If there is one thing that defines Amaal Mallik, it is his refusal to filter himself. Brutally honest, he does not hesitate to call out even his own ecosystem if he believes something is off. That side of him was visible during his stint on Bigg Boss last year. Some admired his candour, others found it abrasive. But for Amaal, it has never been about being liked, it has always been about being real. Excerpts from a conversation.

After years of hesitation, Amaal finally chose to take up Bigg Boss as a personal challenge, after first being approached in 2018. He says, “I didn’t take it up for validation. People often call Bigg Boss a career-revival stint, but that wasn’t the case for me. My career has been beautiful over the last decade, and I always felt Bigg Boss was not my kind of show. But I wanted to challenge myself.”

Reflecting on the experience, he adds, “Bigg Boss has made me a household name. Uss show mein meri ek tarah se cleansing hui hai. I went in after putting out a post about going through depression to overcome a bunch of things, and I came out much stronger. I know how to own stardom now, but I am still getting used to it.”

For Amaal, individual identity was always important, even though it came with its share of emotional strain within the family. The music composer says, “My brother Armaan and I never wanted to be known as a duo because we are talented in different ways. He is the best singer in our family of composers and has earned everything on merit. There was a time when he was doing 20 shows a month so that ghar par paise aaye, while music direction didn’t bring in money.”

That phase, he recalls, also affected the dynamics at home. He shares, “Mom ke liye toh dono hi aankh ke taare hain, but conversations would turn into comparisons. She would say, ‘Armaan itna le raha hai show ke liye, tu itna kam kyun le raha hai.’ I kept explaining the difference between a singer and a composer’s market, but it wasn’t understood. It impacted me mentally, emotionally, and even my bond with Armaan. My fight with my parents was actually to protect that bond so it doesn’t get damaged under pressure. Eventually, we understood each other and are in a better space today.”

Over the years, Amaal says that what began as internal pressure eventually led to clarity about his identity and greater recognition, something he feels became more visible after Bigg Boss. He adds, “Not many knew I was the boy behind M S Dhoni - The Untold Story and Airlift. Dus saal joh music kiya hai woh chehre se judd jaayega, and it was important for me to be known as Amaal, not Armaan. People now know who Armaan is and who I am, with a proper chalk and cheese difference. Bigg Boss has played a part in that shift.”

Despite belonging to a musical family, Amaal rejects the idea that his journey was easy. He says, “I am actually a product of reverse nepotism. Not one person gave me a job in this industry after hearing the surname Malik, ki yeh Daboo ka beta hai, Anu ka relative hai, tune bech kar aa jaayega unko. I was sacked from a job because of the same. I am here because of Salman Khan sir, who gave me a break with Jai Ho at 23. People need to understand that two boys have changed the narrative from being known as Anu Malik’s nephews for 20 years to them being known as Armaan and Amaal.”

He adds, “We are proud of being Daboo Malik’s sons, but we wanted to be known for our work. I respect them, but surname ka saaya talvaar jaise chal raha tha. We changed that perception through quality work.”

Since Bigg Boss, Amaal has been navigating speculation around his relationship status. He was linked to co-contestant Farrhana Bhatt. Addressing rumours, he says, “Farrhana and I share a real bond of friendship and nothing more. I have been single since 2019 and when I have a girlfriend, I will announce it.”

On relationships, he adds, “I want my partner to be as fiery as I am. I have never dated within the industry because I am wary of this space. I don’t always know when actors are acting and when they are being real, and that makes me cautious.”

The show expanded his audience significantly. He says, “My audience, which was earlier between 12 to 30, is now 12 to 75. I have become a social media relevant musician. I am focused on independent music, music videos and stage shows. Stage shows bring in money, and that gets reinvested into independent music. It is a cycle.”

Despite other opportunities, he remains firm on priorities. He says, “I am getting offers, mostly villain roles from the South, and music offers as well. I will see what makes sense, but music is my first love. Today, the audience wants me to act, the industry wants me to be a villain, but I want to be just a musician. I will explore only if it aligns with me.”

He adds, “I am the guy people are watching to see how a music composer builds his journey. What Himesh Reshammiya ji did in his era, I have to do in my own subtle way. My noise is not loud; it is in silence and withdrawal.”

Looking back at his journey so far, he shares, “From 2014 till now, I have lived the dreams of my 15-year-old self. Earlier everything I did was for my family. Now I have added something for myself too. My journey is 50 per cent mine.”

DABANGG 3 just about managed to get 1 crore footfalls despite the failure of the film. This means that Salman Khan had just one miss in the gone decade where only one of his films failed to hit the 1 crore footfall mark, that is, VEER. One crore footfalls is basically a real 100 crore nett value at the box office be it 1970 or 2020. Obviously today 1 crore footfalls means much more than 100 crore nett at the box office and in a few years it will give even more as ticket rates go higher.

One crore footfalls also means reaching a sizeable audience although some films need to reach a bigger audience due to the size of the films and most Salman Khan films come into this category. The one miss was VEER (2010) which was his first release of the decade and became before DABANGG (2010) which established his image of a mass action superstar across India and then films like BODYGUARD, READY and EK THA TIGER rubber stamped this image. VEER actually scored in Rajasthan and Bihar but Salman Khan was not the same star at the time of this release as he was a year or two later.

