Cinema halls are gearing to reopen when restrictions ease, but they’re likely to use old hits to draw audiences
Rishabh Suri (HINDUSTAN TIMES; June 11, 2020)

With life crawling back to normal mid the Coronavirus crisis, and resumption of shoots, comes the big question: when will movie theatres reopen? And an even bigger question: which filmmakers will be ready to test the waters and see whether audiences trickle in?

UAE, with no new films in hand, has decided to re-release Good Newwz and Dream Girl, both 2019 films, in theatres. Back home too, experts believe the same strategy would be employed.

OLD MAY STRIKE GOLD
Manoj Desai, executive director of G7 Multiplex and Maratha Mandir cinema, Mumbai says, “A theatre lockdown happened in 1996. On reopening I decided to re-run the 1961 Shammi Kapoor film Junglee. It was housefull. Then I re-released Teesri Manzil, also housefull. Just after the Covid-19 lockdown started, I had thought I’ll again use this idea.”

Earlier, speculation was rife that Sooryavanshi and '83 would be the first to release to draw audiences. But '83 director Kabir Khan told us recently, “It’s not like the lockdown will lift and we will throw our films to test waters. We will wait till comfortable.”

Shibasish Sarkar, group CEO, Reliance Entertainment which is involved with both these films, says, “We are expecting theatres to reopen in mid to end of July. Also, it will be in some states. It’s not as if suddenly some ready films would be released, it will take time. Hollywood films will come first — Christopher Nolan’s Tenet, Mulan, then Wonder Woman 1984. I expect old films to be released again, but I don’t expect people to come to the hall for them. It would be a kind of practice for theatres to get everything ready.”

He confirms both their films won’t be among the first to release, but adds Reliance would give any of their titles such as Simmba (2018), Golmaal Again (2017), Super 30 (2019) for free to theatre owners. “We survive because theatres are there,” he adds.

THE OTT FACTOR
However, recent films such as Angrezi Medium or Baaghi 3 are already on OTT, why would people pay to watch them in theatres? Hardik Mehta, whose Roohi Afzana starring Janhvi Kapoor and Rajkummar Rao is stuck, says, “It’s an important step forward. Let’s run cinema halls for 24 hours, but only at 50% capacity. Also, Nolan will release Tenet in July, even those at home will say ‘I’ll have to go to a theatre’,” he says.

Vidyut Jammwal talks about his film, Junglee, winning two awards at the 5th Jackie Chan International Action Film Week
Renuka Vyavahare (BOMBAY TIMES; August 4, 2019)

Vidyut Jammwal, was in China this week, where his film Junglee bagged two awards — Best Action Sequence Choreographer and Best Action Family film Jury at The 5th Jackie Chan International Action Film Week. The closing ceremony featured a red carpet show by celebrated filmmakers and performers including Jackie Chan, Tsui Hark, Chris Tucker and Oscar-winner Adrien Brody.

Vidyut, who is known for his expertise as a martial artiste and also for choreographing some of his action scenes, told BT, “Around 150 movies from across the world competed for these awards. It feels great to be acknowledged by someone like Jackie Chan. These awards are equivalent to the Oscars for action stars. He, in fact, started this initiative because action stars rarely get to be a part of something like the Oscars. I am proud to have represented India there. With the film Junglee, we tried something different and this will enable the global audience to watch the movie. It was a big achievement for me to present the Indian martial art form Kalaripayattu in the film and I am glad it was recognised by the jury members.”

Vidyut was all praises for Jackie Chan. He shared, “He was the best host. He didn’t present a single award, but stood up, clapped and hugged every winner. I even dedicated a stunt to him, it was one that he had performed earlier. I did that stunt and shared it on social media. The stunt required me to break bricks with my hand while holding an egg in it, and I had to do that task without damaging the egg. He hugged me and asked me how many eggs were broken in the process. I told him I did it in one take.”

Talking about his film Junglee, Vidyut added, “Our action-adventure catered to the family audience, and I think that resonated with the jury. We haven’t had a film which featured real animals for the past 40 years, so Junglee was special. I want to thank my producers Vineet Jain and Priti Shahani for putting India on the global action map with this film.”

In the film, Vidyut’s character who has grown up with elephants at his father’s reserve, returns as a vet. When poachers set their sights on the animals, he ensures that they are not harmed. Hollywood director Chuck Russell helmed the film produced by Junglee Pictures, which released in March 2019.

Actor impressed his idol, Jackie Chan, founder of the fest, and his Rush Hour co-star, Chris Tucker
Himesh Mankad (MUMBAI MIRROR; August 3, 2019)

Vidyut Jammwal was in China this week for the Jackie Chan International Film Week where Junglee Pictures’ action-adventure Junglee bagged two awards, for Best Action Sequence Choreographer and Best Action Family film. “It was great to be in a country where action is recognized and win the biggest award for action in the world,” exults the actor, informing that a Jackie Chan Award is equivalent to the Oscars for action filmmakers.

