Producer and distribution expert Dr Jayantilal Gada of Pen Studios and Pen Marudhar takes pride in the journey that his recent release, Gangubai Kathiawadi, has had. The film, featuring Alia Bhatt, directed and co-produced by Sanjay Leela Bhansali, has been appreciated by the audience as well as the critics. At a time when most producers and studios had moved their projects to OTT platforms for the lack of certainty in the theatrical business, we asked Dr Gada why he opted to hold back Gangubai Kathiawadi for a theatrical release.

He says, “Khushi ki baat hai ki picture acchi chal gayi. Bhansali ji and I had faith in our project. We had confidence that never dwindled, despite the uncontrollable situations in our lives and our work. Bhansali ji wanted to make this film for a decade. My thought process is that things work when it’s a win-win situation for everyone. For the last 35 years, my company and I have worked on so many films in different capacities.”

Dr Gada says, “When Bhansali ji told me the film’s one-line thought, it reminded me of Kahaani, which was made by Sujoy Ghosh. It was one of our first independent films as producers. We had to make a similar decision — a film with a strong story and character, but no commercial frills and thrills. The decisions to be made were just as big and crucial. At that time, people had suggested I drop out of Kahaani, but I trusted the story. And this time too, I trusted the story. Apart from that, Bhansali ji has an impeccable record as a content creator. There was no doubt about the quality and the canvas of this film.”

Elaborating on his decision to release the film theatrically despite the 50 per cent occupancy rule still in place when the film hit the screens in major markets of the country, Dr Gada adds, “The market was going through a phase of doubt with just 50 per cent occupancy in theatres in the key markets for this film. But Pen Studios works with a vision. We have credibility in the market, which we have earned over the years for our marketing, distribution and various other strengths. We worked hard to negate the risks as much as we could. We moved the date from February 18 to 25, so we didn’t come too close to our Berlin premiere.”

Talking about the film’s release, he shares, “It was not a festive window. It was a tough call, but I have to give the credit to my team for executing my vision for this film. We didn’t just have to market the film, but also bring people out of their homes. Picture acchi tab maani jaayegi jab log dekhenge. We successfully brought people out of their homes. They watched the film and it reflected in the box office.”

Gangubai Kathiawadi went through several schedules of shoots, Coronavirus crisis and rain hazards. “Bhansali ji and we braved so many things together,” he says, adding, “I believe that Bhansali ji’s films are great second-viewing on TV, but they have to be seen on the big screen first. Our belief paid off. We had so many offers from OTT platforms, which were attractive. However, we were never tempted by them. Also, it’s too early for OTT to be the deciding factor for stardom or an artiste’s commercial value. That is still dictated by the box office and not a few million views. I am a supporter of the box office and theatres. Alia supported our decision and went all out to promote the film. As a studio, I feel proud to have backed Gangubai Kathiawadi. Backing a regular breed of films is something every studio in the market does. It operates on very straight mathematics. But a film like Gangubai Kathiawadi will bring you a different kind of satisfaction and joy. I look forward to working with Bhansali ji again.”

Rachana Dubey (BOMBAY TIMES; November 19, 2019)

Vardhan Puri will make his debut with Yeh Saali Aashiqui that releases this week. Not only is he playing a character with grey shades in his first film, but he has also penned the story and has been a part of the film’s production journey. Even though he is veteran actor Amrish Puri’s grandson, he’s not had it easy so far. In a conversation with BT, he relives the road travelled and what lies ahead for him:

Despite being in and around the film fraternity, how did you skip the paparazzi radar?
My father is not really a member of the fraternity and doesn’t hang out with the film folks. He has a different line of work and his circle has people from the world of finance. My parents are not even social in that sense; they rarely party. Fraternity parties are where you meet people from the industry, but I seldom went to those. I worked at a film studio and was busy learning the ropes of filmmaking. I still don’t have an industry friend though I know people. My buddies are the ones who’ve been with me since my school days. The reason the paps never spotted me was that I was never at the parties. I was behind the cameras on a job. It’s important to find your film; the paps will automatically find you. No sensible casting director in the business casts you because he bumped into you at a bash. He or she will chase you if you’ve knocked it out of the park at an audition. Theatre teaches you to be focussed on the prep and rehearsals, so when the time comes, you don’t have to think too much. I worked on that without compromising on my focus.

With a lineage of strong character actors like your grandfather Amrish Puri and his brother Madan Puri, the industry and the audience expects a lot from your debut film. Do you feel that the pressure you face is different from that of a star kid, like Sunny Deol’s son Karan for instance?
I think it’s a responsibility which I take very seriously. People love them both, especially daadu (Amrish Puri). I want people to love me, too. I can’t be Amrish Puri, I don’t want to be him and I can never be him. We look and sound different. However, our core values, drawn from theatre, are the same. So, our understanding of cinema is quite similar. Veteran filmmaker Yash Chopra had once told me that if I ever decide to be an actor, I should refrain from aping my grandfather. He had also told me that the reason my grandfather became successful is that there was no one like him. Gaanth baandh li maine unki iss baat ki. A superstar is someone who lives in the minds of cinegoers forever. Amrish Puri is an eternal superstar who is in people’s minds even now. Sunny sir is a brilliant actor, and I am sure Karan will live up to his family’s name. Our job as actors is to deliver great performances. I will upset my grandfather if I don’t do that. I’m following his principles. He believed in the work he did, which is the reason you will never find his performance below par even if the film was not all that great. Daadu’s taken my family’s name to a certain level and I have to work thrice as hard to keep it up.