Basically just one film under 1 crore footfalls through the whole decade means most of his films got an audience irrelevant of content. If we compare, then Aamir Khan had one film which fell under 1 crore footfalls in the 2000-2009 decade but there were just nine releases and Manoj Kumar had one miss in the 1970-1979 decade but only ten films. Limited films had a hand in not missing the 1 crore mark for Aamir Khan and Manoj Kumar.

The Salman Khan films of the last decade are also finding big audiences on television in the Coronavirus lockdown period especially the two TIGER films. As far as OTT goes its being said that these B and C grade web series which have foundations based on sex and profanities rather than story and screenplay are the rage in the lockdown period but just the price paid for Salman Khan starrers which is around 100 crore is enough to tell what has a bigger audience. TIGER ZINDA HAI, RACE 3, BHARAT and DABANGG 3 have all fetched this price or nearabouts it.

The footfalls of Salman Khan starrer in the last decade are as follows. There were sixteen releases in total.
1. Veer (2010) - 73,47,000
2. Dabangg (2010) - 2,50,86,000
3. Ready (2011) - 1,84,52,000
4. Bodyguard (2011) - 2,21,48,000
5. Ek Tha Tiger (2012) - 2,47,39,000
6. Dabangg 2 (2012) - 2,05,28,000
7. Jai Ho (2014) - 1,43,98,000
8. Kick (2015) - 2,41,92,000
9. Bajrangi Bhaijaan (2015) - 3,54,17,000
10. Prem Ratan Dhan Payo (2015) - 2,22,76,000
11. Sultan (2016) - 3,20,85,000
12. Tubelight (2017) - 1,15,74,000
13. Tiger Zinda Hai (2017) - 3,08,89,000
14. Race 3 (2018) - 1,58,19,000
15. Bharat (2019) - 1,60,68,000
16. Dabangg 3 (2019) - 1,01,63,000

The singer on starting early, his debut English single and appearing on a billboard in Times Square
Anuka Roy (MUMBAI MIRROR; April 19, 2020)

Armaan Malik is no stranger to the music industry. His grandfather Sardar Malik was a music composer, and his father Daboo Malik and uncle Anu Malik are well known music directors. So, no one was surprised when Armaan decided to become a playback singer. And while he has already made his mark in Bollywood, it’s only now that a special dream of his has come true.

Armaan’s debut original English song “Control” released last month under Arista Records, a label that has been associated with musicians like Whitney Houston and Jennifer Hudson. The high-tempo song was recorded by music producer Wayne Wilkins, who has worked with Beyoncé and Natasha Bedingfield. What’s more, Armaan was also featured on the Times Square billboard last month for the English single.

“The journey began in 2018 when I started meeting writers and music producers during my trips to Los Angeles,” says the 24-year-old. David Massey of Arista Records heard one his yet-to-be released English songs and signed him for the label. It was the realisation of an ambition that Armaan had harboured since he was 15. But he worked hard to earn recognition in Bollywood first.

The trained Hindustani classical musician’s journey began quite early. At the age of eight, he participated in a ghazal show. “I came second in that competition and it gave me a lot of confidence,” Armaan recalls. A year later, he participated in another popular kids’ singing reality show, and started his playback career as a child singer for movies such as Taare Zameen Par and Bhootnath. At 18, he released his debut album Armaan as well as the hit “Tumko To Aana Hi Tha” for the 2014 Salman Khan-starrer Jai Ho — his first song as an adult playback singer.

He considers the soft romantic number “Naina” from the movie Khoobsurat, starring Sonam Kapoor and Fawad Khan, as one of the turning points in his career. “It is a Sona Mohapatra song and I sang only four or five lines,” he says. “But it brought me a lot of recognition and I realised that people liked my voice.” Since 2014, he has delivered a hit song almost every year and sung in various regional languages such as Tamil, Telugu and Gujarati.

The success, however, hasn’t spared him the nepotism jibe. “I have never used my family contacts to get work. I built my career on my talent,” insists the singer, who lists Bruno Mars, Sonu Nigam and Arijit Singh as his inspirations.

Like most millennial artists, Armaan has a huge online presence with more than eight million followers on Instagram. His fans, who call themselves ‘Armaanians’, got a rude shock last month when he deleted all his Instagram photos and left just one cryptic image that read ‘I can’t take it anymore’. As it turned out, they were actually the lyrics of “Control”. “The intention was not to scare people. I was starting a new journey, so it was time for the old one to come to an end,” he says.

Having a huge fan following also means sometimes encountering bizarre situations. One such incident took place nearly four years ago in Delhi when, at a college event, the crowd literally lost control. To ensure Armaan’s safety, the police had to handcuff him and escort him out. “I even asked them, ‘Mujhe accha gaane ki wajah se arrest kar rahe ho kya?’(Are you arresting me for singing well?),” he says with a laugh.

Even though the Covid-19 pandemic marred the grand launch plans of his English single, the singer has been busy doing live sessions and promoting the song virtually. “My focus will be on independent songs for both India and the global market. I want to be a global artist,” he says. “Once the situation is better, I’ll be releasing follow-up songs to “Control”. That’s the goal as of now.”