He goes on to add that Chan had once admitted that action films, though popular, seldom receive recognition at film festivals, which prompted him to start the initiative. “Over 150 films from across the globe were in contention and to go on the stage to represent India was the biggest honour. We were the stars in China and even Chris Tucker (Chan’s co-star in Rush Hour) appreciated my work,” Vidyut beams.

Before flying to Datong, Vidyut posted a video of him breaking bricks with his hand without any damage to the egg he is holding. “Jackie Chan had performed this stunt during an interview some years ago. Since then, nobody else had managed the feat. He gave me a hug and asked me how many eggs had I broken before getting it right. I was able to tell him it was done in a single take. It was a big deal for me because Jackie who has done everything possible in this genre and inspired so many, including me, loved my work,” Vidyut recounts, quick to point out that Jackie has become a benchmark for action and any stunts bring forth complaints from viewers that they have seen it in his films earlier.

Vidyut informs that Chung Chi Li (who worked on stunts with action director Parvez Shaikh), is the biggest action director in China. “In India, action films mostly cater to male audience but our film was tailored for families. I think that resonated with the jury. I want to thank my producers Vineet Jain and Priti Shahani for putting India on the global action map with this film,” he avers.

JUNGLEE has taken out GULLY BOY on television as it crosses 1 crore impressions on its premiere while GULLY BOY could not even get half the number. The screenings happened on the same weekend for both films. GULLY BOY doing poorly is not a surprise as collections came down fast after the the initial five days which had a holiday factor especially outside Mumbai, Pune and Bangalore. Its one of those films which the media shows as some sort of classic when its far away from the truth.

JUNGLEE always had a chance on television as its business in the lower ticket rate areas did out perform but to get 1 crore plus impressions is a big number and its the fourth best of 2019. The film is sure HIT on television and how big it can become depends on next few ratings.

URI also did not take a huge premiere but its next couple of ratings were decent but its unlikely GULLY BOY can do that as it fared far worse than URI in mass centres. A BAAGHI 2 has picked up nearly 40 lakh impressions on its umpteenth screening while GULLY BOY is just 52 lakh on its premiere. This is the difference between Hindi (BAAGHI 2) and European (GULLY BOY) cinema.

The  television premieres of above 50 lakhs in 2019 are as follows.
1. Total Dhamaal - 1,67,93,000 (Star)
2. 2.0 (Hindi) - 1,65,13,000 (Zee)
3. Luka Chuppi  - 1,25,00,000 (Star)
4. Junglee - 1,11,77,000 (Star)
5. Simmba - 1,11,02,000 (Zee)
6. Kedarnath - 72,88,000 (Zee)
7. Race 3 - 70,85,000 (Zee)
8. Uri - The Surgical - 61,37,000 (Zee)
9. Gully Boy - 52,08,000 (Zee)

Dadar's Chitra cinema, one of the city's first AC theatres, will stop operations today after seven decades, thanks to poor business
Sonil Dedhia (MID-DAY; May 16, 2019)

It ran to packed house for days when Jackie Shroff's Hero released in 1983. Almost 36 years since then, it will open its auditorium for the final time today to screen Tiger Shroff's Student Of The Year 2. After an uninterrupted run for nearly seven decades, it will be curtains down for the 550-seat Chitra Cinema today.

Third generation owner and current proprietor Dara Mehta, who took over the business in 1982 from father P D Mehta, cites poor business as the primary reason for the shutdown. "Single screens are hardly doing any business today. While weekends would witness good footfalls, we would hardly have any patrons on weekdays. We haven't yet decided whether it will be given for redevelopment or let out to a multiplex chain."

It is difficult to imagine the parking lot, that wears an empty look these days, teeming with people in October 1961, each hoping to get a ticket to Shammi Kapoor's Junglee, which had released then. "I was very young then, but I remember that Junglee ran for over 25 weeks," Dara reminisces.

Started in the '50s by D B Mehta, Chitra derived its name from Chitrapat (which means cinema in Marathi), presumably to entice the Marathi population that formed the neighbourhood. While its older cousin Plaza Cinema screened mainly Marathi fare, this single-screen theatre served as the destination for Hindi film buffs, who would line up to watch Sholay (1975), Deewaar (1975) and several blockbusters that followed over the decades.

Dara says that the theatre has tried to counter every major threat — from VCRs to piracy. "We have always kept up with technology. We renovated the theatre around 20 years ago, and recently again in 2014. But today, the online streaming platforms have affected our business, too. Earlier, movies were the only source of entertainment. Now, people have countless options on OTT platforms."

Dadar resident Benaifer Motivala, 75, describes Chitra as an "integral part of my childhood". "From Guide [1965] to Waqt [1965] and even Ghajini [2008], I remember many films completing silver and golden jubilee here. The best thing was that they increased their price only marginally over the years. We will miss it."

