Upala KBR, Shaheen Parkar (MID-DAY; July 4, 2020)

The bustling set fell silent as she hollered "Sound". The beats of Choli ke peechhe filled the air, as Masterji — as she was fondly addressed — with her dupatta tied firmly around her waist, showed the next set of steps to Madhuri Dixit. Choreographer Vaibhavi Merchant says her first memory of Saroj Khan never quite left her. To the then 13-year-old Merchant, Khan was the woman who was entrusted with the most vibrant facet of a film — the song and dance.

"Though my grandfather B Hiralal ji and his brother B Sohanlal ji [Khan's guru] were famous choreographers, my understanding of choreography came about with Ek do teen [Tezaab, 1988]. It was only after the song that there was so much media attention on the choreographer. Saroj ji was a legend who brought the art to the forefront," says Merchant, who finally got the opportunity to work with her idol on Jhalak Dikhhla Jaa 3.

Merchant believes Khan's gumption and glorious success story encouraged women to set foot in the film world. "She was a path-breaker in an industry, which was male-dominated at the time. She is the first woman choreographer who left her competitors way behind," she says of the artiste who dominated the Bollywood dance scene in the '80s and '90s.

Khan unwittingly played a key role in paving the way for another Bollywood choreographer. It is well-known that the then-assistant choreographer Farah Khan stepped in to give shape to Aamir Khan's Pehla nasha (Jo Jeeta Wohi Sikandar, 1992) when the legendary choreographer was unavailable. "When I entered the industry, I did not face gender discrimination because the reigning choreographer was a woman. She was a woman of formidable tenacity," says Farah.

But Khan's story is much more than that of a woman earning her rightful place in a man's world. The veteran changed the landscape of Bollywood, infusing the Hindi film dance with grace and discipline. With numbers like Hawa hawai (Mr India, 1987) and Dhak dhak (Beta, 1992), she showed that Bollywood heroines could be spirited, sensuous and every shade in between. "She had a knack for extracting the required expressions from actors," explains Farah.

Merchant echoes her sentiment, stating that Khan could recognise every actor's strength. "Since dance was not Sanjay's [Dutt] forte, she rehearsed with him for a month on Tamma tamma [Thanedaar, 1990]. Usually, the credit for a finely crafted dance number goes to the actor, but it is the technician who has designed the steps to make the song look effortless and magical. Saroj ji could extract the finest acts from Madhuri, Sridevi, Meenakshi [Seshadri], Rekha ji and Hema Malini ji."

Choreographer-turned-director Ahmed Khan credits his career to the veteran. He remembers meeting her on the set of Mr India (1987), in which he was a child actor.

"After Mr India, I told her I want to be a choreographer, and joined her troupe at 16. She would take me to sets of the films she was working on, and I learnt on the job. She always said that a choreographer must not pay attention to anything except his steps and expressions. We need the support of camera angles and locations, but she could pull off a song purely on her expressions."

Remo D'Souza, who began his career under Khan's wing, considers himself fortunate that he collaborated on her swan song, Tabaah ho gaye (Kalank, 2019). D'Souza recounts, "Madhuri ma'am asked if we could have Saroj ji on board for the song. I was lucky to serve as the assistant choreographer. On days, she couldn't walk properly on the set as her knees hurt. But as soon the music came on, she was better than Madhuri ma'am."

Nitesh Tiwari, whose upcoming film is a story of friendship blossoming in an engineering college, recounts his own coming-of-age journey on the premises of India’s premier institute
Roshmila Bhattacharya (MUMBAI MIRROR; August 26, 2019)

Nitesh Tiwari is all set to return to the theatres with his fourth directorial, Chhichhore, a story of seven friends partly set in an engineering campus, a scenario its writer-director is familiar with, having spent four years at IIT Bombay. Just the four words, Indian Institute of Technology, conjure up a picture of nerds with their noses in their books and Nitesh admits it was one he too carried in his head as he walked apprehensively towards Hostel No 4 of the Powai campus. “I was never an intellectual and made the cut with a lot of hard work and a little bit of luck,” he says modestly, admitting that he was relieved to hear the popular song from Jo Jeeta Wohi Sikandar, “Pehla Nasha”, playing inside one of the hostel rooms. “Then, I looked down and saw a bunch of boys playing football, one letting loose with a string of gaalis, and I knew instantly I was home, among boys who were just like me.”

Medical and engineering colleges have grabbed headlines with horrific instances of ragging. Touch on the subject and the filmmaker admits that while there was a hierarchy in place at IITB, rules were not sacrosanct and the only marching orders he remembers being given as a fresher was to stand on his toes with his arms spread and take the oath. Prod him on the oath and he guffaws, “Don’t ask me to repeat it, you’d never be able to print it; it’d just be a string of asterisks. I’ve used a more civilised version in the film so I wouldn’t get an ‘A’ certificate.”

A particular task which was part of their initiation ritual was “flushing” the smile away, which had to be done with all the requisite sound effects, right down to pulling the chain of an antiquated wrought iron flush tank, followed by the gurgle of water and ending with a “phurrrrr” sound which left Nitesh with a smile on his face as a result of which he had to repeat the task half-a-dozen times. “It was only later that I realised the “phurrr” was the sound of pigeons flying. They would perch in the toilet till the sound of the flush drove them away,” he reminisces, adding that once a bull was lured with rotis to the second floor of the hostel and pushed into a boy’s room. Imagine his shock when he unlocked it to “come face-to-face with his new roomie. I swear this is no bulls***,” Nitesh laughs.

