif in Jab Tak Hai Jaan (2012) and Anushka Sharma in Jab Harry Met Sejal (2017).

Almost two decades after he crooned Apun Bola, Shah Rukh Khan returns behind the mic to lend voice to Kolkata Knight Riders' new anthem composed by Bappi Lahiri
Upala KBR (MID-DAY; February 7, 2019)

Every time Shah Rukh Khan's boys in purple head out to the cricket pitch, they are accompanied by the fans' energetic chant of 'Korbo, Lorbo, Jeetbo Re'. With a little over a month to go before the Indian Premiere League 2019 kicks off, it has been learnt that Khan has created a new anthem for his cricket team, Kolkata Knight Riders. Interestingly, the song also marks the superstar's return behind the mic over 18 years after he sang the hit number, Apun Bola, from Josh (2000).

Music composer Bappi Lahiri, who created the score, tells mid-day, "The new song is titled Everybody Just Run, Run, Run, and is similar to Korbo, Lorbo, Jeetbo Re in spirit. It's a solo number that has been sung by Shah Rukh, and arranged by my son Bappa and me."

In his trademark style of self-deprecating humour, the superstar has often joked about his singing skills. Besides the Josh number, he has - in his 27-year-long career - stepped inside the recording studio only once to recite the Jab Tak Hai Jaan (2012) poem.

Lahiri says that Khan was initially hesitant about putting his vocal cords to the test again. "Though he was shy and didn't want to sing it initially, I insisted that he did. We had recorded the number in September last year, but Shah Rukh wanted to release it later. We rehearsed the number for a few days before he took to the mic. I am happy with the way it has shaped up; he has sung like a pro. I hope when Shah Rukh sings it this year, it becomes as much of a rage as Korbo Lorbo Jeetbo Re did."

Hiren Kotwani (DNA; December 4, 2018)

Long gone are the days when two actresses couldn’t see eye to eye or warmed up to each other only after they were past their prime. Anushka Sharma, who shares credits with Katrina Kaif in the upcoming Shah Rukh Khan starrer, Zero, six years after Jab Tak Hai Jaan (JTHJ), says, “Katrina and I always had a very good equation, we are very friendly and we got along really well. From the first day on the set together, we had an easy chemistry between us. Katrina is one of my most favourite co-stars.”

While the two actresses shot a lot together in JTHJ and don’t share screen space in the upcoming Aanand L Rai directorial, their bonding continued during the making of the movie. As Anushka says, “She would come on the set, when I was filming, she would sit, chat, hang out. I have deep admiration for her as an actress.” All praise for her co-star, the Sui Dhaaga actress adds, “Katrina is very hard-working and pushes the boundaries. What she has done in the songs in Thugs Of Hindostan, I wonder how it is possible for someone to dance so incredibly well. She’s amazing. You see her focus. On the set too, she knows her lines correctly and yet she keeps at it. She’s very hard-working by nature. The best thing is that she is not at all pretentious, that’s what I like the most about her.” 

Rachana Dubey (BOMBAY TIMES; October 1, 2018)

This Friday, while all eyes will be on Aayush Sharma and Warina Hussain, the release of LoveYatri: Journey of Love is going to be just as critical for another newcomer, director Abhiraj Minawala. The young filmmaker takes us through his aspirations and expectations while making a debut with a Salman Khan production. He has honed his skills under the tutelage of prominent filmmakers and is hoping to have a long and successful career ahead. Excerpts…

How do you view your journey from being Ali Abbas Zafar’s assistant on Sultan, to making your debut as a director in a film produced by Salman Khan? LoveYatri: Journey of Love has had its share of controversy and attention, too. What were the challenges?
It has been a long journey from being the first AD to a director. It takes a lot of patience to get this far. It started on the sets of Sultan, where I met Salman Khan and Aayush Sharma for the first time. Aayush was trying to understand the workings of every department on a set. I knew that he wanted to act, but not once did it occur to me that we would end up launching our careers together. I took a year’s break after Sultan and when I finally ran into Salman sir, he asked me for ideas and he was keen that I make a film for his banner. When I started working, I felt Aayush could be a great fit and he liked the script, too.