In March, the shutters of another single-screen theatre, Chandan Cinema, came down for good.

Remembering its days of glory
Trade analyst Amod Mehra reveals that Chitra had the distinction of being one of the first air-conditioned theatres in Mumbai. "Not many are aware but it also had a small preview theatre during the '70s and '80s. Since there were three popular studios around — Ranjit Movietone, Rooptara and Shree Sound — filmmakers would book the preview theatre to see rushes of their movies. It's sad that single screens are slowly fading away."

The box office has been pretty good for the first three months of the year in terms of NETT collections which have been aided by a higher share of the theatrical gross due to a lower GST rate. The year so far has seen one BLOCKBUSTER in URI and a five HITS with TOTAL DHAMAAL, KESARI, GULLY BOY, LUKA CHUPPI and BADLA.

URI had an all India share of 101 crore while the likes of TOTAL DHAMAAL and KESARI will be 75 crore at best. The problem today is that films are not opening too well and its about the pick up over the weekend and with that scenario there is always going to be a limit to business as you are not even getting remotely close to utilizing the capacity as best as possible.

The bigger films are coming in the last three quarters and the bigger films have to challenging for records especially with in terms of NETT with this GST reduction. AVENGERS: ENDGAME releases with set a target for those 4-5 big Hindi releases to come this year and if by the end of the year its AVENGERS: ENDGAME still at the top then that will be very disappointing for the Hindi film industry.

The top NETT grossers of the year till date are as follows.
1. Uri - The Surgical Strike - 2,43,99,00,000 (89 days)
2. Total - Dhamaal - 1,49,86,00,000 (48 days)
3. Kesari - 1,43,00,00,000 apprx (21 days)
4. Gully Boy - 1,34,17,00,000 (56 days)
5. Manikarnika - The Queen Of Jhansi - 90,81,00,000
6. Luka Chuppi - 87,37,00,000 (41 days)
7. Badla - 84,81,00,000 (34 days)
8. Romeo Akbar Walter - 27,75,00,000 apprx (6 Days)
9. The Accidental Prime Minister - 23,24,75,000
10. Junglee - 22,50,00,000 (13 days)

‘I have never seen a martial artist perform like this within the framework of the story, keeping the other people safe but putting himself at risk constantly’ – Chuck Russell
Abhimanyu Mathur (BOMBAY TIMES; March 29, 2019)

Calling Junglee just an ‘action adventure film’ would be stating the bare minimum; for the film stars an actor who is also one of India’s finest martial artists, being choreographed by an action director who has worked with Jackie Chan numerous times. The end result is a collection of action sequences never seen before in Indian cinema. To put it in director Chuck Russell’s words, “The film has action that is structured with a real herd of elephants and a true Indian story. What’s unique about the action in Junglee is that it’s organic to the theme of the film and it moves the story forward.”

‘I WILL NOT LET ANYBODY ELSE DO THE STUNT THAT I WANT TO DO’
Almost all of Junglee’s action sequences have been done with no CGI, with Vidyut performing most of his own stunts, refusing to use body doubles. While it adds flair to the film’s action scenes, it was something Chuck had to get used to.

VIDYUT: I was not born into this film industry and it’s a different journey for us. Every time a newcomer wants to make a mark here, he has to do something nobody has ever witnessed before. In my case, I love doing what I do and I will not give anyone else an opportunity to do something that I want to do. I will not let anybody else jump off that cliff. I will not let anybody else ride that elephant.

CHUCK: I’m proud of the work I have done in Hollywood and I’m proud of the performers I have worked with. But there is a western safety protocol around these things. We are creating an entertaining illusion, where I can do three-four takes and it’s cool. What I learnt from working with Vidyut is that it’s an extremely unique style where we are using his actual martial art, and his fans worldwide expect to see something real from him. He is committed to the audience. He is committed to the real thing. So, the learning curve for me was that he wanted to do the real thing, no doubles.


‘THIS MOVIE WILL PUT KALARIPAYATTU ON THE WORLD MAP’
What sets Junglee apart from other action films is that it showcases Kalaripayattu, India’s ancient martial art, which Vidyut has pretty much made his own.

VIDYUT: We had to come up with something that represents the nation and it’s not always one of the sports we talk about. Thailand is one of the biggest destinations in the world because of Muay Thai. For me, it’s about getting Kalaripayattu on the world map the way Shaolin Temple is, the way Muay Thai is. Let’s get the mother of all martial arts at the forefront.

CHUCK: I was amazed because I thought I knew a little bit about martial arts because I have worked with martial arts specialists. With the Schwarzenegger team (in Eraser), there were all sorts of Israeli fighters. On The Scorpion King, we had the stick fighters and things were Shaolin style. Then I realised Shaolin came from Kalaripayattu and I was thrilled.