Lasyapriya Sundaram (BOMBAY TIMES; June 6, 2018)

Daisy Shah made her Hindi film debut opposite Salman Khan in Jai Ho (2014). Since then, however, the actress has taken her time to choose her projects. Two years later, she starred in the third instalment of the Hate Story franchise. This Eid, and she is all set to play a mean girl in yet another franchise, Race 3. In a candid chat with BT, Daisy talks about how she dealt with the trolling of her now famous dialogue from the Race 3 promo, about the importance of patience while waiting for the right roles to come by and how she is keen to be in a relationship with someone. Excerpts…

Your upcoming release, Race 3, features a number of big stars. Does that take the pressure off you?
I think it’s a huge a opportunity for me, because I am part of a film that has stars like Salman Khan, Anil Kapoor and Bobby Deol. It will grab eyeballs and I will get noticed, too. I hope Race 3 opens more doors for me. It’s not about how much screen time I have, what matters is reaching out to a huge number of people. I liked my character in the film, and it also gave me an opportunity to dabble in hardcore action. I have a grunge avatar in the movie, which is similar to the real me. At the same time, I don’t want to be stereotyped, because I am still exploring. I am just trying to gain experience and hone my skills.

Your dialogue from the film — ‘Our business is our business, none of your business’ — has been trolled. On the flip side, everyone is talking about it and even the Mumbai Police have used it as part of their campaign...
It’s been blown out of proportion. I am happy, however, that the Mumbai Police are using it as part of their campaign that spreads awareness about data sharing. We are actors and there are going to be millions of opinions about us. Having said that, I think trolls are people, who need to do something productive about their lives. Also, what they don’t realise is that we choose to share what we do with people. There are many aspects of our lives that they don’t have access to. It’s like, ‘Mooh hai to bolenge’, and in this case, it’s ‘haath hai to likhenge’.

You made your Bollywood debut in 2014 with Jai Ho, opposite Salman Khan.Since then, it has taken you close to four years to be a part of another big-budget film. Were you taking it slow, deliberately?
I wasn’t getting good projects and I didn’t want to take a decision in haste. So, I decided to work on myself. While some make it in three months, others take three years. Every person’s destiny is different. The best thing about my career is the journey. There will be obstacles, but I have never shifted my gaze away from my goal.

What were your challenges after Jai Ho?
According to the trade, the film didn’t do well at the box office, though it made more than Rs 100 crore. It’s a huge number for a debutante, but people have sky-high expectations from a Salman Khan film. The film was not declared a huge success and that affected my prospects. However, I have no complaints. I could have signed 10 films after Jai Ho, but those films would have done nothing for me. I wanted to wait for the right project.

How would you describe Salman Khan’s contribution to your career?
Salman Khan has shaped my identity and I am his protégé. I got an opportunity to be in front of the camera because of him. I know that he is always there for me and I seek his advice whenever I need it. Though I have been a part of the industry for a long time (as an assistant choreographer), I was working behind the scenes. Salman helps me understand how to approach roles.

From being an assistant choreographer to an actress, life must have changed drastically for you. Does the fact that as a celebrity, you have to constantly look your best, put pressure on you?
Today, I look after myself. Earlier, I was not concerned about my looks, as I was not judged on the basis of it. I am a tomboy and so, there are times when I feel that dressing up goes against my personality. However, I don’t feel burdened by the fact that I have to look good.

Moving on from your professional life to your personal life, are you dating somebody?
I am not dating anyone and I am tired of being single. I want to be in a relationship, but it’s difficult to find somebody nice. It doesn’t matter whether he is from the industry or from some other field.

PADMAAVAT has emerged one of the biggest blockbusters to be released in January as it grossed 284 crore nett apprx. The only bigger films released in January post 1994 are KAHO NAA... PYAAR HAI and Karan Arjun. In fact we can say post 1984 instead of 1994 that these three are biggest blockbusters in January as between 1984-1994 there are some big hits in January but none are likely to come at the level of these three with adjusted numbers.

KAHO NAA... PYAAR HAI is a 300 crore value film on the first quarter 2018 ticket rate and KARAN ARJUN could reach 300 crore value also by the ticket rate value at the end of the year. If we look at grossers, then JAI HO and RAEES at 138 crore and 133 crore would get into top ten also. However, these films were not outright HITS but semi successful films.

The biggest HITS released in the month of January since 1994 are as follows

All Time Blockbuster
-

Blockbuster
1. Kaho Naa Pyar Hai (2000) - 300 crore
2. Karan Arjun (1995) - 293 crore
3. Padmaavat (2018) - 284 crore

Super Hit
4. Agneepath (2012) - 165 crore
5. Raja Babu (1994) - 154 crore
6. Bandit Queen (1996) - 131 crore
7. Hum Aapke Dil Mein Rehte Hain (1999) - 132 crore
8. Airlift (2016) - 125 crore

Hit
9. Rang De Basanti (2006) - 127 crore
10. Guru (2007) - 105 crore

As told to Sanyukta Iyer (MUMBAI MIRROR; February 12, 2018)

My journey is probably the best example of ‘how life happens to you when you’re busy planning it’. And it reinforces my faith in destiny.

I was 14 when my sister and I participated in a small beauty pageant — Miss Dombivli — at a local shopping mall. I won the title of ‘Miss Photogenic’ and the choreographer of the show asked me if I wanted to be an ‘extra’ on a film set. A year later, I nudged into the ‘crowd’ while a party sequence was being filmed, along with the lead actors, models, dancers and other junior artistes. I was one of those girls in the Salman Khan-Rani Mukerji starrer, Kahin Pyaar Na Ho Jaaye. This was in 2000, and I was fascinated as I watched the cameras roll and the scene unfold.