What advice did your mentor Ali Abbas Zafar offer you?
He had once told me that for your first film, you should work in a space that you are familiar with. Don’t take on too many challenges right away. Take one step at a time and build a strong base for a longer and stronger career as a filmmaker. I stuck to that mantra. As a Gujarati, I could connect with LoveYatri’s story really well. It’s not like I didn’t find great stories before this, but this one excited me the most. My mother’s family is from Ahmedabad. I’ve spent many summer holidays there and I have seen several Navratri celebrations, which are distinctly different from the ones in Mumbai. People go dancing on all nine nights. I wanted to bring out these beautiful things about the state, through a simple romantic story. Aayush plays Sushrut, who wants to start a garba academy, but no one takes his ambition seriously. Warina plays Michelle, a Baroda girl who stays in London. They meet during Navrati, share a common passion for dance and fall in love. Isn’t that sweet and simple?

With the audience’s evolving taste in cinema, even modern love stories have had to reinvent the formula. Do you think a simple love story like LoveYatri, will be able to appeal to contemporary sensibilities?
This film is like a hidden treasure waiting to be found. In late 2000s, films like Khosla Ka Ghosla and Oye Lucky Lucky Oye opened doors for different kinds of stories, which could be set in new parts of the country. You will be surprised to know just how many people want to watch films like LoveYatri. The last time I saw this kind of innocent romance was in Jab Tak Hai Jaan. I had worked on that film, so it was all the more special. Our film has a contemporary style, but it also has the innocence of the 90s films, which is a rarity today. More recently, I felt Bareilly Ki Barfi introduced people to the real texture of Uttar Pradesh with a simple love story. Similarly, through a love story and a set of characters, I’ve tried to introduce the country to the flavours of Gujarat. I’m sure people will savour this film as a romance that I feel has vanished from the big screen.

Launching any newcomer is a huge responsibility for any director or producer. In this case, Salman is launching Aayush, who is his brother-in-law. Do you feel more pressure because of it?
There’s a lot of pressure on me, but it’s not because Aayush is in the film. Salman has shown confidence in me that I can helm a film for his banner, and more so with his brother-in-law. He’s launching a new trio. It’s a lot of responsibility. The fact that he’s confident about us gives us a lot of self-belief.

The Khan family is a tightly-knit unit. Since you have worked with Salman and Aayush, what sort of a rapport do you share with their family?
For me, Aayush is like a brother, but when I am going to his house or Salman sir’s house, I don’t ever forget what I am going there for. Right now, I go there when I have work. The family is indeed very loving and accepting. Like Salim Khan saab saw the film and had only one thing to say, ‘It’s a sweet film. You’ve done justice to it.’ It’s a huge compliment. Previously, Ali has shown his films to him. When Ali heard about this, he said, ‘It’s great because if Salim sir doesn’t like something, he has a lot more to say.’

What was Salman’s reaction?
He just smiled and gave me thumbs up for it.

Now that you have directed a film for Salman’s banner, do you have aspirations of directing him in a film, too?
Yeah! I am hoping for something like that, but there is a long way to go. I need to prepare myself thoroughly before working with a superstar like him. My next film depends on how people receive LoveYatri.

Salman Khan swears by Eid, SRK bets on Diwali but will Hrithik Roshan manage to steal Christmas away from Aamir Khan by booking two years in advance?
Komal Nahta (MUMBAI MIRROR; January 14, 2018)

Sanjay Leela Bhansali announced the release date of his controversial Padmavat on Republic Day — it was to clash with Akshay Kumar starrer Pad Man and Sidharth Malhotra starrer Aiyaary but the makers of Aiyaari postponed their release. Arguably one of the most eagerly-awaited films of the year, Padmavat has been so neck-deep in controversies that the moment it got an okay from the CBFC, the trade community was ready to back its release. That both Padmavat and Pad Man will now release on January 25 makes us wonder what is it about the national holidays and festival weekends that make producers chase them.

While the success of a film was once measured by how long it ran in theatres — completing silver, platinum and golden jubilees — the new mantra is cracking the opening weekend. This shift in emphasis has to do with the fact that films today release in thousands of cinemas simultaneously, as against 150 odd cinemas in the ‘60s, ‘70s and ‘80s. Most films are also off cinemas in a couple of weeks and don’t run for months as they once did. Consequently, there is no time for collections to pick up on the strength of positive word of mouth publicity.

