Showing posts with label JugJugg Jeeyo. Show all posts
Showing posts with label JugJugg Jeeyo. Show all posts
Lakshya’s next with Karan Johar tentatively titled Lag Jaa Gale, set to go on floors over the weekend
10:52 AM
Priyanka Sharma (MID-DAY; December 3, 2025)
In October, mid-day had reported that Lakshya, who broke out earlier this year with Aryan Khan’s The Ba***ds Of Bollywood, has bagged a Karan Johar production (Here to fight, here to rise, Oct 21). Now, we’ve got more dope on the action offering that is being helmed by Raj Mehta of Jug Jugg Jeeyo (2022) fame. Sources have told us that the film, tentatively titled Lag Jaa Gale, is set to go on floors over the weekend.
A source reveals, “The pre-production is done, and Raj is ready to call action. Over the weekend, the cast and crew will kick off the shoot in Mumbai, which will be a 20-day schedule.”
As the protagonist of this revenge actioner, Lakshya will lock horns with Tiger Shroff, who plays his arch nemesis. Another insider shares, “Janhvi Kapoor has been finalized as the female lead. Along with hardcore action, the film will also be high on emotions.”
Did you know?
Tentatively titled ‘Lag Jaa Gale’, the action offering was earlier supposed to be directed by Karan Johar, thus marking his first brush with the genre. The filmmaker had announced it on his 50th birthday, in 2022, but changed his mind later.
After a long break, more Indian films being screened and shot in Russia
8:56 AM
Anumeha Chaturvedi (THE ECONOMIC TIMES; May 25, 2024)
Several generations of Russians grew up watching subtitled Indian films and were floored by Raj Kapoor, Mithun Chakraborty, Hema Malini and Shah Rukh Khan years ago. Now, after a gap of about three decades, industry players and authorities are working to reignite the old cultural affiliation through Indian films by increasing film shoots and screenings of Indian films in Russia.
Film production and distribution companies and government officials in Russia are looking to attract Indian filmmakers and films now that Hollywood films are absent in Russia following the Russia-Ukraine conflict.
Sarfaraz Alam Safu, who runs Kartina Entertainment, a line production company for Indian films in Russia and CIS countries, said Indian filmmakers are showing increasing interest and parts of some recent films including Sardar Udham, Pathaan, Tiger 3 and JugJugg Jeeyo were shot there.
“I am also working on a film, which is a biopic of Rakesh Sharma (the first Indian in space) to be shot here, which will be produced by Siddharth Roy Kapur,” Safu said. “Companies such as Dharma Productions, Excel Entertainment, Emmay Entertainment, Rohit Shetty Productions, and many more are in touch with us for several projects,” he added.
Local authorities are hoping to attract more Indian filmmakers this year through discounted production costs.
“We are now like the front office or supermarket of any services for filmmakers, as we are trying to cut their production expenses as much as possible by offering a low price to shoot here,” said Evgeny Kozlov, first deputy head of the office of the mayor and the government of Moscow. Upcoming Tamil action film ‘The Greatest Of All Time’ last month became the first foreign film to be shot as part of the ‘Moscow-City of Cinema’ programme that provides subsidies to filmmakers.
“I hope we will see several Bollywood projects from India being shot this year in Moscow,” Kozlov said. “We have started working deeply with Bollywood firms to invite Bollywood filmmakers to the Moscow cinema cluster. My colleagues from the Moscow Department of Culture who are responsible for attracting filmmakers are also trying to establish connections with Bollywood filmmakers.” Kozlov is also the chairman of the Moscow City Tourism Committee.
Meanwhile, more Indian films are being screened across Russia as Hollywood blockbusters, which have been mostly ruling Russian cinemas post the collapse of Soviet Union in the early 1990s, are no longer released in Russia.
Besides Moscow and Saint Petersburg, Indian films are being screened in over 40 locations in the country including Arkhangelsk, Belgorod, Kazan, Penza, Saratov, Tula, Ulyanovsk, and Cheboksary.
Mirzoyan Karen Rudolfovich, a general producer of Indian films in Russia, said he is hoping Indian films will capture about 20% of the Russian films market in the next four to five years, up from less than 5% now. “Hollywood made a lot of investments in popularizing their actors in Russia. That’s missing for Indian films,” said Rudolfovich, who has been working on Indian projects for the past eight years.
“We work with production houses such as Red Chillies and Dharma Productions, and our company purchases the rights of Indian films to screen them in Russia,” he said.
Abhishek Anand, a Russian language translator and interpreter who also acted in a recent Indian film shot in Russia, said the older generation of Russians have a totally different emotion for Indians as they were very fond of actors such as Raj Kapoor. “But films such as Pathaan, Pushpa, Bahubali and RRR have also done well here,” he said. “Pathaan was shot here and there is a Russian dialogue in the film that resonated very well with the audience here,” Anand added.
Drishyam 2, Rocky Aur Rani Kii Prem Kahaani, OMG 2's success proves mass action entertainers are not the only way-Ajit Andhare
8:50 AM
Ajit Andhare, Viacom18 Studio’s COO, talks about forging strong partnerships and their core beliefs
Neha Maheshwri (BOMBAY TIMES; August 30, 2023)
Delivering three back-to-back successes at the BO – ‘Mission: Impossible – Dead Reckoning Part One’, ‘Rocky Aur Rani Kii Prem Kahaani’ and ‘OMG 2’ – is no mean feat at a time when theatres are still in the process of winning back audiences. Ajit Andhare, the brain behind the studio, talks about how their success lies in taking creative risks, forging great partnerships, and showcasing diverse storytelling.
Excerpts:
‘Redefining cinema has been our core belief’
Discussing the wave of success, Ajit says, “Our recent successes came at a time when uncertainty was looming large over theatres for about a year-and-a-half. The weekend of August 11 to 13 was a watershed moment for Indian cinema as we registered record footfalls. So, it’s a celebratory moment not just for us, but for everyone.”
Stating that the studio’s strength lies in its ability to explore diverse genres, he adds, “Despite the popular notion, the success of ‘JugJugg Jeeyo’, ‘Drishyam 2’, ‘Rocky Aur Rani Kii Prem Kahaani’ and ‘OMG 2’ have proven that mass action entertainers are not the only way. As a studio, our core belief has been to redefine cinema, and hence, the biggest win for us is to be able to tell diverse stories.”
‘Viacom18’s USP is in building franchises’
The studio also takes pride in nurturing franchises. Ajit explains, “We are one of the pioneers in the space of home-grown franchises with ‘Pyaar Ka Punchnama’ (2011), ‘Gangs Of Wasseypur’ (2012), ‘OMG Oh My God’ (2012) and ‘Drishyam’ (2015). Viacom18 has demonstrated an ability to build franchises, which is a vital aspect of our studio. While we consider the originality and freshness of the story in turning a film into a franchise, the core of our approach lies in creative risk-taking.”