IITB, he recalls, had a strong presence in both sports and cultural fields, and his seniors were always on the lookout for freshers with particular talents. Once they discovered that Nitesh was a natural mime, he was sent to inter-collegiate fests like Mood Indigo where he won prizes too. In his second and third year, he also came up with story ideas for skits for Performing Arts Festival (PAF). “One of them revolved around goofy ghosts and a haunted house. Imagine back in ’93, we were experimenting with a horror-comedy on the IIT stage,” he smiles.

Different hostels came together for this fest and it was a matter of great pride to win the PAF shield. After missing thrice, in the final year, they decided not to aim at pleasing the judges, but play to the gallery instead. This time, Nitesh directed the skit, A Touch Of Evil, an all out musical about a couple of innocent lovers caught in a bitter rivalry between two sorcerers. “It was a laugh riot and we went on to lift the PAF shield,” he narrates.

So, while studying for a degree in Metallurgy and Material Science Engineering, Nitesh discovered the joy of writing and went on to work as a creative director in an ad agency before diving into Hindi films with Chillar Party in 2011. He wrote the story, screenplay and dialogue for his debut directorial which bagged the National Award for Best Children’s Film. This was followed by the supernatural political comedy Bhoothnath Returns. He then scripted Kill Dil and wife Ashwiny Iyer Tiwari’s Nil Battey Sannata and Bareilly Ki Barfi while also writing and directing the wrestling drama, Dangal. “IIT was not only a wonderfully liberating experience from the confines of our homes, but also a journey of self-discovery,” he avers.

An all-rounder, Nitesh was also voted sportsman of the year and graduated with the Scroll of Honour, a first after 17 years, in ’96. “I was captain of my hostel’s cricket team, and also played football, volleyball, hockey and running the 4x100 metres relay. I was an extra in the basketball team too,” he smiles. Interestingly, many of these sports are showcased in the Sajid Nadiadwala production too, with Sushant Singh Rajput being a basketball champ in his college days. “It’s a sport not showcased much in Hindi films,” Nitesh reasons.

In reel life, the camaraderie continues even after the buddies pass out of college. It’s the same for Nitesh too, who is in touch with many of his seniors, juniors and batchmates. “Our Whatsapp group is called HIV—Always Positive,” he informs with a twinkle in his eyes, explaining that he was in Hostel No 4 and four in Roman numerals is written as IV, so, HIV. “Back in ’92, AIDS was incurable, so initially the gang was called HIV-The Incurables. Later, when a cure was discovered, it changed to HIV—Always Positive.”

You wonder if there was any college romance he isn’t talking about, and Nitesh chuckles, “None because with a ratio of 45 boys to 1 girl, most of us quickly realised that udhar kuchh honewala nahin hai and took the competition to dramatics and the sports field.”

Before he signs out, the acclaimed filmmaker is quick to add that in his gang of real life chhichhores, many today are successful CEOs, bankers and entrepreneurs who still believe life is to be enjoyed, not just endured.

As Chhichhore trailer drops online, director Nitesh Tiwari on following up the success of Dangal with unassuming campus drama
Sonil Dedhia (MID-DAY; August 5, 2019)

The weight of expectations rests on the able shoulders of director Nitesh Tiwari as he returns to the big screen three years after giving Bollywood its biggest hit, Dangal (2016). But box-office numbers have never been his barometer; he is only too happy to tell stories that move him. "The only pressure is to be able to live up to audience's expectations," says the director as he teams up with Sushant Singh Rajput and Shraddha Kapoor for Chhichhore, a campus drama inspired by his student days at IIT Bombay.

"The very thought of bringing my college years on screen excited me," gushes Tiwari, before adding, "The idea was not to show a montage of fun days, but to tell a story with a purpose. While writing the film, I realised how young minds are impressionable at that stage, and actually find their purpose during those years. Some of the nicknames that I have used in the film are that of my seniors and batchmates."

No sooner than the trailer dropped online yesterday than comparisons with Bollywood's iconic college capers — Jo Jeeta Wohi Sikandar (1992) and 3 Idiots (2009) — were made. "Good campus dramas remind the audience of their college days, and that is the only common factor between Chhichhore and the other films. The story [deals with] a topic that hasn't been explored earlier."

Since the drama spans decades, Tiwari says roping in young crop of actors, including Rajput and Kapoor, was a safe bet. "We thought that actors in their 30s would fit the bill as they are [malleable] — they can lose weight and start looking like college students. Similarly, if they gain weight, they can effortlessly look like middle-aged people. We also studied how people age — be it greying or loss of hair."

Producer Sajid Nadiadwala says, "Even though friendship has been captured in many stories in Bollywood, I believe it is a lesser-explored subject. Chhichhore is youthful yet mature in its text. Nitesh has added his own charm to the film."

Nitesh Tiwari admits that his friends from IIT, who stood by him through thick and thin, inspired his Sushant Singh Rajput-starrer
Himesh Mankad (MUMBAI MIRROR; August 5, 2019)

It’s no secret that Nitesh Tiwari’s upcoming directorial, Chhichhore, is inspired by his own life as a student at IIT Powai. One of the film’s sub-plots revolves around the rivalry between batchmates Sushant Singh Rajput and Prateik Babbar who reside in the campus hostel. “There will always be students competing for prestige and the sub-plot comes from the healthy rivalry between students. It helps you discover yourself and prepare for your life ahead,” asserts the filmmaker.

The film’s story starts off in the 1990s and flashforwards to the present day. According to the director, the challenge here was changing the body language of his protagonists to match their on-screen age. “Sushant is from an engineering backdrop in real life and brought his own experiences into the role of the student. He adapted well to both phases,” shares Nitesh, nostalgic about the four years he spent at IIT and a firm believer in the idea that it could make for an engaging story.