The obsession over blocking festival dates began once stars turned producers. You did not have a Rajesh Khanna or an Amitabh Bachchan chasing a festival week for their films. Filmmakers then, would base their release strategy on the theme of the film. A patriotic film would get an astounding response if released on Independence Day. Also, stars then had three, four and even more releases every year and couldn’t manage to stick to festivals alone. However, today’s top stars have one or, at the best, two releases in a year or sometimes, in two years — a reason why they want to be sure that nothing goes wrong. A smart way to ensure that is by releasing on festivals.

The Diwali duel
Diwali was the first festival to be considered auspicious by producers. That the Hindu festival is celebrated over three days (Laxmi Pooja, New Year and Bhai Dooj) directly translated in steady box-office collections over the period. Collections do get adversely affected when Laxmi Pooja is held in Hindu households and offices. Another reason for a spike in collections is that a lot of companies disburse annual bonuses during Diwali, boosting spending power. Actor-producer Aamir Khan would have never risked getting his medium-budgeted Secret Superstar to release alongside the multi-starrer Golmaal Again, had it not been during Diwali. Few know that Khan graciously relinquished shows in all multiplexes from the second day onwards when approached by Rohit Shetty whose Golmaal Again was struggling to accommodate since it was running to packed shows. “No purpose is served if I underutilise the cinema capacity while Rohit [Shetty] is in need of more capacity for his film,” Aamir said, before ordering his distribution team to help Golmaal Again with more shows.

The desperation to nail the box office on a Diwali weekend has, at times, even taken a sour turn. When Yash Chopra’s Jab Tak Hai Jaan and Ajay Devgn’s Son Of Sardaar clashed during Diwali in 2012, a few days following the filmmaker’s demise, the sombre atmosphere didn’t ease the competitive streak. Devgn dragged the late filmmaker’s company to the Competition Commission of India, alleging that they had cornered most premium cinemas. “This is monopoly at its worst,” Devgn thundered then, adding, “I won’t allow Aditya Chopra to corner all the cream cinemas for his film.” The CCI dismissed the case in no time. Point to note is that Devgn was not willing to let go of the Diwali week even if it meant having to contend with fewer screens.

Eid’s good
Over time, producers realised that if Diwali spells success, so would Eid. A testament of the commercial potential of the Eid holiday is evident from the success of Salman Khan films which have monopolised the weekend for years. Since a lot of Muslims abstain from all entertainment activities for an entire month (during Ramzan) prior to Eid, collections during the period are often at an all-time low. But if a producer is willing to take the risk of releasing his film one, two or three days prior to Eid, one can imagine the boost the film gets during the holiday. Salman Khan’s Kick was the Eid blockbuster in 2014, while his Bajrangi Bhaijaan became Khan’s first film to join the Rs. 300-crore club. Until Tiger Zinda Hai in 2017, Bajrangi Bhaijaan was the biggest blockbuster in Salman’s career, next only to Sultan which, incidentally, was also an Eid release (2016).

Shah Rukh Khan and Rohit Shetty worked overtime to release Chennai Express on the Eid week of 2013. It remains the biggest grosser in the superstar’s career (Rs 226 crore net collections in India). Chennai Express and Once Upon A Time In Mumbai Dobaara! were slated to release on the Eid week — a week prior to the Independence Day. To avoid the clash, Ekta Kapoor offered to postpone her film by a week — a move much appreciated by Khan who met Kapoor to arrive at the decision. But when Chennai Express became a hit, Khan refused to surrender shows in multiplexes which Ekta had envisaged would come to her in return for her gesture.

Going against the grain
Rajshri Productions is one of the few which don’t hanker after holiday weekends to release their films. Although Rajshri’s last film, Prem Ratan Dhan Payo (2015), was a Diwali release, the company’s highest grossing film of the 1980s Maine Pyar Kiya (1989) released on December 29, while Hum Aapke Hain Koun..! (1994) which broke box office records released on August 5.