You have co-written your debut film and played a big role in getting the project off the ground…
I’ve been a theatre actor since I was five years old. I was trained by theatre veteran Satyadev Dubey, who was also my grandpa’s coach. After graduation, I started working with a studio where I assisted on Ishaqzaade (2012), Shuddh Desi Romance (2013) and Daawat E Ishq (2014). That’s where I decided to learn film acting because it’s different from theatre. I had picked up things while assisting filmmakers and I also learnt it formally, and then, I started auditioning. There were two films that I could have made a debut with, but they didn’t take off. I was upset and emotional with what had happened. Around that time, I met Dr Jayantilal Gada while I was auditioning and he was keen to launch me. I had an idea that I decided to develop with my friend Cherag Ruparel (director of the film). The reason we decided to write and pitch on our own is that no one wants to give you a chance. As an actor, people saw my auditions and were willing to cast me, but they didn’t want to hear my stories. A writer is the most important member of a team; it’s that content that takes the shape of a film. Also, once, Yash ji had told me that if I ever make my acting debut, it should be somewhat like Shah Rukh Khan’s role in Darr (1993). I pitched my idea to my father. He liked what Cherag and I had put together. We met Jayanti uncle soon after and things got going. It may all sound very easy today, but it was a long ride and wasn’t planned. It was destined to play out this way.

Wasn’t production, writing and acting a lot to handle for a newcomer?
This film is my baby. I did a lot of work on this project, not by choice but by chance and majboori. I needed to find something exciting and good to work on when my first two outings didn’t take off. My father is a businessman and he wouldn’t have made a decision purely on the basis of emotions. Making this film was like going to a film school three times over. Handling a 200-member team is tougher than handling babies.

While children from film families do have an advantage when it comes to getting a break, do you think that the story of your struggle might change the perception of those who think the industry is too nepotistic in its approach?
I don’t know about that, but I just feel that this struggle was a real blessing. I wouldn’t have learnt anything if all of this had fallen into my lap. I would not have appreciated things so much. When I was turned away from offices, rejected at auditions I remembered Satyadev Dubey, who had told me that rejections and humiliation teach you the most. There’s no actor who hasn’t faced rejection. I would give three auditions in a day. People were fed up of seeing my face at the auditions every day, but I was persistent. I remember that on one particular day when I didn’t turn up for an audition, one of the casting guys called to check on me. It was funny.

Talking about your debut, it has a strong romantic angle and it taps the grey side of romance. Was it one of your own experiences that pushed you to write this?
Yes, in some way, it does stem from one of my relationship experiences. There was something crazy that I went through, and funnily enough, even Cherag went through something similar. We started questioning the very emotion. Gradually, I realised that one should never give anyone the power to influence emotions so much. Sometimes, we have these forbidden experiences where we fall for people we should not be with. The idea behind this film is to drive home the point that it’s a double-faced world, and one should be careful while choosing a companion.

Do you still believe in love?
Of course, I’m old-school when it comes to that. Main romantic aadmi hoon. If I love someone today, I will think of a life that we can make together; I’d like to marry her. I’m not the one-night-stand kind or a hook-up type of a guy. I have been in love before, but right now, I’m single and gladly so. If I was dating someone, I would not have had the time for her, which would’ve been unfair. I will be happy to tell the world about the woman I’m with. My father and grandfather should get the credit for this. Despite being a busy actor, there’s not one scandal about my grandfather. He loved being with his family when he was not at work. My parents have been together since they were in their late teens. They’re best friends.

Lastly, while you play a cross between a hero and an anti-hero, your grandfather often played characters which were pivotal to the story. Do we see you going that route, too?
I would be lying if I say that I don’t want to lead the cast in my films, but every actor wants to play a great character today, because everything is driven by that. Sometimes ensemble cast films have a lot to offer to actors. So, if a film with a great character ticks certain boxes for me, I’ll be game for it.

After Ronnie Screwvala poured his heart out to BT about his fight against the Virtual Print Fee (VPF) charged by multiplexes for screening films, producers and distributors have begun to echo his sentiments. Here’s what some of them had to say...
Rachana Dubey (BOMBAY TIMES; March 27, 2019)

A few days ago, Ronnie Screwvala filed a case with the Competition Commission of India against four multiplex chains — PVR, Inox, Cinepolis and Carnival Cinemas — and the FICCI Multiplex Association of India, alleging undue imposition of Virtual Print Fee (VPF). In his petition, the filmmaker complained that the multiplexes make Indian film producers/distributors cough up Rs 20,000 for every film screened per screen as VPF.