However, ‘OMG 2’ was far from the studio’s comfort zone, but he mustered the courage to take the leap. He shares, “At first, I wondered whether I should embark on this path, given the prevailing environment in the country, where people have become overly sensitive towards certain topics. The second instalment demanded a provocation that measured up to the first film in every way. It had to be a conversation that none of us were comfortable with, as only then would I get a reaction of ‘Oh My God!’ I decided to walk this journey despite the perils, and the response to the film makes the journey worth it.”
‘Cinema is an unforgiving medium’
Explaining why he does not resort to trends that are widely discussed in the industry, he says, “Filmmakers often resort to trends as excuses when films don’t work. During ‘Drishyam 2’, everyone said that people were not going to theatres because samosas and popcorn were expensive, but the film went on to do great numbers. All it had was the backing of a strong story. I believe that to make a great film, one needs to go back to the basics.”
The filmmaker adds, “Cinema is an unforgiving medium, so you need to be sure your projects draw the audience each time. It’s like a game of cricket where you could be a Virat Kohli, but even he has to start with a zero every time. If a film is not good, no matter what the price of popcorn is, it will not do well. On the other hand, a film that does not tick the conventional boxes will be able to bring the audience to the theatre if it connects with them. The success of our last four films is proof of that.”
‘We believe in forging strong partnerships’
Besides focusing on a diverse content slate, the studio also believes in forging strong partnerships. “We believe in forging strong partnerships, as it allows us to showcase diverse storytelling by working with creators with different sensibilities. I strongly believe that we can’t limit ourselves to one genre or style of storytelling,” says Andhare.
People are calling The Night Manager the Pathaan of OTT-Anil Kapoor
8:25 AM
Rishabh Suri (HINDUSTAN TIMES; March 20, 2023)
After last year’s Thar and JugJugg Jeeyo, Anil Kapoor has again struck a chord with the audience in his performance in The Night Manager (TNM). And the actor couldn’t be happier. “People are calling it the Pathaan of OTT!” he beams. With major projects Animal and Fighter in the pipeline, how has he managed to balance the two mediums successfully?
“It’s about making the right choices at the right time. My decisions of choosing from five or six offers have paid off. Also, my co-stars across all the projects, were fantastic,” he says.
Having said that, Kapoor doesn’t believe that a project doing well is only because of the lead actors but that departments such as editing and sound deserve credit, too. “Nobody talks about it! The editor on TNM has done a tremendous job. The sound designer on my latest show Yatrik has done a terrific job. The music of JugJuggJeeyo was fantastic. People who work behind the screen deserve [to be talked about] too,” he wraps up.
The 66-year-old plays the antagonist in TNM. All along, he was conscious about the fact that a considerable chunk of the show’s audience would be families, too. “My character had the F-word and certain other bad words. I said, ‘No, if this character uses them, they will just come towards the end when he is cornered’. I kept it clean,” he shares.
I don’t want to get cast just because I have millions of subscribers on YouTube-Prajakta Koli
8:21 AM
Rishabh Suri (HINDUSTAN TIMES; February 28, 2023)
A lot of attention came Prajakta Koli’s way for her debut film, JugJugg Jeeyo (2022), but that hasn’t translated into a barrage of offers, as one might imagine.
“Yes, I am auditioning for a lot more projects than I used to earlier. That is great. The industry has been very welcoming and helpful. It has also given me a lot more confidence. So, life has been great after JugJugg Jeeyo,” shares the 29-year-old, who is also a part of the teleplay Yeh Shaadi Nahi Ho Sakti, an adaptation of William Shakespeare’s The Taming of the Shrew.
It is surprising to hear that the Mismatched actor — who is also a YouTube sensation known for her observational comedy skits — still auditions. “This is also how it should be,” pat comes the reply. “I don’t want to get cast just because I have millions of subscribers on YouTube or I am a social media influencer. I am doing very well by myself when it comes to the content creation part of it,” Koli shares.
“I’ve been auditioning so that I get cast because I fit the role and can carry it forward. I want my casting director, film director and producer to have faith in me when they cast me. I appreciate that it’s a process and would like to stick to that,” she adds.
While YouTube, films and other projects keep her busy, she is also happy that she got a chance to make her teleplay debut. “I did a little bit of theatre in college. As exciting this teleplay has been, it has also been strangely similar. So, I am happy that something like this has come around,” she ends.
A list of top twenty five original Hind film grossers of 2022
8:54 AM
Box Office India Trade Network
THE KASHMIR FILES remained the biggest grosser of the year as far as outright Hindi films go though if the film did not get sponsored screenings, the business would have been less than the likes of DRISHYAM 2, BRAHMASTRA and BHOOL BHULAIYAA 2. It is impossible to tell what is the actual organic collection of the film but the facts say it is the highest grosser of the year. However, if all things were equal it would had been DRISHYAM 2 as the top outright Hindi film of the year.
The total collections of the top 25 films amounted to 1859 crore and there will probably be another 5 crore nett to come from the films still running. So lets say a total of 1865 crore nett from the top 25 films. The same in 2019 was 3500 crore with the top ten films alone easily covering the 1865 crore of 2022. This 47% down from 2019; its a huge drop and the figures show the dire situation. Its a horrible scene outside the top five grossers.
Basically business has gone back ten years as in 2012 the top twenty five films picked up around 1950 crore while in 2011 it was 1500 crore. The overall picture is not too bad as there was KGF - CHAPTER 2 (Hindi) and RRR (Hindi) but this will not happen every year. If same time next year, we are up 50% it would be a good result and anything more will be a bonus. Obviously you want to see the major 25 films put up 3000 or 3500 crore like in 2019 but it may take longer to get there.
The top twenty five grossers of 2022 are as follows.
1. The Kashmir Files - 2,46,91,00,000
2. Drishyam 2 - 2,32,00,00,000 (52 days; Still Running)
3. Brahmastra - 2,30,23,00,000
4. Bhool Bhulaiyaa 2 - 1,81,65,00,000
5. Gangubai Kathiawadi - 1,26,32,00,000
6. Vikram Vedha - 79,53,00,000
7. JugJugg Jeeyo - 78,53,00,000
8. Ram Setu - 72,72,00,000
9. Samrat Prithviraj - 68,06,00,000
10. Bhediya - 60,25,00,000 (45 Days; Still Running)
11. Laal Singh Chaddha - 59,58,50,000
12. Bachchhan Paandey - 49,00,00,000
13. Raksha Bandhan - 45,23,00,000
14. Shamshera - 41,05,00,000
15. Ek Villain Returns - 39,74,25,000
16. Cirkus - 35,75,00,000 (18 days; Still Running)
17. Runway 34 - 33,51,50,000
18. Thank God - 32,98,50,000
19. Uunchai - 28,65,00,000 (59 Days; Still Running)
20. Heropanti 2 - 24,91,00,000
21. Doctor G - 24,33,50,000
22. Jersey - 20,46,50,000
23. Badhaai Ho - 18,97,00,000
24. Jayeshbhai Jordaar - 16,59,25,000
25. Jhund - 14,30,50,000
Overseas sees decent results in 2022; Brahmastra is the top grosser
2:57 PM
Box Office India Trade Network
The overseas market has seen decent results in 2022 and that is adding to the success of SOORYAVANSHI and '83 at the fag end of 2021. There have been eight films which have done decent or better business and they are BRAHMASTRA, LAAL SINGH CHADDHA, GANGUBAI KATHIAWADI, BHOOL BHULAIYAA 2, THE KASHMIR FILES, VIKRAM VEDHA, JUGJUGG JEEYO and EK VILLAIN RETURNS.