‘VIDYUT CHALLENGED ME TO SHOW ACTION THAT WE HAVE NEVER SEEN BEFORE’
Chuck says that he was constantly surprised by how far Vidyut was willing to push the boundaries when it came to the action sequences in the film.

CHUCK: He would challenge me and say, ‘What haven’t we seen before, Chuck?’, which is where the ‘chained to a table, fighting four guys’ sequence came in, because that is something I hadn’t seen before. There is a scene in which he had to run through a window, which was just a hole in a real wall. The window was the size of a belt buckle, and I told him, ‘You’re not going to jump through that,’ but he told me he could. It was my first learning experience that he really wanted to do it. I said that’s the easiest thing to do in CGI, I’ll put a window in afterwards, but I saw his commitment. I realised this is a guy who is actually doing it. I have to get that into my head and stop thinking of my tricks. He is an expert and he pulled it off beautifully and I learnt to trust him more.

‘THIS IS THE ONLY FILM SET VIDYUT HAS EVER BEEN INJURED ON’
The breakneck pace of action and willingness to push the envelope meant that Vidyut injured himself on set twice — a first for the actor, giving Chuck and the crew some nervous moments.

CHUCK: I have never seen a martial artist perform like this within the framework of the story, keeping the other people safe, but putting himself at risk constantly. During some of the action, I was a nervous wreck. I learnt this is the first film set he has ever been injured on.

VIDYUT: In Kalaripayattu, they say if you fall, it’s your karma to stand up and try again and give it your 100 per cent. If you fall again, you have not given it your 100 per cent. So, till the time you get it right, you keep doing it. I want to experience, I want to live it, and that’s why I’m doing it. Without injuries, it’s no fun.

Junglee is a disappointing fare and had lot of potential to become a huge hit. The idea is interesting and it’s been ages since we have had a film on elephants. The makers enlighten us about the horrors of poaching and a few scenes do leave a mark. But the film leaves a lot to be desired. The conflict between two main characters is unconvincing. Also, some of the sequences in second half are ridiculous to say the least and it’s shocking that a 2019 film boasts of such sequences. Hollywood director Chuck Russell disappoints majorly and tries to go overboard while showing the Indian culture and customs. Talking of performances, Vidyut Jammwal manages to entertain and as always, his action scenes are a treat. Pooja Sawant looks stunning and has an excellent screen presence. Asha Bhat is quite good and has the presence of mind to ensure her character doesn’t ham. The same sadly goes for Makarand Deshpande who overacts and how. Atul Kulkarni is okay in the villainous role. All in all, Junglee is a wasted opportunity!

My rating - ** out of 5!

KASHMIR-BASED LOVE STORY VS JUNGLE ADVENTURE TOMORROW!

A sort of dry period has once again descended upon Bollywood. Next 3 weeks will see the release of not-so-exciting films, though a few of them might surprise. Tomorrow, two movies will hit screens with one of them expected to strike gold despite lack of buzz. My analysis:

JUNGLEE: It stars Vidyut Jammwal and is directed by none other than Chuck Russell. In fact, it’s a rare Hindi film made by a Hollywood director and this phenomenon is probably unheard of. It’s also a rare film in today’s times involving elephants. From the trailers, it looks great and can touch viewers emotionally. At the same time, the action and grandeur with regards to the elephants can make for a great watch on the big screen. Vidyut might not be that huge but his stunts are definitely noticed and with this film, he can finally give a commercial hit. Sadly, the buzz is very limited. Still, the masses can come for this film on the first day and opening can be around Rs. 2.5-3 crore. If word of mouth is positive, families and kids can flock in large numbers.

NOTEBOOK: It is produced by Salman Khan and directed by Filmistaan and Mitron director Nitin Kakkar. The film launches two new faces – Zaheer Iqbal and Mohnish Bahl’s daughter Pranutan. The trailer is lovely and the backdrop of Kashmir has given the film a fine touch. Music has got noticed though it hasn’t become a chartbuster. Also, the film looks quite a serious fare. The masses, hence, might not turn up in huge numbers. The opening of the film will be around Rs. 1.5-2 crore. It has to be really great to become commercially successful.

WHICH FILM WOULD YOU LIKE TO SEE AND WHY? DO LET ME KNOW!

Vidyut Jammwal, adds that shooting for Junglee has taught him how to live and let live
Ankita Chaurasia (MUMBAI MIRROR; March 28, 2019)

He has taken it upon himself to redefine Bollywood’s action hero template but more than the on-screen stunts, it’s the rounds of promotions for his upcoming family-adventure Junglee that have left Vidyut Jammwal drained as he collapses into his seat. As he waits for the plane to take off and bring him back to Mumbai, he tiredly asks for luck as a way of greeting. But bring up the subject of elephants and he perks up instantly. “They are wonderful, you don’t have to greet them or compliment them on how much weight they have lost,” he chuckles, admitting that through the shoot of the Chuck Russell directorial, he has developed a lifelong bond with the mighty beasts.