When I look back on my journey, it’s easy to pinpoint the turning points. In 2001, choreographer Ganesh Acharya was filming a song sequence at a ground in Malad. Once again, I was just a face in the background but that day it rained heavily and the local trains stopped. Many of the dancers from Ganesh sir’s troupe could not make it to the shoot. An assistant asked the crowd manager, my boss, if he could spare any ‘extras’ who could shake a leg and I was picked up.

I’ve been dancing since I was a child, taking part in every school competition, but I was no professional. Yet, when the final formation was locked, I was in the artist’s block, dancing right behind Sunny Deol and Preity Zinta. The song was in their film Farz. After watching me, Ganesh sir’s assistant asked if I’d like to join their troupe. I agreed immediately and stayed on for nine years, gradually progressing from dancer to assistant choreographer and model.

I worked in Tere Naam, Masti, Humko Deewana Kar Gaye, Rang De Basanti… practically every other film that Ganesh sir choreographed. I even had my first girl-crush moment when I assisted on a montage for U Me Aur Hum. Ajay Devgn was directing Kajol, who is my most favourite actress. For the first time, I was intimidated on a film set, literally choking, while working around Kajol.



A career in choreography was going decently enough so far. Then, suddenly my father passed away. He was my hero and his words “keep making him proud” and “never let go of your dreams” kept playing on my mind. I couldn’t give up my job as an assistant choreographer because that was my only source of livelihood but I started taking on more modelling assignments and began auditioning for every assignment I came across. I didn’t have to wait too long for a break.

A filmmaker from the South called me and I took off to Mangalore for the shoot of his film, Vandae Maatharam. After the shoot I returned to Mumbai and had nothing scheduled for four months. Since I didn’t want to sit at home doing nothing, I asked Ganesh sir if I could get back to assisting him for a while. He was more than happy to give me my old job back.

By now, I had already assisted on a dozen Salman Khan songs and there was some familiarity with my childhood idol. When I joined the troupe for the title song of Dabangg in 2010 in Wai, Salman asked me why he hadn’t seen me while filming his last three-four songs. When I told him that I had started working as an actress in the South, he told Ganesh sir that he always knew I had so much more in me than just choreography. After the film wrapped up, Salman was kicking off the shoot of Bodyguard with Kareena Kapoor and offered me the role of her friend. I turned it down because I had another South film coming up and I didn’t want to be seen in a small role. The part eventually went to Hazel Keech. But Salman was livid and didn’t speak to me for the next year-and-a-half.

I went on to feature in the Kannada remake of Bodyguard and did two other films in the South. One day, while I was shooting in Bangalore, Salman got in touch with me and we spoke for a while. He asked me to meet him when I returned to Mumbai. This time, I told myself — no matter what the role was, I would say “yes” because no one gets a second chance with Salman Khan. He gave me the role of the leading lady in Jai Ho, my debut Bollywood film. I couldn’t have been happier! I owe my existence as an actress to Salman Khan and Sohail bhai. If someone had told the 14-year-old-Daisy Shah, who had dreams of becoming an air-hostess, that she’d be Salman’s leading lady some day, she would have laughed. Now, I believe that with hard work and a little bit of luck anything is possible!

Dhaval Roy (DNA; February 10, 2018)

There is a lot of banter at Amaal Mallik’s new pad in Versova as we sit down with the composer and his younger brother, singer Armaan Malik, for a tête-à-tête. While the younger one teasingly accuses his elder bro of getting too competitive as he’s singing more songs, the music director is quick to rattle off names like Vishal Dadlani, Sonu Nigam, Arijit Singh, and his own bhai who have lent their voices to his compositions.

Together, the duo has delivered hits like Naina (Khoobsurat), Buddhu Sa Mann (Kapoor & Sons), Sab Tera (Baaghi), and Hum Nahi Sudhrenge (Golmaal Again) among many others. The brothers, who have the lineage of music composers, grandfather Sardar Malik, father Daboo Malik and uncle Anu Malik, talk to After Hrs about making their own mark against all odds and sibling rivalry.

Which is the next song that we will hear from both of you?
Armaan: I have sung a track for Nikkhil Advani’s Baazaar, which has been picturised on Rohan Mehra. It’s a love song-cum-club number, which not many people associate with my voice. Tere Mere from Chef was the last composition we did together, so it was great singing for Amaal after so long.
Amaal: It will be a surprise for our fans because we have mostly done stuff like Bol Do Na Zara (Azhar) or Buddhu Sa Mann, which are more like car-drive and live-in-the-moment songs. This is the first time Armaan has rendered a tropical electronic dance number for me.

Do you have clashes while working together?
Armaan: Yes, we have a lot of fights (laughs). They are usually creative differences. When I’m singing for Amaal, it’s one of the toughest recordings for me. He sets the bar too high and if I don’t achieve what he wants, he goes berserk. But that’s great because he wants excellence and it prompts me to work harder.
Amaal: Armaan has a simple approach and understands what a composer wants. I tell him, ‘Give the song your own vibe but I will still come and fight with you and change it’ (laughs).

Have the fights ever turned ugly?
Armaan: I’ve walked off from the recording and said, ‘I’m not doing this anymore. I’m done with this...’
Amaal: Sometimes, I’ve shut the door and said, ‘You can’t leave.’
Armaan: And then he asks the driver not to get my car...
Amaal: But we fight to make a good song. He sees reason that the track has turned out much better. So, ladaai karna zaroori hai (smiles).