The HIT or better films in Overseas are BRAHMASTRA, GANGUBAI KATHIAWADI, BHOOL BHULAIYAA 2, THE KASHMIR FILES and EK VILLAIN RETURNS. LAAL SINGH CHADDHA can be called decent but with Shah Rukh Khan or Aamir Khan, who are the biggest stars by a distant, the number is dull as for these two stars, $10 million should come eyes closed even on bad content.
The performance in overseas is driven by numbers in US/Canada and the market here is very much like a big metro in India. So this pre pandemic content held its audience in US while the Indian market has gone into transformation post pandemic as the importance of centres outside the metros has emerged. BRAHMASTRA is the only film to cross $10 million but CIRKUS with a Christmas release will have to the potential to cross $10 million even though it will be a film more for the mass markets in India. The period will give the film a big boost and it could even challenge BRAHMASTRA if the film is good.
The top ten grossers overseas for 2022 are as follows.
1. Brahmastra - $14,150,000
2. Laal Singh Chaddha - $7,640,000
3. Gangubai Kathiawadi - $7,470,000
4. Bhool Bhulaiyaa 2 - $5,880,000
5. The Kashmir Files - $5,710,000
6. Vikram Vedha - $5,100,000
7. JugJugg Jeeyo - $4,580,000
8. Ek Villain Returns - $2,450,000
9. Runway 34 - $1,900,000
10. Bachchhan Paandey - $1,850,000
It 100% hurt when we came to know that Coolie No. 1 will not have a theatrical release-Varun Dhawan
8:27 AM
Madhureeta Mukherjee (BOMBAY TIMES; August 1, 2022)
Massy is his thing. From the beginning of his career, Varun Dhawan has worn the ‘Massy Hero’ badge with pride, and for him, it has worked wonders. The pandemic has changed him, not his choices or passion for cinema, but his state of mind. He’s still raring to go, but not in the rat race. He desires to do more of the kind of cinema he strongly believes in, crowd-entertainers, but he says that even in that zone, “You need to figure out newer ways of entertaining the audience.”
And even as the audience is still grooving to the hook step from the Nach Punjaban song from his recent release, Varun takes time out to talk to us about industry perceptions, his obsession and other truths. Read on, he will have you hooked…
Watching your film on the big screen after a two-year lull and after all the uncertainty that the film industry went through, did you heave a sigh of relief?
I am grateful that this could happen as we shot for JugJugg Jeeyo through the pandemic. Neetu ma’am (Neetu Kapoor) and Raj Mehta (director) got COVID, and by the time we released the film, I guess most of the cast members had got COVID. It was extremely challenging, especially shooting for a family film during that time, as all characters were at close quarters, and we also shot songs. We didn’t want to compromise on the scale, so there were breaks in the shoot, but we were determined to make the film that we wanted to.
Street Dancer 3D was released in 2020, just before the pandemic struck, then Coolie No. 1, which was supposed to release soon after (in May 2020), was pushed ahead and eventually, it was released on an OTT platform in December 2020. At that point, how did it feel to see such a massy film meant for the big screen take the digital route?
When you are giving an interview, you know it will be in a public forum, so you always think…should I say this? Sometimes when you speak your heart out, you are judged for what you have said. So, we can rarely speak the truth.
But, if I am being honest, I will say that at the onset, it 100% hurt when we came to know that Coolie No. 1 will not have a theatrical release. But at the end of the day, everyone who was associated with the film made their money back during the pandemic. The change in the release plan did not cause them any economical loss. I know that Sara (Ali Khan), dad (David Dhawan, who directed the film) and I, were really dying to have a theatrical release. It was tough for me surely, but more so for dad; he is 70 now and has made so many successful films, so he wanted to see how this film would do in the theatres and how people would react to it in the single screens. That is the absolute truth.
Currently, there is a lot of talk about changes in the audience’s viewing patterns, their varying appetite for cinema, et al. The film industry, too, is grappling to understand what is working and what has potential at the box office. It’s like there is this sudden cycle of unlearning and learning, so in the midst of this, were there jitters about putting out a film in the comedy-drama space, which is a tricky zone?
Definitely! We are seeing so many films that are not working. In the first six months, since the theatres reopened in 2022, we saw only The Kashmir Files, Gangubai Kathiawadi and Bhool Bhulaiyaa 2 do well. And there was a big gap between the first two and Bhool Bhulaiyaa 2. It was nerve-racking to think about what was happening. All we knew was that we had made a good film and we just went with that belief.
You have a fairly good understanding of the workings of the industry and the business aspect of it. What is your understanding of the way things are unfolding?
What I understand is that nobody knows anything. I am saying this very humbly as someone who has done just a few years of work as an actor in the industry — that the veterans, producers, directors or fortune tellers — no one knows what is going to happen and there is no formula right now to understand what will work. Yes, there is some factual data that tells us we will see more massier films and more universal films with universal emotions. Such films stand a chance of collecting a much bigger number at the box office, but it still has to be a great film. The only thing I can say is that we have to now make really good cinema, as mediocre cinema will not work.
Interestingly, in a previous interview with us in 2020, while talking about how we can raise the bar in our film industry in various departments – (technical, action, writing, acting), you had stressed on how while we can focus on all this, we should not leave behind or change what makes us, as that’s our soul (referring to song, dance and drama in our cinema). Cut to 2022, most of the films that have worked are high on these elements.
I believe that we can’t let go of our Indian culture, emotions and roots in our films. Primarily, we are making films for our audience. I am glad that the younger generation of filmmakers, like Raj Mehta, understand how to weave in music and other such elements so well in our films. Kunal Kohli (filmmaker and my cousin) once told me that I should work with more directors who have grey hair because they understand our Indian roots better. Honestly, I often try to tell the younger filmmakers, and there are so many today, and convince them about this.
In fact, you have always said, ‘My pulse is massy’. Do you still feel that way? Years ago, you had said that you are a pan-India actor, and now that’s the buzzword in film industries across the country.