Bollywood hasn’t really tapped into college dramas, except for Jo Jeeta Wohi Sikandar, 3 Idiots and Student of The Year to name a few. Was this playing on his mind, one wonders, and Nitesh explains, “My loyalties are always with the story and I felt that this one needs to be told. So, I went with it to Sajid sir (producer Sajid Nadiadwala) and he loved the idea.”

Sajid was discussing three-four scripts when Nitesh came to him with a one-liner and that got them started on Chhichhore. “The topic of college life made me give the nod instantly since it’s an important part of all our lives and so the connect is instant. Nitesh had some actors in mind, and most of them matched those on my list, so the cast was decided mutually during the scripting and narrations,” Sajid smiles.

Since the film celebrates friendship, the makers kicked off their campaign on Sunday with Nitesh exulting, “There was no Friendship Day back then, every day was Friendship Day for us. We’d pull each other’s leg, then lend a helping hand when in trouble. Those friends have stood by me through thick and thin.”

BOMBAY TIMES (June 6, 2019)

Kiran Zaveri Bhatia is still remembered as the girl who played Mamik’s shy girlfriend in Jo Jeeta Wohi Sikandar. She also had a cameo in the Shah Rukh Khan-starrer, Baadshah, apart from playing the lead in Roshni.

Other than acting, Kiran started exploring various aspects of filmmaking at her production house, Woodpecker Movies. Currently the Content-Alliance Head at the banner, she turned producer with Motichoor Chaknachoor (in association with Viacom 18). She is also backing films like Bole Chudiyan (directed by Shamas Siddiqui), Rusty Aur Dusty (helmed by Glen Baretto) and Pyaar Ka Achaar (directed by Navneet Baj Saini).

And now, she is all set to become a writer-director with the upcoming film, Haveli Mai Hungama. Kiran says, “The film is a whacky family entertainer. It revolves around two Marwari families, and aims to expose the double standards, hypocrisy and suppression of women in Indian households. At the same time, we have been careful not to hurt anybody’s sensibilities or sentiments.” Kiran, who hails from the Marwari community, has added her observations and experiences from her growing-up years to lend a realistic touch to the story.

Though she is donning multiple hats, Kiran has not quit acting. She shares, “Acting is and will always be my first love and I am passionate about it.” In fact, Kiran will soon be seen in a movie, which revolves around four characters and their lives. She elaborates, “It’s an intense and interesting story of power, greed, obsession and the life beyond. All the four characters are equally important.”

So, will she act only in her home productions? She replies, “Why would I restrict myself? Cinema is going through an exciting phase with many young and emerging talents. As an actor, it would be silly on my part to restrict myself to my home productions.”

Meanwhile, Kiran’s production house is also entering the digital platform with the series, The Consent, The Deal.

Rachana Dubey (BOMBAY TIMES; May 5, 2019)

If you think Tiger Shroff is a shy guy, a meeting with him will dispel that myth. He is evidently more bindaas and confident about his place in the industry today. Headlining the cast of Student Of The Year 2 (SOTY 2), Jackie Shroff’s cub seems to be extremely self-assured about his future projects, starting with the campus romance, which he hopes his young fans will lap up. Excerpts from our chat with the actor:

Reportedly, you’ve never attended college, so we can’t ask you how it felt to go back to the classroom. So, how was it going to college for the first time in Student Of The Year 2?
It was a lot of fun to go to a college, which was so fancy — it has sports, dance, drama and little studies. It’s a dream college where I had a lot of fun because I romanced, danced and there was so much competition with peers. Also, we had access to great facilities. Now, who doesn’t want a college like that? Der aaye, durust aaye…

In a recent conversation, your father, Jackie Shroff, had expressed his happiness over the fact that you finally have a girl in your life (reportedly Disha Patani). He had also said that he has given you a ‘tichki’ to stay within socially permissible limits with her. What do you say to that?
(Blushes) Yaar, I don’t know what to say to this. Dad is one of a kind. His one-liners have always put me in a spot. He was always worried that his son was perpetually thinking of work and is completely non-social. He was relieved and excited that I have a bunch of friends now, and that one of them is a girl, who hangs out very often with me. His thought bubble must have been, ‘Mera ladka finally kuch normal cheezein bhi kar raha hai.’ At my age, dad had so many friends, an active social life and many girlfriends. I’m unlike him because I’ve taken after my mother.

Your father also takes great pride in saying that these days he is known as Tiger Shroff ka baap…
(Cuts in) He’s being modest and humble. I have probably done something for people at times to address him as my father and not as the star that he is even today. Maybe it’s the younger generation, the kids and the college-going teenagers that he’s referring to. Probably, they don’t know his work as much as they know mine. A lot of people from the previous generation walk up to me and say, ‘Yaar, I am a huge fan of your dad. He’s so hot, so handsome, such a good actor…’ The list of compliments is endless. When these people walk up to me, I secretly hope that they’re coming to compliment me or ask for my autograph. Often, they turn out to be dad’s fans, who have followed his career since he debuted with Hero.

Matching your dad’s popularity and status must be a tall order…
It is! I have faced this crisis from the time I got into films. In the last few years, I guess I have managed to pull myself out of his towering shadow and prove that I am not just his beta.

I’m very proud to be his son, but I’ve also somewhat made him proud to be Tiger ka baap. I have worked very hard to achieve that. With just a few films behind me, when people address him as my father, I am forced to believe that the tide is changing, and maybe, I am on the right track.