So, what can he tell us about them that we don’t know? “You know nothing about them apart from the fact that they have an elephantine memory,” he laughs. “I can vouch for the fact that they are strong and sensitive, powerful yet kind, using their strength to protect and not harm. They are divine and revered both in Indian and Thai cultures. You just have to bow down to them. When I practised my salutations before them, they reciprocated because animals understand such gestures.”

The actor sounds almost spiritual as he goes on to explain how Kalaripayattu, the oldest form of martial arts that originated among the warriors of Kerala, teaches you the art of mimicking animals. “According to Hindu Vedic science, it takes 36,000 lifetimes to be able to enjoy the pleasures of the human body. And according to Kalaripayattu, if you want to imbibe the qualities of animals, you have to move, breathe and feel like them. It teaches you to move like an elephant, be agile like a horse, and sting like a scorpion,” the 38-year-old actor informs.

But shooting with animals was not easy and he insists there was a time when Lord Ganesha had to extricate him from a tricky situation. Recalling the incident, he narrates how he was caught between a herd of six elephants in a scene and realised they don’t run in a straight line. “For a moment I was terrified, then spotting an opening, I made a dash for it and celebrated by pumping my hands in the air. The scene is a part of the film. I sensed Ganesha’s presence, both in fear and relief,” he beams.

He admits that as a martial artiste he was involved in a lot of brawls. “I grew up in different states of the country and being a young guy and a fighter, brawls were a part of life. I have no regrets. I learnt about street-fighting and a lot about myself through these brawls. What I do in the movies is what I do in real life,” he confides.

However, shooting in the jungle has brought about a defining change in him. “Animals follow the law of nature—they live and let live. They don’t meddle in each other’s territories and only come together to drink water. Shooting in the jungle teaches you to live in harmony,” he philosophises as the plane taxies for take-off. 

Ahead of his action thriller Junglee, director Chuck Russell shares what he learnt from his celebrated works and his notions about Indian cinema
Kunal Guha (MUMBAI MIRROR; March 27, 2019)

When we meet American filmmaker Chuck Russell at a suburban hotel, our first concern is obvious: Why Junglee? The director, credited for global blockbusters such as The Mask, The Scorpion King and Eraser, is making his debut in Hindi cinema this week with the family-adventure featuring Vidyut Jammwal. “There’s an old saying — 'the story chooses the teller'. When Priti Shahani (co-producer) approached me, I realised this is a dream project for any director. It has all the action-comedy elements that I love. But for once, there’s also a theme that’s important.”

Chuck is alluding to the fact that Junglee narrates the story of a veterinary doctor who clashes with poachers at his father’s elephant reserve. While multiple films have conveyed the challenges in protecting the large mammals from illegal hunters, this one’s packaged as “an entertaining, family movie that also makes it uncool to buy ivory”. Besides, it also ticked Chuck’s personal checklist for evaluating a script — “It pleased the child in me, the adult in me and the action fan in me.”

Shooting in Thailand in an elephant reserve, one of Chuck’s personal accomplishments was being able to capture the enormous animals in their natural habitat while highlighting an issue that’s worth driving home. “Why do we need ivory? A man wants to put a tusk on a wall to be proud that he killed an elephant? I am proud that I made friends with an elephant,” says Chuck who auditioned several elephants before zeroing in on the two who play prominent parts in the film. “The dog in The Mask is great because I spent a couple of weeks to cast him. Animals have personalities and the two elephants in Junglee are socially engaging, complex and charming. They’re in their natural habitat so they behave naturally. I didn’t want circus elephants who do tricks,” says the filmmaker who got his lead cast members (Vidyut, Pooja Sawant and Asha Bhat) to bond with the mammoth tuskers prior to filming to ensure their equation translated across the screen. “I’ve seen elephants being used as props in films — people doing Kung-fu while jumping off them or just posing with them. I wanted to create personal moments with them,” he says fervently.

Chuck’s first impression of India was carved by the Western movies he grew up on, featuring daring heroes such as Tarzan and Sinbad. “It gave me dreams of India. It was an exotic place — some of those depictions are clichés — but there’s also some truth to it.” Prior to taking up his first Indian project, the filmmaker who counts Sultan and 3 Idiots as his recent favourites, shares that his notions about India were largely based on films. “Through Indian films, I assumed that Indian culture was warm and joyful which was all wildly true. The music and songs are obvious, but what is not obvious are the family values, a sense of national pride and heroism that possibly connects to mythology.” He was determined to ensure his first Indian project packed in these elements and yet, had a global message. “The Mask taught me that we all laugh and cry about the same things,” he says of the film he considers his most gratifying work till date. The iconic superhero comedy was also one that taught Chuck to trust his instincts. “I also learnt that when I have a notion, I shouldn’t doubt it, because no one believed me then. The technology wasn’t available, Jim Carrey was barely known, Cameron [Diaz] had never acted before and the studio was very upset about me pushing her. Also, the combination of action and comedy was unusual then.” But when the film went on to become a stupendous commercial and critical success, Chuck was convinced — he needed to make comedies that worked in every language. “With Junglee, I want to create cultural role models that I could take back to the West,” he says.