What has been your most gratifying song together?
Amaal: I was moved by the way he sang Tere Mere. There were notes that had to be rendered like an ustaad and some that needed a contemporary voice and he did both equally well. That has been my toughest composition till date.
Armaan: The track’s antara had to be sung in a single breath and he didn’t let me take a break even though we have the technology. He okayed it in one take and I slept really well that night (laughs) because usually after a recording with him, I need good, unhealthy food to comfort me. Our single Main Rahoon Ya Na Rahoon is the other composition that we are proud of.

Do you turn to each other when things get rough?
Armaan: All the time! And we do it over food, which is an integral part of our lives.
Amaal: No gaana without khana (laughs). Things in the industry get too competitive. In that pressure, you tend to lose yourself. So, it’s important to have someone to turn to and vent out. Thankfully, we have each other.

What about sibling rivalry?
Amaal: He’s a complete mama’s boy while I’ve always been closer to my father. So, the swords were always drawn. 
Armaan: He was the bully as a kid. But I was sly. I would pretend to be this seedha saada guy and always get him into trouble by complaining about something he hadn’t even done. On a serious note, as musicians there’s no rivalry.

Did you face a lot of pressure because of your lineage?
Armaan: Everyone wanted to know what we were going to do. If I was on the stage, I represented my dad, uncle, dada, and Amaal.
Amaal: For people, we were never Dabboo Malik’s kids, we were always Anu Malik’s nephews. Our dad didn’t see the limelight and success that our uncle enjoyed. So, we had the fire in us to do well and take his name to the same position. People think we just got a chance three years ago but no one looks at our 10 years of struggle. I assisted Sandeep Chowta, Salim-Suleiman, Pritam, etc. while Armaan went the reality show way (Sa Re Ga Ma Pa Li’l Champs). We sang jingles and did voiceovers. Even when we got Jai Ho (2014), it wasn’t like we had arrived. On the contrary, the industry was harsher. People started writing me off when I was 23 and said I wasn’t the chip off the old block as a composer.

How do you see your career now?
Armaan: We have our own repertoire and style of songs. I think we have made a name because we have striven for it.
Amaal: Due to the comparison with our dad and uncle, the expectations were humongous. From that to people saying that my music has my signature has been a long journey. The fight has been worth the while.

Armaan, is there a song Amaal has composed with another singer that you wish you had sung?
Armaan: Mostly, he ends up releasing a song in my voice even if other singers have rendered it. But, I wish I had sung the non-film version of Chal Wahan Jaate Hain. It’s a beautiful track and when he was releasing it with Arijit (Singh), I asked him to take my version because it was close to my heart. I think the song was lost in the midst of a lot of other releases but we may do a version of it again.

What are you both working on now?
Armaan: We are collaborating on a single. We will shoot the video mostly by this month-end.
Amaal: We want to release more non-film music this year. We will also be touring together more.

DNA (November 24, 2017)

In the past, it was filmmakers who obsessed over their muses, proteges, wards, discoveries — address them in any which way. However, now it is fast becoming the business of superstars, who along with their own careers are also supervising that of their wards.

Aamir Khan feels personally responsible for the career of Fatima Sana Shaikh, who played his daughter Geeta Phogat in the biggest Bollywood blockbuster of all times, Dangal (2016). Sources say that Aamir was instrumental in getting Fatima her next big break in Thugs of Hindostan. And, of course, in keeping with the demands of the role, the superstar-actor-filmmaker is taking a keen interest in everything she does. Whether it is her diet or exercise regime or even her costume choices for her film, Aamir evinces an interest in all of it.

Likewise Salman Khan, who gave Daisy Shah her big Bollywood break with Jai Ho (2014), continues to support her.

Daisy did break out for a bit on her own and try her hand at films, but nothing really came of it. Now, the tall actress, who towers above many on a film set, and is also a proficient dancer plays the second but essential lead in Salman’s upcoming thriller Race 3.

The actor with a large heart also continues to keep tabs on Daisy’s other professional requirements. Be it her wardrobe, her publicity, or her overall well-being on a film set, Salman asks to be kept informed. If Daisy has any complaints, she knows who to take them to.

Joginder Tuteja (DNA; August 13, 2017)

There was a time till a couple of years ago when star power ensured that a substandard or a bad film worked at least to an extent at the box office. Not anymore! While bad films are failing, even good films are finding it difficult to find an audience. The new era of Bollywood audiences is fairly and squarely announcing that they are the king.

How it all started
When the Rs 100-crore phenomenon kick-started with Ghajini, hordes of films followed suit. Each Khan — Aamir, Shah Rukh, and Salman got into a race to deliver a century. Soon enough, Akshay Kumar, Ajay Devgn and Hrithik Roshan, too, had them to their names. The young brigade, Varun Dhawan, Ranveer Singh and Arjun Kapoor, entered the club and countless films joined in.

There were bad apples
Each biggie delivered by superstars was not quite worth the Rs 100-crore fortune. To some, it seemed like a fluke where films managed to score big. In fact, there were bad apples — films managing to register big numbers despite being panned by critics. So, on the one hand, there was quality cinema being missed and on the other, there was this slogan of ‘Bollywood Shining’.

Stardom ruled
One of the key reasons for this phenomenon to gain prominence was the star system ruling Bollywood. A Khan film had to take an opening. A non-Khan superstar (read Akshay, Ajay, Hrithik) was a reliable commodity. Bring in Deepika Padukone, Priyanka Chopra, or Katrina Kaif into the mix and a ‘deal’ was well in place to draw in audiences at least during the opening weekend. More films started seeing a Rs 50 crore plus weekend and content took a backseat. Stardom ruled!