While there is a lot of anticipation about Ananya Panday and Tara Sutaria’s debut, the film faced a lot of trolling after the trailer was launched. Did you anticipate it?
For a film like this, what do you expect? We’re pretty much sitting ducks in this case. We’re very clear that ours is not a preachy film; it’s for people to come and enjoy. It’s SOTY — if you’re expecting some vishesh tippani from us, then you’re in the wrong place. Everyone, who’s been trolling the film and even those who haven’t, will be pleasantly surprised with the world that exists in SOTY 2. It’s not as superficial as it seems to be. It looks glossy, but there is another side to it that I can’t reveal just yet. If someone has watched Jo Jeeta Wohi Sikandar, they will feel a sense of déjà vu. You can place a lot of elements from that movie here.

The films you do invariably play on your skills as an action star. Though they might look exciting on screen, even with all the training, when you are actually performing stunts in front of the camera, it’s no mean feat.
Those stunts can actually be life-threatening, if not done with the right kind of training and precision. That’s one of the reasons why I never tell my parents that I will be shooting an action scene on a said day. Dad and mom keep thinking about it all day, which I don’t like. Of course, when they see it on screen, they’re amazed about how I did it. The camera enhances everything, including action scenes. My parents tell me, ‘Tune bola nahi you’re doing this. Now, don’t put your life at risk again.’ I get a high and kick when I perform these stunts. When it’s appreciated on the set, and eventually, in the theatres, I feel on top of the world. I grew up watching larger than life heroes like Jackie Chan. When I look back at the films I’ve done, I want to believe life comes a full circle if you really work at it.

In five years since your debut in Heropanti,you’ve done a lot of dance and action. In fact, you have emerged as Bollywood’s action star. In the bargain, you haven’t been given parts that can showcase your acting abilities as much. Do you regret that?
Action and dance are a part of my identity. I craved for one for so long, so now that I have one, why would I want to shed it? There is so much talent and competition around me. How does one stand out? I think my skill-set gives me that uniqueness that helps me find my own space. I’m blessed to have an identity so early on in my career. There’s a reason why you’d watch a Sylvester Stallone film, a Jackie Chan film or videos of Michael Jackson’s concerts. While they were good at a lot of things, people turned to them for some very specific set of skills, which everybody did not have. My films are not limited to just kicks and punches. Baaghi 2 didn’t scale those heights just because I did some action scenes. It had an emotional story in which my character went all out for his loved ones. If you only want to see me doing action, you can go to my Instagram page. No film works without a script and performances.

SOTY 2 is the second franchise film you’ve become a part of. Your last release, Baaghi 2, belongs to a successful franchise, too. So, when you are a part of successful franchise films, is the pressure more to deliver a hit film every time?
I had never thought I’d see a box office success like Baaghi 2 so early in my career. SOTY is Karan Johar’s baby and the legacy has to live on. It feels amazing to be a part of all this. I work with a sense of responsibility. The pressure to deliver a better product is on the entire team that backs the film. I just do what I am told to. The day an actor starts performing under pressure, he’s had it. Acting is not rocket science; it means acting mat karo. The moment you start hamming in front of the camera, or make it too evident that you’re acting, people can see through it. They know yeh overacting kar raha hai. The more sincere and genuine you are, the lesser the need to make an effort to register your emotions. In Hollywood movies, it’s just a profile shot that speaks loud and clear, and silences say so much. I am currently working with Hrithik Roshan, who makes even the most difficult things seem effortless.

You are working with two newcomers, Ananya and Tara. On a recent chat show, they came across as confident and savvy, were they like that on the sets as well?
I was technically one of the most experienced actors in the cast, but I didn’t get a chance to feel that. Ananya and Tara don’t come across as newcomers at all. They are bindaas before the camera. They are spot on with their lines and prepared for everything. Their confidence will make a lot of people sit up and take note. I’d just say watch out for these students!

Punit Malhotra makes a surprise admission about SOTY sequel, reveals what happened to his film with Akshay Kumar
Himesh Mankad (MUMBAI MIRROR; May 1, 2019)

How did you come on board for Student Of The Year 2 considering Karan Johar had directed the first part?
I think Karan was keen on turning this into a franchise since 2012. After Gori Tere Pyaar Mein, I was wondering what to do next and Karan suggested I explore a younger space, offering me SOTY2. I was initially reluctant as I didn’t have a subject, but when we started working towards it, there was no turning back. Then, we got Tiger Shroff on board and the deal was sealed.

But why an established actor like Tiger when the students - Varun Dhawan, Sidharth Malhotra and Alia Bhatt - were debutants the first time around?
We still have two debutantes—Tara Sutaria and Ananya Panday. We didn’t want to make this a Me Too of first part, so Tiger. It’s a film that speaks for itself, a fresh take on the subject. It’s more about sports and action.

Did you make any changes in the script after Tiger entered the picture?
We were supposed to make a very different film with Tiger in the lead, but two-three months before we were to roll with it, we realised the first draft was not working. So, we pulled the plug on it, went back to the drawing board and wrote a new script keeping Tiger’s strengths in mind. That’s the one we made with action integrated into the plot.

But doesn’t action take away the feel of a campus caper?
It gives the franchise another dimension. We’re being criticised because there are no books in this college but we are making a statement that education is not just about reading books, it’s also about sports and extracurricular activities. To be the student of the year, you have to be an all-rounder.

What’s new about SOTY 2 that we haven’t seen in the original or Jo Jeeta Wohi Sikandar?
Well, this one is about more than just one college. Jo Jeeta Wohi Sikandar is the Bible for any High School film, so comparisons are inevitable. SOTY was a fresh take on the genre after almost 20 years and launched three big stars. I have retained its flavour but have given it a different spin.