I think now everyone wants to do pan-India films. I believe if we create good, fun, non-preachy content, it could work. My current release has given me a lot of confidence. Now, I just want to do crowd-entertainers and massy films. I feel that working with good directors like Shoojit Sarkar, Nitesh Tiwari and Sriram Raghavan has helped me grow. Sometimes, you get to do a large-scale entertainer like Bhediya, where you also get to perform.
In the last 10 years, you have covered good ground with the variety of films you have done, so now, which zone do you want to explore more of, or which new zone do you wish to explore?
I have always wanted to do something like Amar Kaushik’s Bhediya, it’s something that hasn’t been done in recent times. Also, working with Dinesh Vijan (who is producing it) after Badlapur was great. I told him, ‘Tu hamesha mere paas itni tedhi films kyun leke aata hai?’ He said, ‘Usme hi mazaa hai, I want to put you in an uncomfortable zone.’
But these ‘uncomfortable zones’, that you stepped into with films like October and Badlapur, won you critical acclaim and brought out many facets of you as an actor. Right?
Yes. But I still feel more comfortable doing massy entertainers. Every time I walk into a set to play a character which is very different from what I have played before, it gives me jitters. It scares me, which is good as it often brings out the best. Even if you are doing a massy entertainer, you need to figure out newer ways of entertaining the audience. I can’t still be doing what I did in Main Tera Hero.
Do you feel that when you started out, there was far more pressure than what the new breed is facing? Today, the newer actors have many more avenues, opportunities and chances to prove themselves. Would you agree?
Well, what has changed is that the things one would do to create a perception earlier, now everyone is doing it. During the pandemic, I got tired of putting myself in that rat race. I thought till when are we going to keep doing this? I know ultimately, I am here to be an actor. So, I decided that I am going to remove myself from this, and that’s what I did. It’s just about doing things in my own style and not trying to run this race because everyone is just doing the same thing. Today, we are all trying to create a perception that we are successful, that we are No. 1, or we are this or that. We have all got sucked into this rut. Every producer knows how much money his film has made, and yet, he has to put it out for everyone to know when it’s a success. Even I am sucked into this, and I can’t help it. Unfortunately, cinema has become more about perception rather than judging how good or bad a film is. So, my obsession right now is to be a part of good films and work with good directors.
Why tag songs or actors as ‘item’ song or girl?-Elnaaz Norouzi
8:19 AM
Elnaaz Norouzi feels dance numbers require hard work, too, and shouldn’t be belittled
S Farah Rizvi (HINDUSTAN TIMES; July 25, 2022)
Actor Elnaaz Norouzi, who was seen in back-to-back dance numbers in two big recent releases, finds the tag ‘item song’ imprecise and feels it undermines the vital role a song plays in shaping a film.
“Why tag songs or actors as ‘item’ song or girl? I don’t have any aversion to it, but I don’t agree with the tag either. Each film is a right mix of storytelling, music and characters. Not one can work without the other in Bollywood. So, for me, if I am doing a song or playing a bigger role, for both parts, I have to put in equal efforts. As an artiste, my hard work remains the same and I have to give my best shot whether I am dancing or acting,” says the actor, who was last seen in Jugjugg Jeeyo and Rashtra Kavach Om.
Looking back at her journey, Narouzi feels she could make it so far with the support of her loved ones and her own determination. She says, “I had to struggle a lot to reach a stage where I am a known face. There were times when I had no money, it was difficult to sustain. I don’t want to revisit all that as it’s good to move on, but there have been really hard times I have been through. The struggle is real for actors who don’t have a filmi background, especially in the beginning. God has been kind as I had friends who stood by me throughout,” she says.
The Sacred Games actor admits that even after finding a footing in the industry, she does have to give auditions. But, she isn’t complaining: “As an actor, one needs to continue exploring themselves, and what’s better than auditioning! Even big film stars give auditions, so what’s the hue and cry about,” Norouzi says, adding that she “never had a plan B”.
“I was determined that Bollywood has to work for me, come what may. So, shying away from auditions or running away from hard work was never me. And see, today, I am in a secure place, working for banners that are always on every newcomer’s bucket. I am slowly ticking them off, which means I am on the right track,” she ends.
Classifications 2022: Four blockbusters; KGF - Chapter 2 emerges as the top film
9:56 AM
Box Office India Trade Network
The first half of the year has been a mixed bag with films that got appreciation doing phenomenally well while the rejected ones doing phenomenally bad. The huge problem has been that most films have been dead on arrival with a double digit opening now being actually becoming a task when before it was expected for most cast films.
The general picture for cinemas has been boosted by a couple of films from the South and a few Hollywood films so overall the picture is not so bad. But when it comes to the original Hindi content, the story is not good and obviously the industry is aware. But this is the story across all film industries in India and contrary to the media theory, we might actually be in a better position than the other film industries as the problem here is the content that is presented as cinema which is not the case with other film industries in India.
The biggest blockbuster came from the South in the form of KGF - CHAPTER 2 and the difference with this film was that the story format may have been as other South films but the shot taking and look of the film was very contemporary. The film, content wise, was not as strong as BAAHUBALI 2: THE CONCLUSION but for the male mass audience this film may have had more than the Prabhas-starrer as collections in many of the smaller centres were as strong as BAAHUBALI 2: THE CONCLUSION if not better.
As far as original Hindi films are concerned, the biggest film was THE KASHMIR FILES, though this film got a lot of support from various sections including political to push it to a huge final box office number. Even if the support was not there, it would have still have managed to do well. The other blockbuster was BHOOL BHULAIYAA 2 which was like a lifesaver for the industry and showed a regular commercial entertainer can still work when good. GANGUBAI KATHIAWADI emerged a HIT film while JUGJUGG JEEYO also did well in certain centres and was an average fare overall.
The South had another blockbuster with RRR but there were so many other South dubbed films in the first six months and they all bit the dust. Hollywood had winners with the Marvel films DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS and THOR: LOVE AND THUNDER while JURASSIC WORLD: DOMINION did pretty well. THE BATMAN and TOP GUN: MAVERICK did respectable business considering the situation.
At present a flop theatrical tag is not actually that bad of a result as its just one disaster after another one. BADHAAI DO and ROCKTERY: THE NAMBI EFFECT (Hindi) are in this bracket.
The classifications for the first six months of 2022 is as follows.