The bubble had to burst
This was a bubble waiting to burst, but the industry wasn’t willing to see it with open eyes. The projects continued to be put together and an occasional Rs 200-crore or Rs 300-crore blockbuster made many believe that this phenomenon was there to stay. Many didn’t bother to check the abysmal failure rate that stood over 60 per cent at least. Producers and distributors lost money on these films. Still, for the 20 per cent odd films where both parties made money, champagne bottles were popped. No one was willing to wake up.

Audiences wised up
As corporate presentations were being put together for the big projects, audiences were wising up, too. They decided not to be enticed by just star power or a package deal. The early signs, what with Salman’s Jai Ho, Ranbir Kapoor’s Besharam and Bombay Velvet, Ajay’s Action Jackson, and SRK’s Fan being rejected became prominent with Ranveer’s Befikre, Hrithik Roshan’s Mohenjo Daro flopping. Unfortunately, many still didn’t understand these signals.

The unforgiving audience
One look at how audiences have given a thumbs down to star power is pretty much a testimony to how they’ve come up with a collective call of ‘enough is enough’. Salman returns after 10 Rs 100-crore biggies and delivers a major failure in Tubelight. SRK returns in his romantic avatar with Jab Harry Met Sejal and even that’s not welcomed. Ranbir’s Jagga Jasoos finds itself in the midst of widespread negativity. Tiger Shroff sees his lowest grosser ever in Munna Michael. Rangoon and Raabta emerge as disasters. Youngsters are not impressed with OK Jaanu and Meri Pyaari Bindu. Amitabh Bachchan suffered one of the biggest disasters with Sarkar 3. In a year that has seen close to 60 releases already, 14 odd turned out to be profitable at least for the producers, if not for the distributors as well.

Will there be a change?
Change is the name of the game, but one waits to see if that would happen quickly. The rest of the releases of 2017 can’t be altered with the content already being shot. Most of 2018 releases won’t see much of a change either since the script has been drafted and the shooting commenced. So, if a remarkable turnaround is expected, it would be in 2019, when some sort of sanity would have returned to the scene. Guess life would indeed have to come full circle for Bollywood by then.

Diwali has again not lived up to the expectations with neither AE DIL HAI MUSHKIL or SHIVAAY becoming big grossers with the former just about becoming a hit but with huge help from the recoveries in the Overseas market while SHIVAAY is an average fare. The last time Diwali saw a blockbuster way back in 2010 with GOLMAAL 3 and before that was OM SHANTI OM in 2007. In 90's the biggest blockbusters tended to come on Diwali every year be it DILWALE DULHANIA LE JAYENGE (1995), RAJA HINDUSTANI (1996), DIL TO PAGAL HAI (1997), KUCH KUCH HOTA HAI (1998), HUM SAATH SAATH HAIM (1999), MOHABBATEIN (2000).

All these films have an inflation adjusted nett gross of 250 crore nett or more. It could be the period is not as lucrative today as the two other main festive periods of Eid and Xmas or the films have not been good enough content wise. The latter is probably the main reason as if Eid and Xmas can easily go past 300 crore nett then surely Diwali should be 250 crore nett at least if not 300 crore nett. The potential of Diwali will only be known when that all India blockbuster comes on Diwali.

The business model today means that a blockbuster film is only going to come on a holiday period unless its an outstanding film and these are not being made today so because of this it becomes very important to have big numbers on Diwali, not just Diwali but Eid, Xmas and other holidays periods. This years Diwali releases are not bad with AE DIL HAI MUSHKIL set to have a worldwide theatrical share of 85 crore and having total recoveries of around 150 crore but the domestic business on Diwali should have been more as 100 crore nett from this would have been expected on any other day let alone Diwali due to the super hit music and names involved in the film.

SHIVAAY has gone the JAI HO and DILWALE way with the distributors losing due to high prices paid but its not too bad on its cost with recovery from all revenue sources set to be around 100 crore and a big rebate from Bulgaria to come. The difference between JAI HO and DILWALE is that the profits made by makers could compensate the distributors if the makers wanted to and the DILWALE makers did but with SHIVAAY the recoveries including rebate are not high enough to do that. Even though it had just one Ajay Devgn and nothing else much going for it, a 100 crore nett grosser should have been there on Diwali.

Rachana Dubey (BOMBAY TIMES; November 9, 2016)

The ex-Bigg Boss hottie on her second innings, her perceived mentor Salman and more
Urmimala Banerjee (MID-DAY; August 21, 2016)


There is buzz that your role is a bold one in Wajah Tum Ho?
Well, bold can also be in terms of performance. It is a fierce character, I play a lawyer. It is a very well-written role. The film has songs, there is a bit of masala, which could be ‘steamy’ (laughs). In a film, you have two people romancing, crying, fighting, so you’ll also have them love-making. It is not a big deal. I am happy with the feedback I’m getting so far for my performance. It is heartening.

You did your first Bollywood film in 2005. This is sort of a second innings for you. Are you more confident now?
Everyone works hard in this industry. However, it takes time to get good work. Some get it quite late. It is a frustrating and confusing journey, but I feel I have been patient. I won’t say doing Jai Ho was a wrong decision. People said I was camera-friendly and the film had some truly big names. Salman (Khan) was a calming influence during its making.