Looking ahead, we welcome Salman Khan’s Race 3 (15th June) on Eid, Aamir Khan’s Thugs Of Hindostan (November 7) as a Diwali offering, and Shah Rukh’s Zero (21st December) as a Christmas gift. And given Bollywood’s obsession with festival releases, Rakesh Roshan has announced the release date of his Krrish 4 — the Christmas week of 2020. Yes, you read it right, it will come two years later but the date has been blocked. Does that prevent Aamir, who has had much success in December (Dangal, PK, 3 Idiots), from announcing his film in the same week? You must be kidding!

The author is a film trade analyst

Mohar Basu (MID-DAY; January 5, 2018)

Most seasoned actors sign a film depending on the importance of their role in it. But, for Katrina Kaif, the makers, crew members and script are sacrosanct. “If I like the team, technicians and story, I’ll do a film. It doesn’t matter if I am the only one in it or there are 25 other actors. While working on Jab Tak Hai Jaan (2012, she played the protagonist in it), I also did Zindagi Na Milegi Dobara (2011), which had six principal characters. I can’t sign a film that offers me a great part but has an average script,” says Kaif, who has spent over 14 years in B-Town.

Close on the heels of Tiger Zinda Hai’s success, she is looking forward to her next project, Aanand L Rai’s Zero, which also stars Shah Rukh Khan. “Initially, I was supposed to play myself in Zero. The film was titled Katrina Meri Jaan. There was a different cast on board and Shah Rukh sir wasn’t part of it. Now, it’s a satirical take on an actress,” says Kaif.

The film will mark her second outing with SRK, after Jab Tak Hai Jaan. Sharing her fondness for the star, Kaif says, “Shah Rukh sir is one of the best actors in the industry. His drive, energy and passion are commendable. It’s great to be around him on a set.”

Though she doesn’t divulge details, it’s apparent that Kaif doesn’t share screen space with Anushka Sharma, who also stars in Zero. Heaping praise for the film’s director, she says, “Aanand sir is fantastic. He helps you as an actor. You get to learn a lot from him.”

The three actors are coming together in Aanand L Rai's next
Chaya Unnikrishnan (DNA; June 12, 2017)

Soon after wrapping up Jab Harry Met Sejal, Shah Rukh Khan started shooting for his dwarf film with Aanand L Rai. In fact, he finished the first schedule two days ago. The film sees him teaming up with Anushka Sharma for the fourth time and Katrina Kaif for the second time. He says, “We (Anushka and he) will just be carrying forward from our last film which we finished shooting four months ago. Now, we will be back shooting together again in the next two months. She is like family. It is easy to work with friends. Katrina (Kaif) will also join us and it will be like Jab Tak Hai Jaan. We had a lot of fun promoting that film together. The three of us had very few scenes together but when we started promoting it, we had a great time.”

Ask him if the title for the film is in place, and he retorts tongue firmly in cheek, “Yes, we have a title, we have the heroines and it even has got a story this time!” When prodded about whether he is willing to share the title, he says, “People think I am avoiding giving out the title, but I think it should be out with all the technicians involved in the film. We selfishly try to put the title out without involving them. I am just waiting for a few more days to get everyone on board and announce it officially.”

What about the title i that is doing the rounds? “We can live with that one, but that’s not title of the film,” he quips. There is also buzz about it being called Katrina Meri Jaan! Is that the one, we ask? “Woh meri jaan hai, lekin that’s not the title.” laughs SRK.

In Jab Tak Hai Jaan, Katrina had a longer screen presence than Anushka — this time we hear it will be the other way round. Anushka will have a bigger role than Kat’s. But SRK refuses to divulge anything and jokes, “In my film, my role is bigger than anyone else’s.”

The definition of love and friendship is changing for the youth and films are reflecting that
Chaya Unnikrishnan (DNA; November 19, 2016)

"I knew the world had shifted when Katrina Kaif and Shah Rukh Khan were shown having premarital sex in Jab Tak Hai Jaan, a Yash Chopra film. It was casual, and there was no comment on it. That’s when the landscape altered irrevocably,” declares well-known film critic Anupama Chopra.

Indeed, when Yash Chopra who’s known to epitomize romance incorporates premarital sex, it becomes a bold move, a defining moment. Something which his son Aditya Chopra has taken forward in the upcoming Befikre, the posters of which have the lead pair Ranveer Singh and Vaani Kapoor smooching in different positions! The trailers too promise some no-holds-barred make-out scenes between the two, who strike up a friendship in Paris and just hang out with sex on their minds — friends with benefits, anyone?