All Time Blockbuster
KGF - Chapter 2 (South)
Super Blockbuster
The Kashmir Files
Blockbuster
RRR (South)
Bhool Bhulaiyaa 2
Super Hit
Doctor Strange In The Multiverse of Madness (Hollywood)
Hit
Gangubai Kathiawadi
Thor: Love And Thunder (Hollywood)
Semi Hit
Jurassic World: Dominion (Hollywood)
Average
JugJugg Jeeyo
Below Average
The Batman (Hollywood)
Top Gun: Maverick (Hollywood)
Flop
Badhaai Do
Rocketry: The Nambi Effect (South)
Bollywood hopes for a better second half at the box-office
8:29 AM
The first six months of 2022 have not been kind to Hindi cinema, with theatres getting saved only thanks to monster south hits
Mohar Basu, Uma Ramasubramanian (MID-DAY; July 5, 2022)
As the film industry keeps a close watch on box-office figures in the midst of the pandemic, figures from the last six months have established defined trends. JugJugg Jeeyo was able to break the spell for mid-budget films which had been under-performing until its release.
Trade analyst Akshaye Rathi says, “The film brought back the success of mid-range movies, and is bound to clock Rs. 100 crore. It is possibly the only movie in that range that has succeeded. Eventually, its universal appeal has worked in its favour. Content that unifies every demographic has worked. It is worth noting that the true-blue superstar is storytelling.”
Rathi points out that while “the biggest stars couldn’t deliver”, their films’ failures would barely affect their popularity. “But this does give us an insight into the audience that we are catering to. The audience is brutally choosy due to the consumption patterns facilitated by OTT platforms. Filmmakers should not alienate any audience.” He, however, points out that the trends are expected to change over the next six months.
Rathi is convinced that Thor: Love And Thunder will mark the beginning of the release of a string of money-spinners. “Shamshera has a great chance [of performing well]. Ranbir Kapoor is a great actor, and is owning a space that he hasn’t straddled in. BrahmÄstra looks great, and can open doors for more such intrinsically Indian superhero films. August has promising releases in Raksha Bandhan, Laal Singh Chaddha. September will see the release of Vikram Vedha, which is also expected to do well. The one film which could become a surprise package is Sooraj Barjatya’s Uunchai, which has a phenomenal cast and story.”
The story at single screen cinemas is, however, a different one. Manoj Desai of Gaiety Galaxy paints a bleak picture when he says, “The first six months haven’t been great for Hindi films. The old charm of Hindi films is yet to return. The pan-India films, KGF - Chapter 2, RRR, and Pushpa: The Rise - Part 01 saved us. South actors have a huge fan base and it helped us reclaim our business. However, as far as Hindi films are concerned, only Bhool Bhulaiyaa 2 worked. JugJugg Jeeyo had a stellar star cast, but it didn’t connect with our audience. The box-office hasn’t really gained momentum yet.”
Top performers
KGF - Chapter 2: Rs 434.70 Cr
RRR: Rs 274.31 Cr
Vikram: Hitlist: Rs 296.6 Cr
The Kashmir Files: Rs 252.9 Cr
Bhool Bhulaiyaa 2: Rs 184.32 Cr
Source: Bollywood Hungama
After working with Neetu, I am excited to collaborate with Ranbir Kapoor-Anil Kapoor
3:59 PM
Uma Ramasubramanian (MID-DAY; June 28, 2022)
One of the lovable things about JugHugg Jeeyo is the easy chemistry between Anil Kapoor and Neetu Kapoor, who play the senior couple in the film. Having enjoyed collaborating with Neetu, Anil is now looking forward to sharing screen space with her actor-son Ranbir Kapoor. The two will join forces on Sandeep Reddy Vanga’s directorial venture, Animal. “After working with Neetu, I am excited to collaborate with Ranbir. I will dive into the [world] of Animal in July, followed by a show for Disney+ Hotstar,” he smiles.
It is evident that at 65, the senior actor has a chock-a-block date diary. He is grateful to be one of the busiest actors of his generation. “I am reaping the benefits of the hard work and commitment that I showed [over the years]. I did the right films with the right co-stars. I looked after myself. That’s important. Who doesn’t want to party, who doesn’t want to get drunk on [the success]? I stayed away from these things. I feel if you work hard and are committed towards your craft, you will always be busy.”
New beginnings also have the actor excited. While Anil has had a taste of OTT films with AK vs AK (2020) and Thar, he will make his web series debut with the adaptation of The Night Manager. He will reportedly step into Hugh Laurie’s role of a business tycoon who deals in arms and ammunition. “I am supposed to [portray] the worst person in the world. I don’t know anybody similar to the character in real life. In such cases, you have to believe in your part to pull it off.”
Getting offended is becoming a hobby-Raj Mehta
8:25 AM
Even as he feels that comedy shouldn’t be intensely scrutinised, Jugjugg Jeeyo director on how he constantly re-evaluate the material as he handled delicate subject of divorce
Mohar Basu (MID-DAY; June 24, 2022)
Director Raj Mehta reveals that the premise of JugJugg Jeeyo, starring Anil Kapoor, Neetu Kapoor, Varun Dhawan and Kiara Advani, came from Kesari (2019) filmmaker Anurag Singh. “What attracted me was the one-liner, and I wanted to dig into it,” begins Mehta.
The film sees a young couple, essayed by Dhawan and Advani, contemplating divorce. When Dhawan’s character considers breaking the news to his family, he is shocked to know that his parents too are headed for divorce. Mehta knew that the film had ample scope for humour. “I want to not only make people laugh, but also leave them with a thought. Divorce is a tricky subject. I don’t want to tell viewers what is right or wrong. I want to leave them with questions, and they can decide.”
Of late, comedy has come under intense scrutiny. As a filmmaker who is tackling a serious subject in a light-hearted manner, did he feel the need to employ self-censorship? “How you react to a joke depends on whether it reminds you of an experience, and how much you have processed it. I want to [tell people to] stop getting offended. Getting offended is becoming a hobby. But as filmmakers navigate this environment and run the risk of being cancelled, we are always questioning ourselves. That said, I knew all along that in the name of fun, I can’t offend people who have been devastated by their divorces. I had to strike that balance.”
With his last release Good Newwz (2019) having minted money at the box office, the director admits there was additional pressure. “When I was making the film, I didn’t let it play on my mind. Now, a day away from release, I am thinking of the reactions that will come my way.”
Movie Review: JUGJUGG JEEYO by FENIL SETA
9:58 AM
Producer Karan Johar released 4 films in the post pandemic period. Out of these, 3 of them – Gunjan Saxena, Shershaah and Gehraiyaan – were released directly on OTT. The fourth film, Sooryavanshi, was not an out-and-out Dharma film. Hence, JugJugg Jeeyo is his first real release in cinemas post-pandemic. His last theatrical release was Good Newwz. It was directed by Raj Mehta who has also helmed JugJugg Jeeyo. And just like Good Newwz, Raj Mehta’s second directorial is also a crazy family entertainer!