Buzz is, the leading ladies don’t have much to do in the film...
I couldn’t have made the film without Tara and Ananya. There may be some unnees-bees when you compare their roles to Tiger’s, but everyone has a role to play.

How much has the script borrowed from your own student life?
I am a Mumbai boy and studied at HR College. We didn’t have a campus like St Teresa’s nor was our life as glamorous. But the masti finds its way into the film.

Just three films in a decade. Why?
It’s not intentional, I want to pick up pace. This one was supposed to release earlier, but there was back and forth. I’ll try to reduce the gap with the next one. I’d like to believe I’ve become a better director. Gori Tere Pyaar Mein didn’t do well; I’ve learnt from my mistakes.

Do you feel pressurised because your last film didn’t do well?
Any pressure is good. Even if a film does well, you feel the pressure. As a creative person, you always want to leave a mark and the fear of failure pushes you to do better.

There were reports about you teaming up with Akshay Kumar on a film some time ago.
That was Gutka, a script we all are close to. But it’s a sensitive subject and for now, it’s on the backburner.

What next?
There’s a lot on my mind but nothing clear at this point.

Any plans of getting married soon?
You find me a girl and I will get married.

The indefatigable Anil Kapoor talks about his endless energy, refusing Chandni because he had to sit in a wheelchair, feeling gutted that he didn't do more endorsements and, of course, the Mr. India sequel!
Mayank Shekhar (MID-DAY; August 10, 2018)

Suzie, we're told, is a popular, heavily priced cocaine doing the rounds of Juhu - the effects of which include indefatigable energy levels that last you for every second that you're up and still snorting. The high seems natural. The party never stops, and life seems positive, and happy, and fun, all the time. Which is pretty much the state that has defined the public profile of actor-superstar Anil Kapoor, 61, for decades that he's entertained millions at a stretch. And continues to. What keeps him going? He hasn't tried Suzie, he tells us. Well, just for fun, we checked:

Have you ever done drugs?
I've had hash - ganja. Nahi, charas bolte hain. This was when I was in college, just finished school. Once I had hash, a few times, actually. I've had grass [ganja/marijuana] also. That's it.

But those are [usually] downers. You're on a constant upper!
To be honest, because they were downers, I didn't like them - they made me feel low, sleepy. I said I don't need this.

Were you much of a drinker though?
I've had beers, and [other] drinks; but never done anything excessive.

I'm only trying to get at what drives you (and if there's an external substance that we could recommend to readers!).
This is the way I naturally am. It's just the profession, the whole entertainment business, or show-business - cameras, films, ADs, working with the director, writers, actors, actresses, producers; interacting with media, doing different roles… Everything surrounding me makes me feel positive, gives me energy. It's exciting, pulsating, also edgy - because you're not sure what's going to happen. You're insecure. You do your best; feel it's not the best. But people say it is! I'm just so happy that I don't do a 9-to-5 desk-job.

Which you never have.
Never. I can sit down for half-hour, or an hour; not longer. I have to be standing, walking, running; or sleeping, so that I'm fresh again!

And you've been working like this for 40 years?
I think so. I [recently] called up my producer-director Umesh Mehra to ask, "When did we start the film [Humare Tumhare]?" It released in 1979. Think we would have started [shoot] two years before. So, if I started my acting career in '77, it's been 40 years [plus]. He [Mehra] is also trying to find out exactly which date we started. The film had Sanjeev Kumar, Rakhee. There were 10-12 children in it. I was one of them.

Was that the one where you played the young Shashi Kapoor?
No, that was in 1973 [for the shelved film Tu Payal Mein Sangeet]. I was in the seventh standard. That was the first time I faced the camera, but only as a child actor. By Humare Tumhare, I had done my acting course. And then I did [M S] Sathyu's Kahan Kahan Se Guzar Gaya [1981], [Lekh Tandon's] Ek Baar Kaho [1980]...

A lot of people don't know that you were also the lead in Mani Ratnam's directorial debut.
Pallavi Anu Pallavi [1983; in Kannada], yes, his first film. Balu Mahendra was the cameraman, the visuals were stunning. I was in Bangalore recently, and people still remember the film. Ilaiyaraaja's music in it had become very popular.

All of this before Woh 7 Din (where you first got majorly noticed)
Yes, I started working on Woh 7 Din in 1982. I was not getting any work in Mumbai as an actor - besides bit roles. I thought I was cut out for bigger things. So I said, let me start helping out my brother [Boney] with production in Chennai. He was taking over dad's work in Hum Paanch. Being the eldest, he was looking after finance, while I did all the odd jobs. I would also stand-in for actors while the scenes were being set up. Bapu saab was the director. I would show him how good I could give a shot. He would observe. That's when he offered me the Telugu film [Vamsa Vruksham]. And then he directed my first [Hindi] film [as lead], Woh 7 Din, with the script written by K Bhagyaraj.