The filmmaker who worked with a largely Indian crew in Junglee, says that he learnt to value his team when the guy responsible for creating the creature for his science-fiction-horror The Blob gave up prior to filming. “He just couldn’t complete it and we were left without the starring creature. This was in pre-CGI times and it was just the most impossible physical effects I ever directed.” Chuck sought help from friends to complete the 1988 cult classic but realised the importance of building a strong team.

On meeting Vidyut for the first time, the filmmaker saw the same potential he had seen in Hollywood biggies. “I’ve worked with tough actors like Dwayne Johnson (The Scorpion King) and Arnold Schwarzenegger (Eraser) and I find that the global audience loves their vulnerability and humour. People love seeing a valiant hero’s vulnerable side. So my job with Vidyut was just to keep the acting part fun and polish the dialogue.”

Closely working with writing collaborators Raghaav Dar and Ritesh Shah, Chuck says that language was never a barrier. “We did our rehearsals in English and once we were sure, the Hindi writers took over. But by then, I knew the mood and the rhythm of every single scene,” says the filmmaker, adding that he could tell each time someone would slip up. “I have a listening ear for languages — even if I may be terrible with pronunciation. I could tell what’s going on and could catch them when they were sleeping.” He did consider the fact that all material doesn’t translate verbatim. “So, we had to change some jokes, constantly break character and do a lot of artistic work on the story because we are seeing it through the lens of two different languages.”

About the surge in OTT platforms and easy access to global content, Chuck says he “always knew the global audience well”. “We, as storytellers, can counter some of the negative media that’s out there. Business and technology are always changing. I can imagine my future adventures with multi-cultural heroes and that’s my dream.” But how is he coping with the pressure to deliver in a new industry? “I am more excited than threatened. Movies are well-known as an uncomfortable marriage between art and business. I want to entertain the global audience and my biggest sin would be to bore my audience,” he says with a smile.

Hindi cinema has not seen real elephants since the ’60s and ’70s.As Junglee fills that jumbo-sized gap, those that remember the thrill of watching elephants in theatres relive the era
Niharika Lal (BOMBAY TIMES; March 18, 2019)

”When the elephant cried, I cried too”, “I wanted an elephant friend whom I could call by name”, “petting an elephant was my only dream” — these were just some responses we got from the generation that still remembers the magic of watching elephants ‘act’ on the big screen, when a handful of elephant movies were made in the ’60s and ’70s. Since then, it’s only been CGI elephants or animated characters, leaving later generations with only the imagination of what it would have been like watching real elephants in action in theatres.

In fact, Haathi Mere Saathi (1971) was such a huge hit that moviegoers stood in never-ending queues to get tickets. Those associated with these films of yore say that they gave the elephant characters their most human characteristics, and that the ’60s and ’70s were a defining period for elephants in Hindi cinema.

More than four-and-a-half decades later, that magic is set to be revived with Junglee, which stars Vidyut Jammwal and Bhola, the mighty elephant. With Bhola and his jumbo friends ready to take over the screens on March 29, kids finally have a chance to watch the story of a real elephant.


WE USED TO WAIT FOR HOURS TO GET ONE SHOT WITH ELEPHANTS: DHARMENDRA
Dharmendra, who shot with elephants in films like Maa (1976) and Shola Aur Shabnam (1961), says that the shooting was challenging, but “one of the best experiences” an actor can have. He tells us, “In my career, I’ve got quite a few opportunities to shoot with animals, including elephants and tigers. One of the prominent ones was Maa, which was all about a mother elephant’s love for her little one and how she fights a man (played by Dharmendra) trying to trap the baby elephant. It was a beautiful film that conveyed an important message through a touching story. The film was loved not just in India, but was a huge hit in Russia as well. I really enjoyed shooting it. We were shooting in Mudumalai in Karnataka and it was interesting, but very challenging, too. Those elephants and other animals we were shooting with were trained, but you need a lot of patience while shooting with them. We used to wait for hours just to get one perfect shot. It was a lot of hard work for everyone but I enjoyed every bit of it. I also got a chance to shoot with elephants in my second film, Shola Aur Shabnam. We shot that in Karnataka as well.”