Would you describe Salman Khan as your mentor?
Honestly, I would say I mentored myself. I struggled to get work, but now I am more confident. I do not have a Godfather in the industry. The fact that people have appreciated my work in Wajah Tum Ho is heart-warming and my confidence is higher.

But you are perceived as Salman Khan’s protégé…
I would not mind being linked to him, work-wise! It is a nice link-up but I am on my own out here.

Do you take advice from him or someone else before signing a project?
People have different perceptions about films. In the process of seeking others’ approval, you end up at home doing nothing. And if you’re jobless, no one will come and give you that dream project. You bag A-list projects only after proving yourself. I am glad that Deepak Tijori has believed in me and signed me for the film. I have to now deliver my best. I am really thankful to Bhushan Kumar for Wajah Tum Ho. The people who support you in your lean phase are the ones who matter 1000 times more than others. I would like to clarify that I have never begged for work though I am an outsider. Nor do I have sources who call up filmmakers and pitch me for projects. Whatever I have got is due to my confidence that I can deliver. No one spoke for me.

There were rumours that you went under the knife recently…
People can check my social media accounts. I have not been missing socially at all. If you do a major surgery, you can’t be partying for a month, at least. I have been attending social dos throughout. I don’t think I have a great body. I am working hard to look more toned and chiselled. My face still looks the same. I have a tendency to put on weight so I am careful about my diet. I have the body of an Indian woman and always tell my costume designer that I am not skinny. The clothes have to flatter my natural shape. Everything looks big on 70mm (laughs). Honestly, I don’t get the hullabaloo about surgery. What’s the big deal? Nowadays, girls who don’t belong to the industry get lifts/enhancements done. There are applications to make us look prettier. I am not anti-cosmetic surgery. If I feel it will make a world of difference, I will opt for it. However, I feel that shortcuts don’t work. And I won’t do a treatment because others are doing it. We saw so many actresses doing botox/filler on lips and all didn’t look great on camera.

Do you follow Bigg Boss?
I follow every season. I was always a fan of the show. I had a great journey on Bigg Boss and it gave me fame to achieve my dreams. It was a godsend in my life. I would recommend the show to every struggler. I tell my friends to go for it and use the platform in the correct manner. You can come out as a loved figure or a psychopath, it depends on you.

There are reports that Salman is getting hitched to Iulia Vantur. What is your reaction?
It is good for her. He is an individual who is single and rocking at 50! I don’t understand why people are behind his ass for getting hitched! He is happy where he is.

Neha Maheshwri Bhagat (BOMBAY TIMES; November 23, 2015)

Daisy Shah on turning up the mercury in a monokini for her upcoming film
Upala KBR (DNA; October 29, 2015)


Says Daisy, “I can’t reveal too much about my character, but all I can say is that there’s a twist to my character which will shock people! It took me more than three months to decide whether I should do it or not. Initially, I was very sceptical about doing it as I wasn’t sure if I would be able to pull of those scenes. Then I dicussed it with Salman who said, ‘If the role is convincing enough, you can pull it off. We are living another person’s life. It’s the character and not Daisy, the person, that the audience is seeing on screen.’ I was lucky to be offered this role after Jai Ho where I played the girl-next-door. This role is not just challenging but poles apart from what I have done in Jai Ho! That’s why after Jai Ho I kept myself busy with events, shows and appearances rather than sign any random films. I want people to go ‘OMG!’ And not, ‘Yeh toh humne dekh liya’.”

She sizzles in a seductive dance track called Love To Hate You Baby. Daisy says, “It’s the ultimate break-up song. I am wearing a monokini in it. My aim was not to look skinny or be a size zero, but have tight, toned muscles, so I was very confident when I wore it. I can happily flaunt my body today! Looking sexy isn’t easy. It takes hard work and dedication. Most importantly, if you feel sexy, you look sexy.”

Daisy says she hasn’t starved herself, but has eaten in proportion to wear the monokini. “Besides controlling my diet, I did functional training, weights, pilates and cardio everyday. I had different workouts for all the days of the week.”

The actress doesn’t shy away from admitting to Salman Khan as a mentor. “I am not going to deny that. He is Salman Khan and I am lucky enough to have that access to him. Also he knows everything on films — from dialogues to scripting — and that knowledge has helped me. I am thankful and grateful for the advice and help that he has always given me,” she says.

A R Rahman is the subject of a documentary but has turned down four acting offers
Sanyukta Iyer (MUMBAI MIRROR; October 16, 2015)

"You know his music, but do you know the man?" are the opening lines of Jai Ho, a 90-minute documentary on the life and works of two-time Oscar winner AR Rahman.

The film premiered at The White House for US President Barack Obama, First Lady Michelle and staff, in May. After Washington, it was screened at the Museum of Moving Images in New York and will release worldwide on October 26.

"I hate to see myself on screen but NRIs living abroad and waving the tricolour, deserve to know about the people of India. I didn't know that the documentary would turn out to be charming," the internationally acclaimed composer told Mirror.

The 48-year-old introvert had initially dismissed the idea of the documentary on him but the persistent, award-winning filmmaker, Umesh Aggarwal, who is directing the project, eventually convinced him to give his nod. One of the reasons for him agreeing to it was that Umesh's film on pesticides in bottled water and soft drinks, The Whistle Blowers, made for Public Service Trust of India (PSBT), won the National Award for Best Investigative Film.