Your early stories are actually all about astounding persistence. You could stand around [hoping to get noticed] for hours (at a stretch).
Yes, I've stood behind the camera on Subhash Ghai's sets a lot, hoping, "Abhi dekhega shayad," and that as soon as his [Ghai's] eyes meet [mine], I'll go, and meet him. Then I'd get to know that he's at Holiday Inn. So I would stand in the lobby. Then I'd think, "Why lobby? Let me just go up." So then I would be there in the corridor. I wouldn't have the guts to go and chat with him though. I've sat around at Rajshri Productions office [in Prabhadevi] a lot. It was very tough to meet the Barjatyas, so I became friendly with the production guys - Mr Gupta, Mr Zaki... Suddenly Gupta tells me Zaki wants to make a film. I say, why not cast me? Before I could meet the Barjatyas, the production guy was making a film called Prerna with me, which got stuck. But, I was the leading man. Likewise, while I was trying to meet Subhash Ghai, one of his assistants, Kukoo Khanna, Usha Khanna's brother, pointed me towards a small film. So I sat in David Dhawan's Vespa, went over, and signed up for a film called Rachna, which ran for one-day, one-show, in the theatre!

Did you have a Plan B?
After about four or five years, I did think of a Plan B, but, in films - like writing scripts, or doing anything else to be in the films.

Well, you are from a film family; if I'm not mistaken your father was an AD on Mughal-e-Azam. He also managed Geeta Dutt's work, thereafter Shammi Kapoor's.
He was a very honest, decent, introverted kind of good man - not one of those pushy, aggressive, filmy ones. And he once clearly told me that he cannot do anything for me. I never expected him to either. From that day, I felt, instinctively, it's time for me to go out into the battlefield, and fight.

If the battlefield means sitting around hoping for someone to notice you, it would get quite tiring, right?
It was exhausting, frustrating. I looked and felt my worst in those days - sitting with friends having rum.

Could you channel that eventually in your work; a film like Awaargi [1990], for instance?
Yes, [Mahesh Bhatt's] Awaargi, and even before that, [Subhash Ghai's] Mashaal. Then there was [Bhatt's] Thikana, where I play an alcoholic. This is when Mahesh Bhatt was trying to find himself; it was a pleasure and fun working with him. Both Awaargi and Thikana turned out to be disasters though.

But you basically ended up with a 40-plus years' career, without a sabbatical. Ever thought of taking one?
I did, once. I spoke to Amit ji [Amitabh Bachchan], while we were shooting for Armaan [2003]. He had taken a break for five years. His advice was: Whatever you do, keep on working.

Also, since you began in the '80s, which was all about over-the-top performances, that you cracked, to decades later, when the kind of films being made are vastly different, you would've had to constantly reinvent yourself too?
When I started my career, they used to tell me I'm an English actor. First they used to say, "Zara loud bol. Underline it. Punch de usko. Punch de!" I'd be like, 'What punch are you talking about? I'm just being myself, real. But the sound-recordist would tell me it doesn't work. That I had to start pitching - so you're not speaking, or making conversation. You're talking at them [the audience]. But, obviously, working with good directors, films becoming successful, you get the confidence. Initially, I was not that comfortable, to be honest with you.

You were not always the 'jhakaas' guy?
No, I was not. In fact at the time [of the release of Yudh, 1985], 'jhakaas' didn't become that popular. The film was an average success. They said that I was the best thing in it, and wished there was more of me. The film was more about Jackie [Shroff's character]. That 'jhakaas'; and my character stood out. People were talking about it. But I didn't take it seriously enough to cash in on it.



Would you say that 'jhakaas' image was more a Subhash Ghai creation; with a Ram-Lakhan [1989]: One two ka four, four to ka one stuff?
No, I did Tezaab [1988], before Ram Lakhan. And of course, I had done [Yash Chopra's] Mashaal [written by Javed Akhtar], where there was realism, and a star-quality [to the character] - a combination that you notice in Salim-Javed scripts. The foundation got laid in Mashaal [1984].


If we go back to your entire body of work, a lot of people would say Mr India was a perfect 10. Would you agree?
I feel the first half of Mr India was much more organic, human, beautiful. In the second half, I felt, there were certain portions that seemed really forced. You could say we did this to make it massy. The casting of the children, the scenes were picture-perfect, yes. The same was the case with Ram Lakhan. The first half was brilliant.

Lamhe [1991]?
Well, Lamhe, people liked the second half better. The first half, I found to be unnecessarily slow. A film must hold you from the beginning to the end. People say climax theek nahi tha. I feel it was ahead of its time. And Sridevi was magnificent in both Mr India and Lamhe. She was beyond perfect in Mr India. Or, for that matter, even Judaai, if you've see her in the film, she is exceptional.

Speaking of Sridevi, the tragedy earlier this year was heartbreaking. How did you deal with it?
It is one of the most unfortunate things to have ever happened. Every night, my wife and I talk about her. There's not a single day when we don't miss her. [Pause]

Going back to Lamhe, while it didn't do well in India, it actually opened up a whole diaspora market for Bollywood, isn't it?
Both [Yash Chopra's] Lamhe and [Vidhu Vinod Chopra's] 1942: A Love Story [1994] were game-changers [for me]. I signed both the films simultaneously. I'd had an accident, and was bedridden, nursing my leg, for two-and-half months. It was a turning point in my life. I was running fast, but going nowhere. I just wanted films, one after other - doing films that I didn't care much for.

You've spoken about how you've done a few films like an Andaaz or say Mr Azaad purely for the signing amount.
No, not the signing amount; for the whole thing - advance mein. But the past is past. Why should I say now, why I did them? But 1942 and Lamhe were the kind of exciting films that were not being made [back then]. Yash ji wanted to do something post-Chandni, since it was a success.

And I hear you'd said no to Chandni. Why?
I had said no to Chandni, because I didn't want to sit in a wheelchair.

It would be hard to contain you in a wheelchair!
I was just not in a frame of mind to sit in a wheelchair through an entire film. I was, in fact, one of the first people to call Yash ji and tell him, "Picture hit hai!" He couldn't believe it. I had done two films [Mashaal, Vijay] with him, and both hadn't done well.