The recently released Ae Dil Hai Mushkil questioned the very definition of love and friendship — pyaar mein junoon hai, dosti mein sukoon — sparking a debate across generations. If in Kuch Kuch Hota Hai, his 1998 debut directorial, Karan Johar showed that you can’t be friends with someone you are in love with, in ADHM, he took a 180-degree turn and showed that a boy and girl can be friends and in love but it need not be a romantic relationship!

Clearly, pyaar and dosti have undergone a sea change in cinema and what was true just five years ago doesn’t hold water now.

Liberal outlook

Says noted film critic Raja Sen, “Earlier, there were certain things that the hero and heroine were not allowed and that line has been blurring over the years. Now, it has come to a point where audience is intrigued by more unconventional cinema, by relationships that are more casually and interestingly depicted.” Take for instance, the upcoming Dear Zindagi. From what we see in the promos, it is evident that Alia Bhatt’s character goes through three romantic relationships and later seeks the guidance of Shah Rukh Khan, who plays her life coach. As Rajeev Masand, Entertainment Editor, CNN-IBN says, “Though I can’t gauge exactly what it is about, it’s definitely a new language, very different from what we were used to seeing back in the day.”

Sex and sexuality

Sex is no longer taboo in films. Since Khwahish that was publicised as the film with 17 liplocks, and Bhatts spawned the era of erotic thrillers, steamy scenes have become de rigueur. Yet, when a Karan Johar brings a gay character in mainstream cinema — Kapoor & Sons — without making it caricaturish and saddling it with clichés, or shows an older woman hooking up with a young lover in Ae Dil Hai Mushkil, it is a turning point. Aditya Chopra moving from pure romance in Dilwale Dulhaniya Le Jayenge to casual sex in Befikre, is a paradigm shift, the genesis of which was laid in his production Neal ‘N’ Nikki. Says Anupama, “Actually it was with DDLJ that the whole exploration — the question of love and friendship — started. It’s not an overnight change, it’s an ongoing process. But yes, sexuality has definitely changed. Even the conversations that happened then (during DDLJ) have a different interpretation now.” Agrees Tushar Joshi, Editor, Bollywood Life.com, “The concept of love in 2016 is different from what it used to be. Films have overcome sexuality, genders and other boundaries set by society. The third spoke in marriage — the extramarital affair that stunned people in Kabhi Alvida Na Kehna is no longer a taboo. In Ae Dil Hai Mushkil, people talked about Aishwarya’s steamy scenes, but they were not shocked that a divorced woman is having a relationship with a younger guy.” Certainly not, when you have the oh-so-beautiful Aishwarya Rai Bachchan and the good looking Ranbir Kapoor doing the deed.


Targetting the youth

With 50 per cent of India’s population in the less-than-25 age group, youth has become omnipresent. The digital platform has already logged in with web series targetted at youth whose concept of love, relationship and marriage has undergone a radical change. Series like Bang Bajaa Baraat and Permanent Roommates which tackle issues close to them like live-in relationships, love and friendship have scored big with the youth. It’s the same demographic that is now the target audience of filmmakers. Says film exhibitor Akshaye Rathi, “Romcoms typically are focussed on the young urban market. With films like Befikre and Ae Dil Hai Mushkil, filmmakers are clearly trying to reach out to the young audience — identifying their taste-buds and catering to them — as they are the ones going to the multiplexes in a big way today.” The phenomenon began in the West eight years ago and five years back in India. Says Rajeev, “Filmmakers have recognised that the paying public is the youth. That is why you see so many superhero films, sequels and franchises in the West. These films cater to the young male demographic and the same thing is happening here.”


Alienating the older generation

While filmmakers haven’t entirely abandoned the older generation, the fact that it’s the youth which goes to the movies the most, is influencing the content. “Films make maximum business on the weekends and fortunately or unfortunately, it’s the youth that still believes in watching movies first day, first show. The elders do not want to rush or jostle for the movie, they will watch it aaram se or even wait for it to air on satellite TV and watch it at home. So, the films reflect what the young college kids want,” says Rajeev. He explains that even in the West, dramas have become fewer in number, coming during the year-end when the Oscars are closer, simply because the older generation is not going to the cinemas. But Anupama feels that all sorts of movies are being made, even dramas, “Some like Sooraj Barjatya go back to the traditional mould, which he projects in his cinema.”