As a result, Inox Leisure boycotted Mard Ko Dard Nahi Hota and refused to screen it in their properties. Prior to that, the scale of Sonchiriya’s release was impacted and looking at the cost involved, the filmmaker was forced to release Love Per Square Foot digitally. In his interview to Bombay Times, Ronnie told us, “The five charges I have brought about are very serious and need a final solution, even if that means a face-off. The matter is now sub-judice and so, I cannot comment more on it. But it would be a cop-out to not take full accountability for what you think needs to change.”

We also reached out to several top bosses in Bollywood’s production and distribution stream. A few of them told us what they think:

HANSAL MEHTA, PRODUCER-DIRECTOR
The matter is sub judice, but Ronnie has taken a huge initiative. He brought this before the CCI. With them, you can even file your complaints anonymously, but Ronnie didn’t do that. Now, we have to wait and watch what happens.

DINESH VIJAN, PRODUCER
There is merit in Ronnie’s stand against the system. Our initial gesture was meant to support each other and grow better and stronger as a fraternity. We have continuously extended our support to the exhibitors, and paid our dues. However, our agreement was for a five-year term and since we have upheld our end of the deal, they should, too. We should stand together and support each other in creating a fair and ethical working environment.

JAYANTILAL GADA, PRODUCER
I thank Ronnie for taking a huge step ahead. VPF is an expense that hurts producers. It’s been waived off in so many progressive countries. It affects the success ratio of films in a big way, and has to be brought down considerably if it can’t be fully eliminated. At some point soon, it has to be eradicated for more films to reach theatres and increase the ratio of hits that we produce. In fact, if you look at the South industry, everything is controlled, including the VPF expense. The industry must support Ronnie’s move.

AMOD MEHRA, INDEPENDENT DISTRIBUTOR
Ronnie was brave enough to take these cinema chains head on. The VPF cost was meant to recover the cost of transition to digital projection; it’s not anyone’s right to collect that money from distributors and producers for eternity. That’s like highway robbery. It’s become a given that all the multiplex chains, including the new ones that are starting with digital projection, will charge that VPF to producers and distributors. They arm-twist us and make sure that no one raises the issue, let alone fight it. And we are helpless as an industry because we need these cinema chains to screen films.

RAJESH THADANI, INDEPENDENT DISTRIBUTOR
As an industry, we should feel inspired by the South. They stood firmly together against the imposition of a hefty VPF amount. There is not much unity here and Ronnie is the lone warrior. I hope more producers join forces with him, because it’s not his problem alone.

ANAND PANDIT, PRODUCER (His film PM Narendra Modi releases in two weeks)
Business thrives on business and the fundamentals of demand and supply. What was started to aid a change has now become a habit. While everyone has the right to run their business and make profits, it’s important for multiplexes to understand that a big number of smaller, and great contentbacked films will not be able to release or sustain if this fee is continued.”

RAMESH TAURANI, PRODUCER
Ronnie has made a huge point in his interview with BT. VPF was meant to ensure that we all evolve together but now, it’s really hurting the producers. It’s a massive cost, which also has to be recovered for a film to be called a hit in the book of accounts. It’s a lot of pressure. Also, I agree with Ronnie’s point of view about spending excessive amount of time in a theatre watching ads in the middle or the beginning of a film. A two-and-a-half hour film takes over three hours and fifteen minutes to get over. It’s fatiguing for the audience to go through this and this needs to be looked into, immediately.
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INOX DENIES ACCUSATIONS

Here’s the statement issued by the multiplex chain:

According to certain media reports that have appeared in recent days, INOX Leisure Ltd (INOX), has reportedly been named in a complaint made to Competition Commission Of India (CCI). INOX would like to clarify that we do not possess any specific knowledge of the complaint, and this statement is based solely on what has been reported by the media.

INOX strongly denies and vehemently rejects the defamatory accusations of unfair and discriminatory practices, made in the media reports and the interviews by the said complainant. INOX emphatically denies the slanderous and malicious allegations regarding conduct which amounts to cartelization, and states that all these allegations are false, fabricated and madeup to negatively impact our image.

INOX will pursue its legal options as advised by its counsel from time to time, and will respond to all queries received from, or processes initiated by, any regulatory authority as and when asked to do so. Since the matter appears to be subjudice, as indicated by the aforesaid media reports, INOX refrains from making any specific comments at this stage, or answering any specific allegations. INOX would, however, like to reiterate that it has full faith in due legal process.

INOX is India’s second largest, and fastest growing multiplex chain. As a responsible corporate entity, it is driven by the highest standards of corporate governance and legal compliance. INOX respects and adheres to all regulatory guidelines, in letter and in spirit, in all its business practices.

With a theatre stint under Satyadev Dubey and late-night movie binges, Amrish Puri’s grandson Vardhan, who makes his Bollywood debut with a romantic-thriller, has been an actor-in-training since he was five
Avinash Lohana (MUMBAI MIRROR; August 8, 2018) 

Mirror has learnt that another star kid is gearing up for a Bollywood launch. Taking the legacy of his late grandfather Amrish Puri forward, Vardhan Puri will make his acting debut with a yet-untitled romantic-thriller produced by Jayantilal Gada. The film is expected to roll in September and will be shot in North India. The debutant has earlier assisted Habib Faisal on Ishaqzaade and Daawat-e-Ishq, and Maneesh Sharma on Shuddh Desi Romance.