The story of the movie: Kuldeep Saini aka Kuku (Varun Dhawan) has been dating Naina (Kiara Advani) since childhood. They get married, much to the happiness of Kuku’s family, comprising his father Bheem (Anil Kapoor), mother Geeta (Neetu Kapoor) and sister Ginni (Prajakta Koli). Naina’s parents, too, give their blessings and so does Naina’s brother Gurpreet (Maniesh Paul), who is also Kuku’s best friend. Five years later, Kuku and Naina shift to Toronto, Canada after the latter gets a work opportunity. Kuku tries adjusting but fails. He takes up the job of a bouncer and is unhappy in life. This creates a rift in their marriage and they decide to separate. They are supposed to fly back to India for Ginni’s wedding. They conclude that they’ll inform everyone about their plans of divorce after Ginni ties the knot. Kuku and Naina land in India and are warmly welcomed by Bheem, Geeta, Ginni and Gurpreet, as they are oblivious that their marriage is on the rocks. Naina, meanwhile, gets a promotion in New York. She is supposed to join sooner than expected. Hence, she insists Kuku break the news of their divorce earlier than planned. Kuku decides to have a drinking session with his father and tell him the truth, with the hope that Bheem will handle the situation. The father and son sit down to drink. Before Kuku could open up about his divorce plans, Bheem confesses that he has decided to separate from his mother.
JugJugg Jeeyo starts on a cute note. The film drops in the Toronto sequence and even during Ginni’s engagement sequence. However, it picks up once Bheem reveals that he wants to divorce Geeta. From here on, the film goes on another level. The scene where Gurpreet tells Kuku that Bheem has turned into a ‘tharki’ will bring the house down. The bachelor party sequence is engaging and also how Raj Mehta also focuses on what’s happening with Naina and Ginni at the same time is quite arresting. The intermission sequence is terrific and sets the tone for the second half. Post-interval, the director wastes no time as he introduces a huge confrontational sequence at the very onset. From hereon, the film oscillates between dramatic and funny sequences.
Varun Dhawan looks quite dashing and his performance is first rate. What’s praiseworthy is that he’s not only playing the typical hero. Yet, he slips into the part beautifully. Kiara Advani looks stunning and proves that she’s growing as a performer with each film. She especially shines in the second half. Anil Kapoor is the life of the film and brings the house down with his comic timing. But his character is not just raising laughs and in the emotional scenes, he’s flawless. Neetu Kapoor underplays her part and leaves a mark in several places in the second half. Maniesh Paul is the funniest part of the film and will be loved. Prajakta Koli is lovely and manages to maintain a strong position amidst so many talented actors. Tisca Chopra (Meera) is apt for the part. The actors playing Balwinder, Gaurav and Kuku’s Toronto friend are decent. Elnaaz Norouzi is fine in the item song.
The music is one of the USPs of the film. 'The Punjaabban Song' is enticing. 'Rangisari', played at the end credits, is soulful and shot beautifully. 'Dupatta' works because it comes at a crucial point. 'Nain Ta Heere' is okay and mainly works due to the visuals. John Stewart Eduri's background score is rich and enhances impact in several scales.
Jay I Patel's cinematography is appropriate. The focus is more on the story and not on the locales of Punjab. Sukant Panigrahy's production design is rich. Eka Lakhani's costumes are appealing, especially the ones worn by Kiara Advani. Manish More's editing is neat as the pacing of the film is just right.
Anurag Singh's story is entertaining and has all the trappings of a fun-filled family entertainer. Anurag Singh, Sumit Batheja and Rishhabh Sharrma's screenplay (additional screenplay by Neeraj Udhwani) is very tight. The narrative is peppered with hilarious and emotional moments in such a way that viewers won’t feel bored even for a moment. The writers deserve kudos as the humour springs out at the most unexpected places. Rishhabh Sharrma's dialogues are too funny and in confrontational scenes, the one-liners are sharp.
Raj Mehta’s direction is supreme. His earlier film Good Newwz also dealt with two couples in an unusual situation. JugJugg Jeeyo is in the same zone but here, the couples are inter-related to each other and that makes it even more entertaining. His execution is also quite simple and hence, the film is easy to understand for multiplex as well as single-screen audiences. On the flipside, the goings-on becomes emotionally too heavy in the second half. A significant plot point in the finale is difficult to digest.
Some of the best scenes of the film:
- Kuku proposes to Naina
- Kuku and Bheema’s drinking session
- Kuku’s conversation with Bheem, Geeta, Naina and Ginni a day after the drinking session
- Gurpreet tells Kuku that Bheem is a ‘tharki’
- The intermission point
- Geeta finds out the truth
- The hospital sequence
- Bheem and Gurpreet enter Kuku-Naina’s bedroom from the window
- The temple sequence
- Naina and Geeta have a conversation over wine
- Bheem at Meera’s house
On the whole, JugJugg Jeeyo is a fun-filled entertainer that would be loved for its performances, plot, humour and strong emotional moments in the second half. At the box office, it has the potential to draw audiences in hordes and emerge as one of the biggest hits of the year. Recommended!
My rating - *** ½ out of 5!
I won’t do a comedy with a new director or writer-Anil Kapoor
8:10 AM
Stating that he is picky about laugh riots, Anil on how Jugjugg Jeeyo tackles subject of divorce with humour and sensitivity
Uma Ramasubramanian (MID-DAY; June 23, 2022)
What’s the first thing that drew Anil Kapoor to JugJugg Jeeyo? The fact that the film employed comedy to give a significant message about marriage, falling out of love and divorce, while being mindful of not undermining the gravity of the subjects. “It’s not a family drama, but a family comedy. I wouldn’t say yes to a typical family drama; I have done them earlier. This story has [novelty],” begins Anil, who leads Raj Mehta’s directorial venture. Joining him are Neetu Kapoor, Varun Dhawan and Kiara Advani.
Comedies are among the most difficult genres to crack, but the senior actor has almost always got them right — be it the iconic Mr India (1987), or the charming Dil Dhadakne Do (2015). Has he been plain lucky with them? Far from that. He asserts that when a laugh riot comes his way, he scrutinises it intensely. “With comedies, I am sensitive about whom I am working with. The director is paramount. I have worked with the best of directors — from Basu Chatterjee to Hrishikesh Mukherjee — on this genre. I won’t do a comedy with a new director or writer. I have to see his work, his take on the genre, and he has to prove himself.”
Assured as he was of Mehta’s vision on those counts, the actor was happier to bring the story alive with Neetu. “She has been friends with Sunita [wife], and we had a common circle of friends. So, I knew her well. There is a certain excitement when two actors work for the first time.”
The June 24 release sees Dhawan and Advani as a young couple who are contemplating divorce. But the tables are turned on them, when Dhawan’s character realises that his parents — played by Anil and Neetu — are headed down the same road. In telling the story of the two couples, the film tries to remove the stigma around divorce.