"Umesh told me the film would be screened for consulates all over the world. This kind of exposure was great, but I didn't know how it would happen," Rahman recalls.

He admits that he's been approached for a biography earlier, but didn't think any of it was necessary. "After the Oscars, there was a lot of brouhaha and some people thought my journey, the way I make music, would be an inspiration," says the two-time Grammy Award winner, matter-of-factly.

Jai Ho traces his journey from Chennai to Los Angeles. It has been shot inside his Chennai home, London and the US. It has interviews with actor Aamir Khan, filmmakers like Danny Boyle, Mani Ratnam, Ashutosh Gowariker, Shekhar Kapur, music legends Gulzar and Alka Yagnik, and composer Andrew Lloyd Webber, among others.

Ratnam admits that it's not a cakewalk working with the 'Mozart of Madras', while Shekhar Kapoor points out, "He goes from Western to Indian and back to Western classic with ease." Gulzar jokes that Rahman is the only composer who gets away with adding "Maula" to every song and Danny Boyle complains, "He never does anything you ask him to do." But Rahman doesn't agree with the Slumdog Millionaire director, "I always do what the director tells me to, I follow his vision in my own style." Rahman says.

His association with Ratnam spans a dozen films, beginning with Roja in 1992. Rahman reveals that the filmmaker now no longer feels the need to brief him on a song. "He loves what I compose, we have a great understanding," he says.

The four-time National Award winner has filmed a personal account of his interactions as a counter-view, in Jai Ho. On Gulzar, he says, "He is a great writer and teases me that I add words to give my music a Sufi feel," he laughs.

Now that he has given a nod to a documentary, is a biopic next? "No!" he retorts. And what about acting in a film? Rahman admits that he was offered a role in a Hollywood film. "I've got four acting offers but I don't remember what the roles were about," he laughs. "I'm still young enough to make music but too old for all this. Of course, I am flattered, but I believe that one can't master everything. Music is my passion, my only mission in life."
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Chaya Unnikrishnan (DNA; October 16, 2015)


Despite all this international glory and fame, AR Rahman continues to remain elusive and media-shy. Now, a documentary on the music icon, tracing his journey from Chennai to Los Angeles will let the viewers into his home and heart — his style of working, his inspiration, what music means to him, etc. Called Jai Ho, the 90-minute documentary will be aired on Discovery later this month. Here Rahman talks about the reason why he agreed to a film on him, scoring music for the biopic of soccer legend Pele and more...

Do you like watching documentaries?
Yes, I loved watching Waiting For Sugarman (about South African culture), When We Were Kings (on Mohammad Ali) and the documentary on Michael Jordan.

What made you give a nod for Jai Ho?
I have had a lot of offers before Jai Ho, but I felt it was not necessary. However, after the Oscars and all the brouhaha, I thought people would get some kind of inspiration on the journey of my life, the way I make music, through a documentary. Umesh Aggarwal, who is an award-winning filmmaker contacted me and said it’s only for the consulates all over the world. People who live abroad and hold the Indian flag in esteem, deserve to know about personalities in India. Also, ‘only for the consulates’ means less exposure, which is good because I hate to watch myself. I didn’t know this would happen.

What did you think about it?
It’s a very understated documentary, not very big. It has got its humour and is mostly about my music. More than me, people are talking about about me. It is fascinating to watch what Gulzar, Andrew (Lloyd Webber) and Danny Boyle are saying about me. It is like rediscovering myself.

Listening to them, has there been any change in you?
Yes. In fact, there has been a whole shift in my thinking in the past four years. Now, I have got into the filmmaking process, casting hundreds of girls and boys, something I have never done in my life before. I have started this movie which I am producing, scripting, and composing music for. It is being directed by Vishwesh Krishnamoorthy. I will be announcing it very soon.

What does the title Jai Ho mean to you?
I am lucky that I have done a song like Jai Ho. It’s almost like a mantra for India. It was there always, but it fell into place at the right time. The whole world woke up to it, I am really proud of it.

What are your Jai Ho memories?
It was a period of ups and downs. 2008 was the year of the Mumbai terror attack. My studio was flooded, a lot of negative things happened. I lost my engineer. It was the lowest point of my life after my father’s death. But when I went to Los Angeles for the promotion of Slumdog Millionaire, all the highs happened — Superheavy with Mick Jagger, winning the Golden Globe and getting the Oscar nomination. I think it’s an interesting period to examine life and how it takes you.

Any plans of penning a book?
Nasreen Munni Kabir has written a book on me and is planning another in a couple of years. Also, the first movie I am producing could become a book later. There is so much information and detailing in it, that it might become an interesting book.

You composed music for Pele’s biopic...
He is a legend in sports and it was a honour doing his movie. Meeting him recently was a bigger honour. It was a dream come true.

What kind of music have you scored for it?
It’s edgy — the mode of making is in the school of Danny Boyle, but very Pele with Brazilian influence. I loved it.

Having worked in Hollywood, do you think their perception towards Bollywood has changed now or is it still only about song-and-dance?
I think more movies like Slumdog Millionare should happen. It is all a question of success. In fact, success is the best revenge. More movies from here have to become worldwide hits. Respect comes from how you place your culture and make it accessible to everyone. And I see it happening. A lot of young people are discovering themselves and explosion of talent is going to happen.

Neha Maheshwri Bhagat (BOMBAY TIMES; July 9, 2015)

Meena Iyer (BOMBAY TIMES; July 5, 2015)