“I was supposed to start off with a period-drama with Jayanti bhai, but for some reason that didn’t work out. He approached me later for this film which I loved and immediately gave my nod to. It’s a performance-oriented role and in terms of treatment it will be in a space similar to (Hollywood director David Fincher’s psychological thriller) Gone Girl’s,” Vardhan informed, adding that he is currently attending workshops and undergoing training for the role. The director and his leading lady will be locked soon, while recce is currently on in Delhi and Shimla.

Vardhan has been an actor-in-training ever since he was five, learning the craft under the tutelage of his grandfather’s mentor, National Award-winning actor-filmmaker-writer Satyadev Dubey. Through the years, he has also been a part of over 90 plays.

“I have a strong inclination toward writing and direction too but acting is my first love. Initially Dubey ji made me work backstage, serving tea to the cast and crew and cleaning the stage, after which I started getting smaller roles. I got to play a lead role when I was in my teens,” the actor revealed, adding that he has also trained with acting gurus like Athar Nawaz, Neeraj Kabi, Vidur Chaturvedi, Mujeeb Khan and Faezeh Jalali.

However, Vardhan, who identifies as a fan of Charlie Chaplin, Kishore Kumar and Puri Sr, had found his first teacher in his grandfather. “Dadu is the God whom I pray to. I was so close to him that I would sleep between him and my grandmother. When he passed away, for me it was like losing the protective cover of an umbrella. It was then, that I decided that if I do something, it would be for my grandfather and this film is an ode to him,” recounted the debutant who counts Virasat, Ghatak, Mr India and Dilwale Dulhania Le Jayenge as his favourite films featuring the late veteran.

Narrating his earliest memories of his dadu, Vardhan added that he wouldn’t sleep till Puri returned from work. After that they would watch movies till 3 am with little regard for young Vardhan’s early morning tuitions. “We would watch films of Dilip Kumar saab, Al Pacino, Robert De Niro, and also binge on classics like The Godfather and The Shawshank Redemption. Sometimes, I also used to sit with him for reading sessions when filmmakers came home. His films with Shyam Benegal sir and Govind Nihalani sir top my list of all-time favourites. I really miss him,” Vardhan signed off with a sigh.

Nayandeep Rakshit (DNA; February 17, 2018)

Mid last year, there was news of a Gumnaam remake being planned. But soon after, things became uncertain when Pravesh Sippy — son of NN Sippy, producer of the 1965 whodunnit Gumnaam (1965) — apparently objected and claimed that he hasn’t sold the remake rights to anyone. Pravesh reportedly was planning to remake his late father’s hit production.

As a result of this, E Niwas’ film of the same name was delayed. An insider reveals that the director and his producer Jayantilal Gada had a joint narration about their film with Pravesh. After hearing their subject, set against the backdrop of a reality show, Pravesh was convinced that it’s not a remake of his late father’s production.

With their movie back on track, Jayantilal confirms, “Yes, I’m planning a film called Gumnaam — The Game of Unknown. It’s a murder mystery but with a completely fresh story.” When probed about the legalities involved, he maintains, “Our legal team is handling that. Though our film is also a murder mystery, it isn’t a remake of NN Sippy’s Gumnaam. We have just used the title, but it’s a different plot altogether.”

Big B as lead
E Niwas is very particular about the casting and has already bounced off the idea to Amitabh Bachchan.

According to our source, “Mr Bachchan has liked the idea. But he has not locked his dates for the film as he is already committed to a few projects. He’s trying to figure out if he can fit this movie in his date diary. Everyone’s awaiting his approval because it’s only after his confirmation that the other cast members will be finalised.”

Akshaye in place of Madhavan
For the second lead, R Madhavan was the first choice. But a source associated with the movie reveals that things weren’t working out with him.

Since a good actor was required more than just adding star value, Akshaye Khanna was the next immediate option. The director discussed the subject with the actor who’s picky about his films. Says our source, “Akshaye has just done Ittefaq which was also a suspense thriller, so he’s taking time to give his nod to the project; though he knows he won’t be playing a sleuth in this one but will be one of the prime suspects.” The finances are also being worked out.

Swara and Shriya also
For the female leads, the team has spoken to Swara Bhaskar and Shriya Saran. “Swara had given her verbal nod when she was first approached for this film. Later, Shriya too confirmed in principle for it,” says the source. Along with them, there will be a few more characters, but these four are the main players.

Why no announcement?
When we asked Jayantilal if they have approached the four actors, he maintained a ‘no comments’ stand. But he added, “Since it’s a multi-starrer, everyone’s dates are being worked out currently.

E Niwas will take the final call on the casting. We haven’t signed anyone yet, but once everyone is locked, we will announce the film and go on floors.”

Lasyapriya Sundaram (BOMBAY TIMES; February 10, 2018)

The Saqib Saleem and Taapsee Pannu-starrer Dil Juunglee, that was slated to release on February 16 along with Aiyaary, which features Sidharth Malhotra and Manoj Bajpayee, will now avoid the clash and hit the screens on March 23.