“It’s always better if one is loyal to their partner, but there are times when [extra-marital] relationships happen. I wouldn’t judge a person [for it]. Couples have their [own reasons] to part ways. If they don’t get along and feel it’s better to be separated, they should do it. Why suffer, and torture themselves? Sometimes, people stick together for the sake of their kids, but it’s a difficult place to be in.”
I wasn’t healed when I started working on JugJugg Jeeyo-Neetu Kapoor
8:17 AM
Admitting that she found her life purposeless after husband Rishi’s demise, Neetu discusses how she rebuilt herself with JugJugg Jeeyo
Mohar Basu (MID-DAY; June 20, 2022)
We have seen Neetu Kapoor in bit roles over the years, be it Do Dooni Chaar (2010), Jab Tak Hai Jaan (2012) or Besharam (2013). “I did Do Dooni for Rishi-ji. I did Besharam for Ranbir. JTHJ I did for Aditya (Chopra) because the role was a negative role and they needed a positive personality to reflect the part with empathy. But it’s only this film that I am doing for myself,” she says, referring to her next release, JugJugg Jeeyo.
Karan Johar’s production sees her take centre-stage with co-stars Anil Kapoor, Varun Dhawan and Kiara Advani. The senior actor admits she signed the movie to overcome her grief, after losing husband Rishi Kapoor in 2020. “I want to be happy. Losing a partner who you met when you were in your teens, shakes you up. I have been with him since I was 15. I was alone for the first time in a long time. I am turning 64 next month. It’s a friendship of that long - from teenage years to now. I don’t want to stress out my children, so working is my way of making sure they know that I am alright. Seeing me enjoy work, chatting with the paps, and promoting the film relaxes them a fair bit.”
The journey of moving away from her own grief hasn’t been an easy one, Kapoor notes. As a primary caregiver to her husband - late Rishi Kapoor, who battled cancer, weighed her down emotionally. The actress admits that after his death, she felt her life had no purpose. “I don’t think anyone who hasn’t been in the shoes of a caregiver can even fathom what I have gone through emotionally. I was down and gone. We had a dinner party at home and Karan (Johar, producer) was at the dinner. He insisted that he wants to narrate the film. I was at such a low point that I would’ve said no. But the script convinced me. One I said yes, mentally I started preparing for the character. One day at a time, I stopped thinking about what I have lost. It is true that an idle mind is a devil's workshop. The thoughts of what I went through stopped coming back. My life and routine was around Rishi-ji - holidays, lunches, weekends. I didn’t have the one constant person I would turn to. So I became independent in some ways. The film came at a time when I needed it the most. It also gave me the confidence that I can do more of this.”
Showing up on the film’s set on day one made her extremely jittery. “It was horrible. I was shaking at the thought of this film. When your partner has left you, you are not strong. I wasn’t healed when I started working on this. But everything worked out for the best for this movie. The good thing about me is that I have an immense amount of patience. I don’t get tired easily. I have been acting since I was a child. Usually the camera is the problem, but that’s not what was the case with me. I have done some 80 odd films. Camera and sets are like a second home. But emoting requires fine tuning and it needs confidence. This film has been able to fix my faith in myself.”
The year 2022 has brought much joy to the Kapoor family as her son Ranbir tied the knot with Alia Bhatt in April. There’s a renewed sense of stability in her professional and personal life, says the senior actor. “Work came pouring in once I signed this movie. Some I have said yes to and will start this year. But my life doesn’t depend on work. I am going to do one project and then take a vacation. I am looking for impactful roles and not the usual mother-trope fare. On the home front, I am so happy to see Ranbir and Alia married. I wanted Ranbir to be married before I go. It was a wish to see the person my son will spend his life with. Alia is such a lovely person. Alia and I have a great connection; we give each other space but are always in touch. Riddhima and I have the ritual of having breakfast together on video chat every morning no matter where we are.”
Such on-screen depiction of marriages is rare, says Kiara Advani on JugJugg Jeeyo
8:24 AM
Fresh off success of Bhool Bhulaiyaa 2, Kiara says JugJugg Jeeyo takes hard look at complexities of modern relationships
Mohar Basu (MID-DAY; June 18, 2022)
Halfway into the year, Kiara Advani already has a blockbuster under her belt in Bhool Bhulaiyaa 2. Celebrations are in order, but at the moment, she is neck-deep in promotions for JugJugg Jeeyo . The Anil Kapoor, Neetu Kapoor and Varun Dhawan-starrer is special to Advani for a simple reason. “It has its heart in the right place,” she says. “Raj Mehta [director] has made a sensitive and entertaining movie. This is my second film with him [after Good Newwz], and he is a fine director who [has a command over] family stories and emotions.”
Through the arc of two couples at different stages of marriage, the film discusses the complexities of relationships, how people grow apart, and divorce. “We had to develop back-stories of our characters to bring depth to our performances. We jammed together to add things that weren’t on paper. In most cases, [relationships] fall apart due to lack of communication, and ego. The fights and turmoil had to be personal. We didn’t want to make it about right and wrong; instead, we wanted to show both perspectives. The film might appear to be a masala fare, but we have added gravitas to it. I am particularly proud of a sequence where Varun and my character get into a fight because she supports his mother [Neetu’s character]. It captures how falling out of love, and the desire to make a marriage work aren’t co-related.”
Besides being impressed by the film’s honest gaze at today’s marriages, Advani says her character was a big draw. “She is a strong, independent woman who has her own ambitions. She wants to create a marriage of equal partnership. Such on-screen depiction of marriages is rare.”
While JugJugg Jeeyo is barely a week away from release, her last offering Bhool Bhulaiyaa 2 is still running strong. The horror comedy has breached the Rs 175-crore mark to become the highest Bollywood earner of 2022 so far, at a time when Hindi films are floundering at the box office.
Advani takes a minute to soak in the numbers, before saying, “It’s a film that has given hope to the industry. [It shows that] a good entertainer still has the power to attract the audience. I am fortunate that my first release after the pandemic did this well. As an actor, there’s nothing more delightful than to deliver movies that bring back the community-viewing experience.”
But it is often noticed that a film’s success is attributed mainly to the leading man. Thankfully, Bhool Bhulaiyaa 2 has been an exception, with its leads Kartik Aaryan, Tabu and Advani being jointly credited for its runaway success. The change, though in its early stage, is significant.
“The notion is changing with more female actors taking centre-stage, and with more female journalists on the field, observing this and pushing for the change. There is still a long way to go, but the shift is perceivable. But in the case of Bhool Bhulaiyaa 2, the success primarily belongs to the producers and the director [Anees Bazmee] who showed faith and patience for three years [of the pandemic]. A lot of films [took] the OTT route, but our producers held on.”