WE SHOT IN A FOREST WITH TRAINED AND WILD ELEPHANTS: KALA PARVAT DIRECTOR
M S Sathyu, best known for directing Garm Hawa (1974), also directed Kala Parvat (1972), an India and Soviet Union co-production. The film was jointly directed by M S Sathyu and Alexander Zagurdi. Sathyu says, “We shot the film in a forest with 80-90 real elephants, with a Russian group. Shooting this film was difficult because we had different types of elephants — trained ones, wild elephants and baby elephants. But we had the expertise of a Russian crew, who advised us on how to deal with animals, and forest officials helped as well. It was indeed a mammoth task, but children loved the film, and even now it is screened for kids.”

He adds, “Of course, a film shot with real elephants will work even in today’s time; children will especially love it. We don’t make films with real elephants anymore. Now, everything is animated.”


‘HAATHI MERE SAATHI WAS A MASSIVE SUCCESS BECAUSE IT WAS RAJESH KHANNA’S FIRST FILM TO CONNECT WITH KIDS’
Gautam Chintamani, who has written Rajesh Khanna’s biography, had come across a number of anecdotes about Haathi Mere Saathi during his research. He tells us, “When I was talking to Salim Khan (who wrote the screenplay with Javed Akhtar), he told me that one of the major reasons behind the massive success of Haathi Mere Saathi was that it was Rajesh Khanna’s first film that connected with children. A number of scenes with elephants were included just to entertain kids. Other than its success at the box office, the film had a message for animal rights, too.”

Chintamani adds, “For me, another film which is memorable is Safed Haathi. As a kid, I related to this film so well because it was full of adventure. I also found Maa very exciting as a kid because of the animals. Those films had such a huge impact that you’d want to have an animal friend whom you could name and pet.”

CHILDREN LOVE ELEPHANT MOVIES, BUT DIRECTORS DON’T MAKE THEM: CHILDREN’S FILM SOCIETY OF INDIA
The Children’s Film Society of India’s (CFSI) catalogue lists only a few films on elephants, like Kala Parvat and Haathi Ka Anda (which doesn’t have any elephant). Nagraj Kulkarni, a CFSI official, says, “We have films like Kala Parvat, and a few other regional films on elephants, but most of those are old. Nowadays, there are very few films on elephants. One reason could be that shooting permission is difficult to get.”

Dharmendra agrees, “In the ‘70s, it was easier to shoot with elephants and other animals, but now, the law is very strict and therefore we don’t see many films on elephants. I’m glad to hear that after so many years, there is this film called Junglee that’s coming soon. I hope this film wins hearts and that it’s a big hit, and more and more people go to watch it. There are very few films now where we see elephants as part of the main story.”

‘WANT TO SEE HOW THE ELEPHANTS IN JUNGLEE ACT AND REACT’
As Junglee has been shot with real elephants, those who have seen elephant movies in theatres are quite excited about the movie. Jaisingh Rajput, Assistant Officer in Production at CFSI, says, “As a kid, I’ve seen all the movies with elephants — be it Haathi Mere Saathi or Kala Parvat — and I’m a huge fan of them. There are a few films with real elephants in them, and where the elephant is not just an animal, but a character. I’m looking forward to watch the film to understand how they have dealt with the animal, check if he is also acting in the film and how he responds in the scenes.”

— With inputs from Divya Kaushik

After dramas like Kahaani, Airlift, Pink, Raid, Ritesh Shah pens a family-adventure that releases this Friday; it underlines the bond between man and elephant and the absence of emotions in humans
Himesh Mankad (MUMBAI MIRROR; March 25, 2019)

We get to see a man bonding with an elephant after a long time in Junglee Pictures’ family adventure, Junglee. The last I recall was Rajesh Khanna’s Haathi Mere Saathi..
The brief I got from Priti Shahani (co-producer) and her team was to get kids and families into the theatres. Junglee is a fun-filled adventure and will make us fall in love with this beautiful animal. I’d call it the 2019 upgrade on the relationship between humans and elephants that we saw in Haathi Mere Saathi in the ’70s. The elephants you saw then were from circus, the ones here were filmed in their natural habitat.

How difficult is it incorporate emotion and romance in an action family adventure?
It’s organic really. The film talks about not just the relationship between man and elephant, but also underlines the absence of emotions in humans today. As for romance, it’s difficult to imagine a world without women and while researching the subject, we discovered that many of them work in and around the forest. So, without us having to force anything, it all flowed naturally.

After Raid, you team up with Ajay Devgn again on the biopic of Syed Abdul Rahim, manager and coach of the Indian football team from 1950 to 1963. What can we expect?
It’s such a fantastic story, I had to be a part of it. I was called to write dialogues and now the final draft of the script was almost ready. Ajay sir insists that when I write, it doesn’t seem like he is delivering a dialogue, I believe it’s his magic that gives my lines a natural feel. The role fits him perfectly because Syed Abdul Rahim was also a no-nonsense man. We have a strong cast, a beautiful story and mostly importantly, it’s about a sport loved in Goa and North East which are traditional markets for Hindi film but I am sure with this film, we will find takers even there.