Talking about the musical chairs that films have had to play, with regards to release dates since Sanjay Leela Bhansali’s Padmaavat released on January 26, Jayantilal Gada, one of the producers of Aiyaary, told BT, “Aiyaary was all set to release on Republic Day. However, when the makers of Padmaavat announced their release date as January 26, we respected the decision and changed our release date to February 9. Then, the makers of Pad Man shifted their release date to February 9 to avoid the clash with Padmaavat. Even though Aiyaary was scheduled to release on February 9, there was a delay in getting a clearance from the Central Board Of Film Certification (CBFC). We got the certificate only on February 6 and that’s why we had to change our date of release to February 16. Neeraj Pandey (director of Aiyaary) and I requested Vashu Bhagnani (producer of Dil Juunglee, which was also scheduled to release on February 16), to move their release date forward. It was a mutual decision.” Neeraj added, “In this industry, it is crucial to help each other. We appreciate that Vashuji has decided to move the release of Dil Juunglee. All films need the right space in theatres to flourish and nobody understands and appreciates that more than filmmakers.”

According to Vashu Bhagnani, it’s easier for individual producers to make changes in the release dates of films, as opposed to bigger studios, which involve a large number of decision-makers. He said, “Nowadays, there are fewer individual producers. For us, it is easier to pick up the phone and speak to each other and come to a decision. Corporate studios don’t have the authority to make such decisions. When two films release on the same day, the damage is borne by both. A producer should be able to have a solo release, because the effort put into making a film is huge. Dates have to be announced beforehand because that’s how the business works, but if the dates can be adjusted, then it benefits everybody. Since I have cooperated with the producers of Aiyaary, it will benefit me in the future. Aiyaary has already had to change the date twice, so it’s only fair that I change the date of my film to avoid the clash.”

Jayantilal Gada added, “Considering there are only 52 weeks in a year and the minimum number of films releasing is close to 200, if it is possible to adjust dates for your friends from the industry, you should do it. As a businessman I look at this as a part of trade, but why should creative people involved in the process of filmmaking fall prey to this date conundrum? I believe that even in the future, producers will help each other.”

Upala KBR (MID-DAY; February 8, 2018)

Close on the heels of reports of Prabhu Dheva featuring in a silent film comes news that he is to play an evil spirit in the Tamil horror project. The actor will slip into the role of the antagonist for the first time in the Karthik Subbaraj-directed venture.

A source from the creative team of Mercury tells mid-day, “Prabhu will play a spirit, a buri aatma, who haunts college kids. When he heard the script, he loved it and immediately agreed to come on board. It’s an experimental film without dialogues, and banks on its visual storytelling ability. It was tough for Prabhu to do it as he is playing a negative role for the first time.”

Subbaraj’s Mercury is a silent film, reminiscent of Kamal Haasan’s Pushpaka Vimana (1987). The film revolves around college students, played by Sananth Reddy, Deepak Paramesh, Anish Padman, Shashank and Remya Nambeesan. “Shooting has been completed and the film is set to release this year.” Producer Jayantilal Gada promises abundant thrills in the venture. “It has been made in a unique way. We are sure the audience will love it.”

Prabhu Dheva has taken a break from directing to sign on a series of horror films recently. Following his 2016 Tamil horror comedy, Devi, he will be seen in Sam Akash’s family drama, a trilingual — Tamil, Telugu and Hindi — set against the backdrop of a hill station. He will play a botanist in it.

BOMBAY TIMES (February 5, 2018)

Over the last two days, news has been rife that Sidharth Malhotra and Manoj Bajpayee’s Aiyaary might not release on Friday, February 9. The Neeraj Pandey directorial is reportedly stuck for the lack of clearance from the Central Board of Film Certification (CBFC). The film’s official release date was January 26, which was realigned to February 9 to avoid a clash with a big-ticket period drama. Despite an excess two-week window before its release, the film’s makers haven’t been able to procure a clearance certificate even five days before its due date.

Aiyaary is a thriller revolving around a senior Army officer and his protégé who develop ideological differences. Sources close to the film revealed that since it has Army as the backdrop, officials from the Ministry of Defence wanted to watch the film before its certification. The movie was screened for the defence personnel and the Revising Committee in Delhi on Saturday. Rumours are that while the Revising Committee members felt that it needed to be passed with a U/A certificate, the ministry officials felt it required a few cuts before any clearance. According to a source, “Multiple scenes have been a point of debate and the film’s team has been asked to modify the objectionable parts. The body however is being tight-lipped about the content of the scenes.”

According to another source, the cuts are yet to be officially communicated to the film’s makers although they have been intimated about them, and the team is not too pleased with the amendments suggested. “There’s not much time left for the film’s release. It will take a day for the makers to make the changes that have been asked for. Only if everything goes smoothly and on time, can they expect the certificate to reach them by late on Tuesday evening or early on Wednesday morning. This can have an impact on the film’s international release because prints have to be dispatched and that can’t be done without attaching the final certificate,” says the source.