Way ahead

Even as audiences debate over the daring content in cinema, and filmmakers fight with the censor board over cuts, Anupama feels that our cinema is still too timid. “It is not exactly reflecting the reality, when you look at how far urban India has moved in terms of sexuality. For me, the most startling moment was in Ae Dil Hai Mushkil when a younger lover is meeting his lover’s ex husband and the conversation flows in a somewhat mature manner. They are treating each other fine. Where do you have this in Hindi cinema?” It goes without saying that filmmakers have to move with the times and reflect what’s happening around us. As Akshaye puts it, “Kuch Kuch Hota Hai was a rage among the youngsters then, but today’s youth in their 20s with the kind of exposure they have will probably cringe at the film or find it cheesy.”

The Diwali results of 2016 have been pretty lackluster as again Diwali fails to give that big grosser. The results are very similar to the 2012 clash where AE DIL HAI MUSHKIL is JAB TAK HAI JAAN and SHIVAAY is SON OF SARDAAR. The overseas performance of AE DIL HAI MUSHKIL is also similar to JAB TAK HAI JAAN. The ten day business does favour the Diwlai 2016 releases by around 17 crore nett but its unlikely to remain that much at the end their run as this years film will have a shorther life due to wider releases. That was Diwali 2012 and ticket rates are basically 25% higher than at that time but business on a best case will be around 5-7% higher which is not good. The first ten day business of this years Diwali releases and of 2012 Diwali are as follows.

Diwali 2012
Jab Tak Hai Jaan - 83,77,00,000 (2450 Screens)
Son Of Sardaar - 70,42,00,000 (2000 Screens)
TOTAL  - 1,54,19,00,000 (4450 Screens)

Diwali 2016
Ae Dil Hai Mushkil - 94,35,00,000 (2850 Screens)
Shivaay - 76,72,00,000 (2950 screens)
Footfalls - 1,71,07,000 (5800 Screens)

In 2012, JAB TAK HAI JAAN finished with 101.59 crore nett which AE DIL HAI MUSHKIL will surpass while SON OF SARDAAR finish with 88.68 crore nett which SHIVAAY might cross. The combined total was 190.27 crore nett.

DNA (September 19, 2016)


Anushka Sharma was launched by Yash Raj Films. She is the only actress of her generation to have worked with Yash Chopra. But in Jab Tak Hai Jaan, her character was such that she didn’t get to don a chiffon saree and sing a song in the Swiss Alps, something she always wanted to do. But recently, she got the chance to look and act like the quintessential Yash Chopra heroine in Ae Dil Hai Mushkil. Karan Johar, a self-confessed Yash Chopra fan, gave Anushka a chance to feel like a quintessential YRF movie heroine. For a scene, Anushka wore a beautiful saree and shot on top of a glacier in Austria.

It was a secret desire of Anushka to be part of such a scene. So when she shot for this sequence, even the freezing weather, couldn’t put a dampener on her soaring spirit. Anushka said, “I have grown up watching films by Yashji where he stunningly captured actresses dancing on snow-clad mountains in a saree. I was fortunate enough to work in a film with Yashji and Aditya Chopra, who also captured beautiful scenic moments like this in his films. But my roles didn’t require me to enact scenes like these in any of my films till Ae Dil Hai Mushkil. The aesthetics of Karan’s films have always influenced me, so having a chance to play a quintessential Yashji heroine in Ae Dil Hai Mushkil in Austria felt amazing.”

A disappointing year can only end on a high if both of last two major releases DILWALE and BAJIRAO MASTANI become super hit films but recent history suggests that in a clash there can be only one winner or two under performers. Though it is made out that if films are not similar and different genres they can co exist but that is not the case.