Our commercial fares need an upgrade-Varun Dhawan
8:13 AM
Stating that JugJugg Jeeyo has a brave message, Varun keen to do movies that marry progressive thinking with entertainment
Mohar Basu (MID-DAY; June 16, 2022)
When we sit down for a chat with Varun Dhawan at a suburban hotel, he notes that the past two years have been personally gratifying for him. The actor married his childhood sweetheart Natasha Dalal, and became a pet parent. What’s the one learning that stood out for him? “That no one knows anything,” he chuckles, before saying that the thought extends to the current state of Hindi cinema as well.
“The box-office rules have changed [after the pandemic]. As an actor, I could either be daunted or make peace with the fact that we are all navigating an uncertain phase. Back in the day, I knew what clicked with the audience. Now, I strongly believe stories that are steeped in Indian emotions will connect [with viewers].”
He believes that JugJugg Jeeyo walks that line. Raj Mehta’s directorial venture, also starring Anil Kapoor, Neetu Kapoor and Kiara Advani, explores the subject of divorce. Dhawan elaborates, “It is a progressive film and a thorough entertainer, complete with masala and music. The film balances both male and female gaze accurately, and delves into the everyday emotions in marriage. Some messages in the film are essential viewing for men in today’s times. When I first read the script, I cracked up. During the workshops, we added depth to the material.”
The actor’s last release was the problematic Coolie No 1 (2020). But now, he admits that he is drawn to movies that don’t stop at entertainment. “Sometimes, we watch entertaining films, but sit back at the end and say, ‘Yeh ending toh galat hai na.’ JugJugg Jeeyo consciously [avoids] that. We have tried to be brave with the message we want the audience to take back. Most Hindi films on infidelity have chauvinistic undertones in the garb of comedy. They reinforce populist thinking. Here, we discussed the ending again and again.”
He adds, “Divorce is a massive deal in this country. Despite that, the film’s ending is the way it is. We wanted to do right by the audience.”
Now on, the actor wants to consciously do movies that don’t reinforce problematic thinking. “Something changed within me when my niece [Niyara] was born. We care for her so much and want to protect her. I want everyone to treat her the way I do at home. Is the world we are creating with our work pushing for that? Small normalizations — for instance, a guy can do this and a girl cannot — like these have to be broken.”
While Dhawan has been true to his identity of a commercial Hindi film hero, he also featured in offbeat movies like Badlapur (2015) and October (2018). Will this desire to get cash registers ringing deter him from taking that stray risk once in a while?
“My current line-up has Bhediya and Bawaal. They are [mainstream] movies, but they come from directors like Amar Kaushik and Nitesh Tiwari. So, the desire to experiment remains. I will do commercial potboilers, but I want to do more than what I was doing 10 years back. Our commercial fares need an upgrade.”
JugJugg Jeeyo 'plagiarism' row: Vishal Singh appeals to CBFC to withhold censorship
8:26 AM
After alleging that KJo’s JugJugg Jeeyo is copied from his story, writer Vishal appeals to CBFC to withhold censorship of the drama
Hiren Kotwani (MID-DAY; June 1, 2022)
It looks like JugJugg Jeeyo’s journey to the big screen won’t be without controversies. As soon as the trailer of the Anil Kapoor, Varun Dhawan, Kiara Advani and Neetu Kapoor-starrer dropped online on May 22, Vishal Singh — a chartered accountant and Jazbaa’s (2015) creative executive producer — alleged that the film was based on his story, Bunny Rani (Whose story is it anyway, May 23).
In a thread posted on Twitter, Singh claimed that he had shared the story with Dharma Productions in 2020, hoping to co-produce the project with them. At the time, the head of creative development at Karan Johar’s production house had told mid-day that should they receive a legal intimation, they would deal with it appropriately.
Almost 10 days since, Singh has shot off a letter to the Central Board of Film Certification (CBFC), requesting it to withhold censorship of the June 24 release.
Explaining his stand, Singh says, “I am not a script or screenplay writer. I write stories, and take them to different producers to co-produce with them. Filmmakers Nitesh Tiwari and Monisha Advani will vouch for it. If Dharma Productions had asked me to give the story to them, I would have happily collaborated with them. But the way they have gone about it is disheartening. If this can happen with me who has worked as a chartered accountant to several filmmakers, imagine what would happen to a rank outsider!”
In the May 30 letter — a copy is with mid-day — addressed to the CBFC, Singh has appealed that the certification of Raj Mehta’s directorial venture be withheld, as giving it a go-ahead would amount to “perpetration of illegalities committed by Dharma Productions.”
He wrote, “The acts, commissions, and omissions of Dharma not only amount to civil [wrongdoing], including copyright infringement and breach of confidence, but also amount to cheating, misappropriation and criminal breach of trust.”
To build his case, Singh cited the 2015 instance when Jyoti Kapoor won a copyright violation case against filmmaker Kunal Kohli, after the Supreme Court ruled that there were similarities between Kapoor’s script titled RSVP and the latter’s film, Phir Se.
This isn’t Singh’s first attempt to have his side of the story heard. After Johar’s team did not respond to his allegations on Twitter, Singh tagged the ScreenWriters Association (SWA) in another social media post. While the body hasn’t responded to his tweet, its rules allow a production house 15 days’ time to respond to a query or complaint.
“The problem is that at the end of 15 days, Dharma [Productions] can use the [excuse] that the release is close, so they can’t share any details,” he shrugs. While he awaits a response from the CBFC, Singh says he is contemplating taking legal recourse.
mid-day reached out to Dharma Productions, which didn’t respond till press time.
Vishal Singh and Karan Johar
A snapshot of the mail sent to the CBFC, on May 30
I have always been more heart than mind, and JugJugg Jeeyo stems from that facet of me-Kiara Advani
8:43 AM
Reuniting with Good Newwz director Raj Mehta, Kiara on why JugJugg Jeeyo is special for her
Mohar Basu (MID-DAY; May 15, 2022)
It’s been a roller coaster ride from shoot to promotions for Kiara Advani, who is currently busy promoting the Kartik Aaryan-starrer, Bhool Bhulaiyaa 2, which is set to release in theatres this week. But, that’s not all that has Advani excited.
With the first poster of JugJugg Jeeyo out this week, Advani is eagerly waiting to reunite with co-stars Varun Dhawan, Anil Kapoor, and Neetu Kapoor to promote the most awaited family drama of the year. “I have always been more heart than mind, and this film stems from that facet of me,” says the actor. The family entertainer from Karan Johar’s stables revolves around two couples from different generations and how the issues post their marriage entangle them.
Insisting that the story of JugJugg Jeeyo is something every person would relate to, she says, “It is every person’s story—we’ve either all gone through it or will go through it at some point.”
Having worked with director Raj Mehta in Good Newwz (2019) before, the choice to take up the film was a no-brainer for Advani. “Raj Mehta is the most entertaining director we have. Anyone who watches the film, will love how it makes it to your heart,” she added.
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