When we reached out to Jayantilal Gada, one of the producers of the film, he confirmed the developments and said, “We are yet to get a written communication about the changes that we are expected to incorporate in the film. So, we don’t yet have clarity on whether the film can release on the scheduled date or not.”
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Upala KBR (MID-DAY; February 9, 2018)

Neeraj Pandey's Aiyaary is staring at yet another hurdle that may keep it away from cinema halls this Friday. The Sidharth Malhotra-Manoj Bajpayee starrer, which was initially slated for a Republic Day release and was eventually pushed to February 9, is likely to be delayed by another week owing to changes recommended by the Defence Ministry. This development comes in light of the special screening that was held for the organisation over the weekend.

Less than a week prior to its release, the Defence Ministry expressed its wish to review the film as it is set against the backdrop of Indian Army. A special screening was held on Saturday in Delhi by the Revising Committee of Ministry of I&B, which was attended by officials from Defence Ministry and members of the Central Board of Film Certification. It has been learnt that the body asked for five cuts in the drama. The last-minute changes have sent the makers back to the editing table.

Co-producer Jayantilal Gada admitted that the film, in all likelihood, wouldn't hit theatres on Friday. "There's a strong chance that Aiyaary will be postponed to February 16. The team will submit the film to the CBFC only after making the recommended changes. The overseas delivery of the film looks difficult, considering we won't have the censor certificate in time. That will, in turn, affect the India release."

While one wonders what prompted the MoD to watch the drama, a source revealed that it was a hush-hush meeting, with only the director representing the film. Gada confirmed the news stating, "There were a few modifications, which we are incorporating." If Pandey's team is unable to meet the deadline, Akshay Kumar's Pad Man will enjoy a solo release on February 9.

Kajol’s first Hindi film in two years is set to flag off on Wednesday with Pradeep Sarkar in the director’s chair
Avinash Lohana (MUMBAI MIRROR; January 22, 2018)

Mirror (November 1, 2017) had earlier reported that Kajol’s next, which has the actress playing a single parent, will be directed by National Award-winning filmmaker Pradeep Sarkar. The actress’s last Hindi film outing was the Shah Rukh Khan-starrer 2015 action-comedy Dilwale while she was seen in the Dhanush-starrer Tamil film VIP 2 last year. Now, we have learnt that she will start shooting for the film, tentatively titled Ela, from January 24. It is being produced by her actor-husband Ajay Devgn and Jayantilal Gada.

“Full-fledged prep is currently on for the big day. We have been told to take the first shot at a particular time. It is a light-hearted mother-son story and we are scheduled to shoot Kajol’s introduction sequence where she is ready to go some place,” revealed Sarkar from a Mumbai studio where a set is being erected.

The 62-year-old filmmaker had earlier admitted that he was offered the script a few months ago, and while it took him some time to understand the underlying Gujarati tone, he eventually fell in love with the emotional story.

“It has some really strong characters and there’s a good chance of people getting really close to them after watching the film,” exulted the filmmaker who has signed newcomer Riddhi Sen to play Kajol’s son and roped in Bengali actor Tota Roy Chowdhury, earlier seen in the Vidya Balan-starrer Kahaani 2: Durga Rani Singh and Madhur Bhandarkar’s Indu Sarkar last year, to play a pivotal role. “The boy will be joining us at a later stage. In fact, we won’t be shooting too long on day one and will start properly only from January 25,” Sarkar informs.

The director also reveals that there is another actor in the cast but wants to keep him a secret for now. Leading up to the shoot he has had some rigorous workshops with his cast and made an audio board where the entire exercise was recorded. “That will help not only the actors during rehearsals but also the costume designers and the rest of the crew during the shoot,” he points out.

Prod Sarkar on Kajol’s look and he quips, “She always looks so beautiful. All her films are my favourite. I have been wanting to work with her since a long time and it’s fantastic we are finally getting together,” he conludes on an excited note.

Hiren Kotwani (BOMBAY TIMES; January 6, 2018)

Ever since the release of Sanjay Leela Bhansali’s Padmavati (now Padmavat) was deferred from December 1, 2017, speculations have been rife about the film possibly coming to cinemas on January

26. However, the Republic Day weekend has already been blocked in advance for R Balki’s Pad Man starring Akshay Kumar and Neeraj Pandey’s Aiyaary starring Sidharth Malhotra and Manoj Bajpayee.

Though Viacom18 Motion Pictures, the studio behind Bhansali’s film, hasn’t officially announced its new date, we reached out to the teams of Pad Man and Aiyaary to check if they would consider moving their films, in case Padmavat also plans to release on the same day.

While no one from Sony Pictures Entertainment was willing to speak on record for Padman, a source said, “On January 4, Akshay announced on social media that this film is releasing on January 25. So there is no question of changing the date.” Director Neeraj Pandey recently said that they always wanted to release Aiyaary on January 26 because it’s about army men. So, it’s unlikely that they would shift the film release to another date. However, Jayantilal Gada, one of the producers of Aiyaary, told BT, “Let there be an official announcement from Padmavat makers, then we will see. We are three partners on Aiyaary — Reliance Entertainment, Neeraj’s production house and my company. If Padmavat announcement happens over the weekend, we will meet on Monday and discuss our course of action."