The last time a clash gave out real super hit films was ages back in the day of staggered releases where despite releasing on the same day, one film would release in Mumbai and the other in North or vice versa, this even saw three super hit films coming together. The little exception was DIL vs GHAYAL in 1990 but even here the former had raced ahead in first six months though GHAYAL more than made up in repeat runs as the Sunny Deol action image got stronger and stronger in the 90's. If it was not for this only DIL would have been the blockbuster film.

GADAR vs LAGAAN in 2001 is another example normally used to show that two films can co-exist but here LAGAAN was a loser in many circuits due to GADAR, it managed to survive due to super hit business in Mumbai and South but if it did not clash it would have become a major hit. This happened in the days of 300 screen releases when films could easily get the amount of screens needed which is not the case today when films are looking for 4000 screens.

In 2001, the perception was not through numbers so LAGAAN got away with it due to media perception but today its totally different scenario and neither DILWALE nor BAJIRAO MASTANI will want or rather can't afford to be a LAGAAN and loose the battle by a landslide as numbers will be there for all to see. In 2012 there was JAB TAK HAI JAAN and SON OF SARDAAR where both under performed but numbers were respectable but with the costs involverd here respectable numbers won't be enough.

Obviously its DILWALE that holds the upper hand, not just because of the star power but also because the director of BAJIRAO MASTAANI makes films that only only do well (if they do well) in some parts of the country and when you clash this limited market becomes even smaller. The film will have tobe super strong in content to have any chance of recovery.

The issues for DILWALE are different as it has potential to put up some records and that is what is expected from these event films but the clash is sort of irritation as the way business is today only a solo release can only hope of record be it opening day, weekend or circuit records.

The likely scenario will be one real winner and one loser or two under performers though they can give the industry major hope that clashes can happen and go on to do 400 crore nett plus between them but that would be biggest surprise of the year and chances are slim.

Anushka Sharma, who has done the most two-heroine projects, raps about what keeps her grounded and secure
Sneha Mahadevan (DNA; May 19, 2015)


She went on to work with Katrina Kaif in Jab Tak Hai Jaan and Priyanka Chopra in Dil Dhadakne Do. She explains her choices, “In DDD, my screen time may not be as much, but it’s the coolest part. It wasn’t something I’d done before. I knew the role was incredible and that Zoya would do a great job with it. In JTHJ, I thought my role was fabulous. It was great and I knew I could do something fun with it. I knew I had that security in that sense. No one is forcing me to do something. I am at a place in my life where I can say no to things. If you are taking it up with the willingness to do it, why would you have any insecurity?”

The actress, who is doing Karan Johar’s next Ae Dil Hai Mushkil with Aishwarya Rai Bachchan, adds, “I am not one of those actresses who is going to bother about what she is wearing, how long will the other actresses’ role be, etc. I have no idea how many days each actor gives to a film and who is signing what. I don’t ask those kind of questions. It’s just too taxing. That information does nothing to me. I don’t need to know all that. I have faith in the director, faith in the project and most importantly faith in myself that I will be able to do a good job with the role. I am so focussed on doing my job correctly. Where is the time to sit and think what someone else is doing?”

MUMBAI MIRROR (May 1, 2015)

Last evening, Shah Rukh Khan met Jammu & Kashmir Chief Minister Mufti Mohammad Sayeed who was in the city to meet a Bollywood contingent. The 49-year-old actor told the CM that his grandmother was of Kashmiri origin and he would love to relive the good old days of 2013 when he filmed Yash Chopra's last directorial, Jab Tak Hai Jaan, there.

Sayeed, who is in Mumbai to promote the Valley as a shooting and film destination, described Shah Rukh as a great and versatile actor who has portrayed an array of roles in his long and memorable career.

A few days ago, Mirror had reported that Mufti's party leaders had met with Salman Khan who was filming his upcoming film, Kabir Khan's Bajrangi Bhaijaan, in Kashmir till a few days ago, to endorse the State. But the actor had rejected the offer

According to a source, SRK too has no plans to shoot in the valley in the immediate future as the locations of both his upcoming films, Raees and Dilwale, have already been finalised.

A film's release date is one of the most important and yet, the most variable factor in the life of a filmmaker. Before we discuss the implications on a filmmaker due to lack of sufficient time to run his film at the box office, we look at the Maths of it
Priya Gupta (BOMBAY TIMES; December 14, 2014)