So post-accident, you became more conscious of the scripts you'd pick up?
Conscious, yes; but I also started getting offered more films of the sort that I wanted to do. Certain films I did for the kitchen, family, children…

Do you have a clear distinction between a film for kitchen, and craft?
I do.

So when you do a Race 3, for instance...
There are other reasons as well. I have to like my role. And who is producing it, acting in it.

Going back to what makes you special, besides being around for 40 years; you're also a rare Bollywood superstar with a moustache. No?
No, there was Raj Kapoor, Charlie Chaplin, and Shatrughan Sinha.

Exactly, that's it. Did Manmohan Desai ever say that a man with a moustache can never be a hero?
I read it in an interview. He called me up after Eeshwar [1989], and said, "I thought you'd never become a star. You are just an actor." He said he wanted me to do his films. He had said Jackie Shroff is a star, and I am just an actor.



You've had a lot of such stuff thrown at you, isn't it?
I was lambasted, even when there was no social media. But I've always looked at the marathon, the longer run. I didn't go for the 100 metre dash. Well, I did in the '80s, and then I came back. Because the 100 metre dash is too tiring and exhausting. I knew I'd burn myself out.

And was doing television, with 24, probably a marathon thing to do?
Yes, it gave me a role away from the cinemas. And it wasn't the role of a reality-show judge. It gave me creative satisfaction, to work on a great story.

Did you also see LA as a longer-run thing to do? How serious were you about pursuing that as a career option?
Yes, it was a longer run thing: [looking at] legacy, learning, education, meeting different people, creative people, business minds. I was reliving my struggling days. I used to actually go, and audition. I auditioned for David O Russell, Sacha Baron [Cohen], for fun. Whenever I audition, I don't get selected. Everything I did happened without audition! We are not cut out for auditions. It is also an art. We have to work towards it.

How serious are you still about pursuing Hollywood though?
I am at a certain age and time, as far as family is concerned, when I can't pursue it aggressively. If it comes, good; but I can't move base. If I get an offer for which I have to leave for a year, obviously I will have to say no. It has to be on my terms and conditions.

Well, there's so much for you to do here. Could you be the Dev Anand of this generation?
No one can be him. I am so glad I could meet him. I still see his songs, and they make me so happy.

(Speaking of which], you are a singer yourself; even cut an album [with Salma Agha that many people may not know about).
It was horrible. People like to see, and not hear us sing. I used to do ghazals, nazms. So, I sang in Chameli Ki Shaadi [1986]. And then that album [Welcome; 1989]. After which, I decided, 35 years back, that I won't ever sing!

The new lot in showbiz, in fact, juggles multiple things, while they also act in movies. Their main income might well come from endorsements. Why did you never do ads through most of your career?
Raj Kapoor, Dilip Kumar, Amitabh Bachchan never did ads. We were brought up [with the thought] ki, "Main actor hoon. Salesman nahin". This is until my children grew up, and Sonam started doing ads. The standard of ads also got better. But by that time, I had already missed out on the best ones. Now I feel terrible about it!

Audience: It's clear that you are getting younger by the day. Can you share some thoughts on fitness with us?
It's all about intake, and outtake; and also workouts. To give you an example: 1,000 calories a day is, say, your intake. So you should work out for six days a week, to make sure you maintain a balance. There shouldn't be far more calorie intake than what you have really burnt out. If you want to indulge on a particular day, you should see to it that for the next two to three days, you balance it out. Don't let loose, and say that for the next three months, I'm just going to keep eating. Then it becomes difficult to bounce back. Also, you can do different kinds of exercises, depending on what makes you happy. Keep changing it. If you find any exercise boring, don't do it. Find something that you can have fun with. And I don't feel that's difficult.

At which point of time in your career did you particularly start focusing on your health, fitness?
I think it was during 1942 A Love Story. I didn't want to do the film as usual.

Is saying no your instant response to an offer?
Yes. I told Vidhu [Vinod Chopra]: "Tu pagal ho gaya hai kya? You are making me a romantic hero. I am a father of three kids! Aamir ko le le tu." I told him I'll call Aamir. But he said, "Aamir phone pe hi nahi aa raha hai." [Laughs]. So then I suggested he should take Bobby Deol, since he was coming up. He met Bobby as well. Then Vidhu's brother, Vir Chopra, made me hear all the songs, and I really loved them. There is a scene in the film, inspired from Romeo and Juliet, where we [the hero and the heroine] are in a balcony. I was working with Manisha Koirala, who was, I guess, 20 years younger to me. And I had done all 'tapori' and 'mawaali' roles until then. Suddenly I was playing this [suave] character. That is the time I started paying attention to fitness. And after that, I didn't stop.

Audience: Anil sir, last year Boney Kapoor announced that he wants to make the sequel to Mr India. Has it ever been discussed with you?
It's a tough film to make. Obviously we have discussed it. But being the kind of people we are, it has to be something really special. So whenever it has to happen, it will. Boney and I are really positive people.

She called you Anil sir, do you like being called sir at all?
You can call me anything. Kuch bhi bolo yaar. I never react.

Another unique thing to mention: You actually don't have a popular nickname, unlike most of your contemporaries who've been around for decades -Amitabh Bachchan is Big B, Shahenshah; Shah Rukh Khan is Badshah, King Khan; Salman Khan is Sallu; Sanjay Dutt is Sanju, or Baba, Jackie Shroff is Jaggu Dada...
Find a nickname for me. It's never too late. Never give up. Main bhi ek nickname launga. Let's have a poll! A lot of people call me AK, including my staff, manager, and many friends. At least Rhea doesn't refer to me as dad. For a daughter to call [the father by his initials] isn't common. But there are too many AKs in the industry.