Chaya Unnikrishnan (DNA; August 30, 2017)

While Ajay Devgn starred in the first two installments of Singham as Bajirao Singham, it’s Sunny Deol, who will reprise the role as the fiesty cop in the third film in the franchise. It’s the remake of South film Si3 or Singham 3 that starred Suriya, who was also part of the first two movies in the hit franchise.

Produced by Jayantilal Gada the film will be called S3. Sunny, who saw the South film was impressed and wanted to do it, says an insider. “But before signing the film, Sunny called Ajay and told him he is doing it. He also told Ajay he won’t use the name Singham anywhere. Ajay was cool with it.”

A full-on action film, Si3, is about a reputed cop trying to solve the mysterious murder of another policeman, and in the process, taking on thugs and criminals. While Rohit Shetty helmed Singham as well as its sequel, the third one, we hear, will mark the directorial debut of cinematographer K Ravi Chandran.

Ajay sported a handlebar moustache in Singham just like Suriya in the original did. Wonder if Sunny will follow suit.

Avinash Lohana (MUMBAI MIRROR; August 8, 2017)

After serving as cinematographer on Ghajini, My Name Is Khan and OK Jaanu, Ravi K Chandran is set to make his Hindi directorial debut with S3, a remake of the Suriya, Shruti Haasan and Anushka Shetty starrer, the Tamil neo-noir film by the same name. To be produced by Jayantilal Gada, it will feature Sunny Deol in the lead.

“When Sunny watched the original, he was impressed and immediately agreed to come on-board the Hindi remake. He will be playing a cop chasing a criminal gang and is set to start shooting by the year-end. Ravi is currently in the US working on the Hindi script and will start scouting for locations after the final script takes shape. Thakur Anoop Singh, who was the villain in the original, will be in the Hindi remake as well,” informs a source close to the development. Suriya played the uncompromising police chief Durai Singam in the original, who is up against a criminal operation dealing in deadly toxic waste.

Sunny, who has been busy directing his son Karan’s debut film Pal Pal Dil Ke Paas, is set to start shooting for Yamla Pagla Deewana 3 with father Dharmendra, brother Bobby and actress Kajal Aggarwal. “Ravi has worked in both Hindi and South films. That makes him the best choice to direct the film. The hunt for the actress is on,” the source added.

Avinash Lohana (MUMBAI MIRROR; June 1, 2017)

Soon after news of E Niwas remaking the 1965 suspense-thriller Gumnaam surfaced, the original’s producer N N Sippy’s son Pravesh got in touch with him, pointing out that he hasn’t given them the rights to the remake. “I saw news stories in which they had used stills from our film and I was livid, especially because I am making the remake myself and have a first draft ready. Niwas was polite but mostly evasive during our conversation and said that he will make me speak to his producer. Minutes after I hung up, I got a call from Mr Jayantilal Gada who informed me that he is producing Niwas’s film,” Pravesh said, adding that Gada had reached out to him three months ago as well, seeking the rights to the title which he had denied in the wake of his own remake.

According to Pravesh, Gada also informed him that he has bought the rights to the original’s title track “Gumnaam Hai Koi” and will use the title ‘Gumnaam’ with a tag line. “He reiterated that his film is not a remake of Gumnaam but a completely new script. I continued my research and found out that there are certain similarities between Niwas’s script and the original. His film has some 7-8 characters like Gumnaam,” Pravesh stated, contending that Gada and Niwas should drop the project and apologise.

“I have started feeding my lawyer with information on this, but I would prefer to settle this out of court. If that doesn’t happen, I will resort to legal action to safeguard my rights,” asserts Pravesh, recounting a similar episode when a Marathi film titled Ashach Eka Betavar was also remade from Gumnaam but the makers refused to give royalties to him. “They refused to accept that it was an unofficial remake so I dragged them to court and won the case, following which they gave me due credit and had to pay a settlement. I will ask Niwas and Gada saab to show me their script and if there is no resemblance with the original, I will let them go ahead with it,” he stated.

When Mirror contacted Gada, he admitted to have bought the rights to the original Gumnaam songs and that he intends to use the title with a tagline but refuted allegations of making a remake of the 1965 classic. “Sanjay Masoomm has written the script which is completely original. If Sholay had 10 cast members, it doesn’t mean another film can’t have the same number of people. We are going on the floors with the film next month,” he signed off.

Avinash Lohana & Natasha Coutinho (MUMBAI MIRROR; December 14, 2016)

After returning to the Kahaani franchise with the second instalment, Kahaani 2: Durga Rani Singh, the makers have set the ball rolling for a third instalment.

“I had a meeting with Sujoy who is currently in the process of writing the script. Like the previous films this will be a thriller too, but with a different twist,” informs producer Jayantilal Gada. Will Vidya feature in the third part too? “We’ll think about the artist once the script is locked,” adds the filmmaker.

Meanwhile, Vidya who will start shooting for the Kamala Das biopic soon is busy with the prep. “I read her autobiography, she intrigued me. I’m still wondering if she was who she’s made out to be, pretending to be her or misunderstood, hoping to get some answers at some point during the film,” the actress had earlier told Mirror (November 5).