How much of a challenge was Nikkhil Advani’s Batla House…
That film is based on a real-life encounter so I had to be sensitive and incorporate all point of views. It took four years to write the film. Apart from reading up on the 2008 encounter, I also interviewed a lot of people before forming an opinion. I couldn’t have asked for anyone better than John (Abraham) to play ACP Sanjeev Kumar Yadav who led the encounter.

How excited are you to team up with Shoojit Sircar on the Udham Singh biopic again after Pink?
I have worked on the reinterpretation of the screenplay, besides writing the dialogue. It as an exciting adventure thriller with a lot of drama. Patriotic films are usually boring, we can’t afford to let that happen here because the sacrifice is supreme and Sardar Udham Singh deserves a gripping film. It’s difficult to write a bad film for Shoojit da because he treats his writers so well and consequently, gets good work from them.

Is there a subject you want to explore in the future?
I want to make a live action film on warrior-philosopher Banda Bahadur who lead the Sikhs after Guru Gobind Singh. It has to be mounted on a lavish scale, I would love to see Ajay sir in the film. But unfortunately, due to the religious beliefs of the Sikhs, I won’t be able to write it in this lifetime. 

Pooja Sawant and Asha Bhat will make their debut in the action-adventure Junglee, which releases on April 5
Himesh Mankad (MUMBAI MIRROR; March 6, 2019)

Junglee Pictures’ upcoming family action adventure, Junglee, featuring Vidyut Jammwal and a herd of elephants, will also mark the Bollywood debut of two actresses. While Pooja Sawant will be seen as Shankara, the mahout of an elephant, Asha Bhat plays a wildlife journalist in the Chuck Russell directorial.

Pooja informs that her character in the film, which is produced by Vineet Jain and co-produced by Priti Shahani, is modelled on the only female mahout in India and for the animal lover, there can be no better beginning in showbiz. “I have rescued many street dogs and cats, and apart from it being a great script, I was happy to get the opportunity to interact with so many animals during the shoot,” she smiles.

Asha’s Meera is an ambitious scribe, fearless when it comes to chasing after her goals. “She is doing a newsbreak on elephants and that’s how she gets drawn into this world. She’s a force to reckon with,” she asserts, admitting that being surrounded by animals was an experience she will cherish all her life.

This was her first close encounter with animals. “While intimidated, I quickly discovered that elephants are quite pleasant and sensitive. And they never forget,” she quips.

Pooja is a big name in Marathi cinema, having worked in films like Poshter Boyz, Daagdi Chaawl and Satrangi Re. She hopes to get the same love and appreciation from B-town. And having spent a lot of time with the majestic beasts, the actress has become quite knowledgeable about them. “You never look an elephant in the eye as they take it as a challenge. And they will only bond with you if they are convinced you won’t harm them,” she says, adding that as part of her prep, she learnt how to feed, bathe and interact with them.

Prod her on co-star Vidyut and Pooja gushes, “He is the definition of hard work, discipline and patience. There is so much to learn from him.” Asha is gung-ho about Chuck, who has worked with Hollywood stars like Arnold Schwarzenegger (Eraser), Jim Carrey (The Mask) and Dwayne Johnson (The Scorpion King). “I couldn’t have asked for a better director for my first film, having Chuck as a mentor was phenomenal,” she exults.

The Junglee Pictures production offers some never-seen-before stunts with not just Vidyut, but both the ladies as well. “I have one action scene with Vidyut and he made the process really comfortable. He pushed me to do the stunts myself,” says Pooja. Asha confides that she enjoyed perfoming the stunts. “It wasn’t difficult because I have incorporated martial arts and fitness in my daily regime. It is all about flexibility,” she concludes.

Extensive bike sequence in Junglee has Vidyut Jammwal navigate wetlands
Sonil Dedhia (MID-DAY; February 22, 2019)

Even though his upcoming film, Junglee, is based on the unique relationship between a man and elephants, leading man and adventure junkie Vidyut Jammwal didn't miss out on a chance to showcase his daredevilry in the offering. The actor shot an action sequence that involved an extensive and challenging journey made on a bike; one that Jammwal insisted on executing himself, despite director Chuck Russell's reluctance.

The actor says, "When Chuck narrated the sequence to me, I was ecstatic, because it [biking] was another skill I would get to acquire. I knew I had to do it. We went through [an intensive] training before shooting the sequence with the team of Hollywood bike director."

A major chunk of the sequence required the actor to ride across wetland, a task he deemed challenging. "The dirt bike has more power, and is quicker than regular bikes. We first learnt about the terrain, and then rode the bike through water and river beds. It was strenuous, and particularly risky to ride on wet roads. I had to be careful of the animals around me as well. I took 15 rounds of the terrain before being confident enough to shoot," says the actor, who delivered the final shot in one take.

Jammwal essays the role of a vet who discovers a poaching racket.