Audience: Parinda [1989] had some stalwart performers like Nana Patekar, Jackie Shroff and Anupam Kher. Did you feel the need to come up with the best performance, or do anything different for the film?
I was doing five films at that point in time. I was at my busiest, running from one film to another - Parinda, Ram Lakhan, Tezaab, Eeshwar…. Obviously I was trying to do my best in every film. But how much can you do? Everybody else was doing less work back then, and I was doing the maximum, just running from one studio to the other.

I think she wants to know if you're an insecure actor.
I had to be competitive. You have to be, and why should you not? I feel a person who isn't competitive, can't be in the business. And whoever says that they aren't, is lying.

As a result of which there is far more politics in show business? Would that be correct to say?
I try to stay away from it as much as possible. Ignorance is bliss - pataa hi nahi kya ho raha hai. Especially my wife, she doesn't know anything; so that's great fun. When she comes home, people call up to say, "Your husband has signed a film," and then she asks me, "Baby you have signed this film?" [Laughs].



It has to be said that even at the peak years of gossip press in the '80s, '90s, we heard absolutely nothing that was gossipy about you, unless there was, and we've forgotten, which is even better. But there is one incident that relates to Filmfare Awards, 1993. The Best Actor needed to be given out. Dimple Kapadia went up on stage. She refused to open the envelope, almost as a signal to the audience that this is possibly rigged. She announced your name for Beta. Aamir Khan has never attended a Bollywood award show ever since. Take us through that moment?
Let me be very honest. If you see my interviews from back then, when people asked me who will win Best Actor, I had always said Aamir Khan for Jo Jeeta Wohi Sikandar, because it was really a different kind of film, out-of-the-box, and I could make out that everyone had worked really hard. I saw the film at Gaiety, and loved it. And then the Filmfare Awards happened, where I won Best Actor award, and I was surprised. I won it, because it was the biggest box-office success of that time. If you look back, it had earned more than any film that year. So there was something special about that performance. I didn't respect that performance myself, but everybody else did. I was also riding so high that everyone wanted me to lose. I also found out from Dimple that it [me getting the award] was taken for granted. It is not that she had anything [else] in mind [while not opening the envelope]. Usne aise hi bol diya. Then I found out from an insider regarding the [Filmfare] poll that was taken, and why there was so much controversy. I was really innocent, and frankly, Beta aur Jo Jeeta Wohi Sikandar ka koi comparision nahi tha, in terms of vote shares. And I think the jury might have taken a decision to give Anil Kapoor the award. They had no axe to grind with anyone, and they didn't do me a favour either. They never gave me an award for Ram Lakhan, or Eeshwar, when I was nominated for both [in the same year]. They had given it to Jackie Shroff [for Parinda]. They said the poll had got divided between the two films. These, I guess, are just excuses. You can't take awards seriously. It's naseeb [destiny], also luck. And do you think I would have time to do all this for an award? Mil gaya toh mil gaya; nahi mila toh nahi mila. Among all my friends and colleagues I know, I don't see anybody taking awards so seriously.

Was there bad blood between you and Aamir after that though?
I think someone went and filled his ears. Kisi ne purposely nahi kiya tha.

Did you guys speak to each other?
About this? We have never spoken. We are great friends, and this is too small a thing.

Also, I guess it happened in 1993...
No, even if it happened in 2018, I don't think it would matter. There are so many bigger things in life that you do for a film, or a performance. With Dil Dhadakne Do [2015], for instance, I heard that the film had not even reached Delhi for the National Awards. I was quite surprised. I met a few jury members who said we haven't seen the film. I called up these people [the producers], and they said that they have sent the film to Delhi. So, sometimes, the films don't even reach. It's all luck. Sometimes you get an award, when you don't expect it. But it's not as serious as you think. Some people got upset, but that was the age and the time. I won Best Actor for Tezaab and Bachchan saab didn't get it for Hum or Shehenshah, you think I deserved it? No. But it's okay.

He was also in contention in 1993 for Khuda Gawah.
Yes, and if you see the craft, and compare both our roles, then in a way, you can say his performance was better. So it doesn't mean anything. Sometimes koi actor ki film bahut zyada chal rahi hai, uska craze zyada hai, kisi ka kum hai. For Pukar, I won the National Award, but I didn't win any other awards. They gave it to Hrithik Roshan [for Kaho Naa... Pyar Hai]. Can you compare those performances? I was not even nominated! It depends on your phase of life, and career. Sometimes they feel we should reward smaller films, rather than commercial films. I think this is all over the world, and not in India alone.

Well, at the Oscars, you're supposed to [openly] lobby...
Exactly, the whole structure is like that. But we don't have it. I wish we had that structure with members voting, there would be healthy lobbying. You are only making people aware, asking them to please come and watch our film.

To end on a more positive note, we're absolutely certain you'll be around for at least 40 more years in showbiz. Is there something that still remains an ambition for you?
Everything: As an actor, producer, businessman, father, husband, citizen of this country, and being a global citizen - if there's anything I can do to contribute, something that nobody has done before, and something special; why not?

Will you ever take a break?
I don't know. You never know what happens next. Life is too short. So many of my colleagues are unfortunately… Kuch bhi ho sakta hai na aaj? Kal kya hona hai kisko malum? This year has been especially very tragic, and upsetting. So I feel I should have fun, and enjoy myself, and do as much work - be nice to people, don't fight; compromise, thoda adjust kar lo. You never know what is going to happen.