Meanwhile, after a favourable response to the first two Gangs of Wasseypur films, script of the third film in the franchise, Gangs Of Wasseypur 1.5, is ready with the film set to go on the floors next year. While the earlier instalments featured Manoj Bajpayee, Nawazuddin Siddiqui, Huma Qureshi and Richa Chadha in pivotal roles, Zeishan Quadri who played the role of Definite Khan in the film and had penned the story for the earlier films will be directing this one.

“I have been working on the script for a year now but part three has to be bigger and better than the earlier films so I’ve taken my time to get it right. Things are in place now and I’m waiting for the final approval from Anurag Kashyap, who is currently abroad. We will finalise the last details when he’s back and are looking at going on the floors early next year. Of course, the setting remains similar but there are some interesting twists in 1.5,” Zeishan told Mirror.

Natasha Coutinho (MUMBAI MIRROR; December 7, 2016)


Prime Minister Narendra Modi’s demonetization drive has single screens running empty. Producers and distributors are limiting the number of prints they are releasing in these theatres in an effort to keep losses down to the minimum. Some films they are holding back in the week of release and only parting with the prints after they have finished their multiplex run by which time interest in them has died down.

Jayantilal Gada, the producer of the recently-released Kahaani 2: Durga Rani Singh admits that he curtailed the release of his thriller and gave prints to only 1-2 per cent of the single screens. “And despite this, we have taken a hit of Rs 10 crore in our profits since we have to bear some of the expenses for every theatre we release our film in and today it’s not possible to recover this money. We targeted the multiplex audience as they pay with plastic. In fact, if the promotions hadn’t begun we might have held the film back,” informs Gada, optimistic of recovering his cost from satellite and music rights and the overseas market.

Nitin Datar, President of the Cinema Owners and Exhibitors Association of India, grouses that it’s an “unfair move”, noting that while Kahaani 2 may have been appreciated more in multiplexes it should’ve released everywhere simultaneously to beat piracy.

“Dear Zindagi too wasn’t screened in many single screens in the first and even second week. We can’t force makers to give us their films but if audience turns their back, it will take us months to bring them back and eventually even producers and distributors will lose money. Even in areas where there are no multiplexes, they are opting for a limited release,” he asserts, adding that he has advised members to update technology so people can pay by card. Santosh Bhatia, exhibitor for Premiere Gold Cinema, Dongri, notes that they charge just Rs 100 as compared to a Rs 300 multiplex ticket yet makers are preferring the latter because they have no change to pay them.

Manoj Desai, executive director of G-7 and Maratha Mandir cinemas admitted that his audience has reduced by around 45 percent but is confident that had Force 2 been released under normal circumstances, it would have packed in full houses in the single screens.

Trade analyst Komal Nahta opines that you can neither blame producers for safeguarding their interests nor single screen owners for protesting the treatment meted out to them. “You can’t force filmmakers who are anyway making more multiplex-centric films. After demonetization, entertainment is the last priority for the single screen audience because everyone is busy exchanging notes, visiting chartered accountants or queueing up at ATMs. Single screens have as good as shut down because even if they re-release an old film they have no collections to speak of. At the moment every producer is petrified about the shortage of currency notes,” he says.


Producer Bhushan Kumar has pushed the release of his next, Wajah Tum Ho from December 2 to December 16. Earlier, Saansein had delayed its release from November 11 to 25. Wajah Tum Ho director Vishal Pandya admits the delay was because of the cash crunch in smaller centres. “We have worked on the film for a year and it would appeal to single screens who’d bring in the revenue. This way we also get more time for promotion,” he reasons.

Studio partner Eros no longer associated with Devgn’s big Diwali release, thanks to budgetary concerns
Mohar Basu (MID-DAY; September 12, 2016)

Ajay Devgn’s upcoming Diwali release, Shivaay, was supposed to be a joint collaboration between Eros International, Pen India and Ajay Devgn Films (ADF). It was said that Eros’ involvement would help the film get more screens, thanks to its impeccable track record last year — Bajrangi Bhaijaan, Tanu Weds Manu Returns and Bajirao Mastani. But, we hear, the production-cum-distribution company has pulled out of the project.

A trade insider says, “The Lullas (Eros’ owners) were the first to come on board for the film. Pen India joined in much later. Due to cash flow issues, the production house signed a deal in partnership with Pen and ADF. Shivaay was pegged to be a Rs 70-crore film with Eros and Pen agreeing on a 50:50 investment plan. However, during shooting, Shivaay was scaled up so as to not compromise on the final outcome. Eros was unwilling to shell out the extra money and ultimately, bowed out of the project.”

Confirming the story, Jayantilal Gada of Pen India says, “Pen and Narendra Hirawat are now distributing the film in India while Reliance will take care of overseas distribution. Besides, the music rights no longer belong to Eros Now; it is with T-Series. I wouldn’t like to delve into why Eros is longer a part of the deal. I am just thrilled that we are on board with a project that will go down as a landmark film.”

Krishika Lulla of Eros International maintained a ‘no comments’ stance. Devgn did not respond to text messages.