Showing posts with label Kesari. Show all posts
Showing posts with label Kesari. Show all posts
Mona Singh on working in Border 2: "It is 100 per cent nostalgia for me"
10:25 AM
With makers casting influencers or stars with a strong social media game in projects, Mona Singh on how actors feel the pressure to be active online
Priyanka Sharma (MID-DAY; November 12, 2025)
A digital detox sounds like a wonderful idea to Mona Singh. While the actor has adopted the philosophy on screen in her Zee5 series, Thode Door Thode Paas — which revolves around a family going on a ‘digital fast’ — applying it off screen is a distant idea. If anything, she is advised the opposite. “My team tells me to be more active on social media. They drive me crazy, telling me, ‘This song is trending, make a reel on it,’” she laughs.
The pressure doesn’t work on Singh, who views social media as a great platform to connect with her fans. That said, she is clear that documenting every moment of her day is not her style. “I’m not an influencer. I’m an actor, and I will stick to [acting]. It feels great to connect with fans through social media. You also get to know which show is working. But I never give in to the pressure of posting or think to myself, ‘This show of mine has worked. So, let me start posting about where I am and what I’m eating’.”
Singh’ team’s advice, however, is not without reason. Actors’ social media game is increasingly becoming a criterion when it comes to their casting. “I have been fortunate enough that people don’t look at my number of followers. But I’ve heard stories that people cast you seeing your profile and the number of followers you have. If it brings [the platform] more subscriptions and more downloads, why not cast them?”
But the actor believes this won’t be a long-term practice. She reasons, “Actors are professional artistes who know their job. Influencers getting into acting is tricky. It might get the numbers that [the makers] want, but for them to get into acting completely is difficult.”
'It is nostalgia for me'
Mona Singh will open 2026 with the big-screen outing, ‘Border 2’, which stars Sunny Deol, Diljit Dosanjh, Varun Dhawan, and Ahan Shetty. Joining the sequel to the war drama ‘Border’ (1997) is a proud moment for Singh. “It is 100 per cent nostalgia for me. Also, being a fauji's daughter, I loved being [cast in] the film. Anurag Singh is a very sensitive director. I had loved his last directorial Kesari (2019),” she says.
Mujhe patriotic songs ka brand ambassador bana dena chahiye-B Praak
3:32 PM
Rishabh Suri (HINDUSTAN TIMES; March 30, 2025)
B Praak has delivered multiple chartbusters over the years, from the soul-stirring Teri Mitti in Kesari (2019) to the emotional Maaye in Sky Force. Now, buzz suggests he might reunite with Akshay Kumar for Kesari Chapter 2. But what is it about patriotic songs that resonates so deeply with him?
He quips, “Ab mujhe patriotic songs ka brand ambassador bana dena chahiye! The pain and emotion in these songs connect instantly. I was overwhelmed by the love Maaye received.”
When asked about the most challenging song he has sung, he doesn’t hesitate: “Teri Mitti was incredibly tough. I had to convey emotions that would make people feel an instant connection with their motherland.”
Given the powerful lyrics of his songs, does he involve himself in the writing process as well? “Bilkul! If I don’t, then how will the song truly be ours?” he says.
“I get involved right from the song’s inception. But honestly, with lyricists like Jaani, I rarely have to say anything — they do their job beautifully.”
Beyond music, he acknowledges the weight of his words as an artiste. “A public figure must always be mindful of what they say, and the same applies to lyrics. Words have power, and we must ensure they don’t hurt anyone’s sentiments.”
I cannot imagine India without our Muslim brothers-Manoj Muntashir
8:28 AM
Set to present his latest work in Kangana Ranaut’s Emergency, lyricist Manoj Muntashir bares it all—his reaction to being called anti-Muslim, his passion for India and its rich cultural history, and the apprehensions he harboured before giving his nod for the film
Sonia Lulla (MID-DAY; January 6, 2025)
In an era where men of power exercise restraint while expressing opinions to cater to a society that has arguably grown sensitive, Manoj Muntashir appears to be passionately unabashed. Using his social media platform to share snippets of India’s cultural and mythological history, along with his poetic work, Muntashir often sprinkles his feed with posts that, many cite, have rubbed the Muslim community the wrong way. It was in 2021 that he courted controversy for criticizing the fact that India had roads named after “glorified dacoits” like Akbar, Humayun and Jehangir, a statement that inspired harsh words from several Indian writers.
Four days ago, Muntashir weighed in on the restrictions on Muslims at the Mahakumbh, citing that for the community, the location would serve as nothing more than a picnic spot. The lyricist, however, impresses upon the need to lay out facts and raise the right questions when considering his statements. Vehemently denying accusations of being anti-Muslim, Muntashir says he “cannot imagine India without our Muslim brothers”.
“This is absolutely untrue. I challenge anyone who has followed my work to point out even a single statement that I made that could indicate that I am anti-Muslim. If they do so, I will remain quiet from that moment. For me, the community is an integral part of India. But if you, [as a Muslim], support those [emperors] who committed genocides, I cannot support that. I will urge my Muslim brothers to stand against those [who hurt us], because I am a man who places his country above his religion. If a Muslim brother can do that too, I will bow my head to him in respect,” says Muntashir, adding that his decision to be vocal about political and religious matters has cost him both work and peace of mind.
“Many people whose thoughts do not align with mine choose to not work with me. I do get threats, and my family also asks me to [tone down]. But, I have also noticed that today, when something happens, people seek my reaction and opinion on it. We have to talk, to find a solution. There has been [a cold war] between the communities, and evidently that has not served as the solution. So, we should talk about matters. I find it to be my responsibility to use my platform to promote matters I believe in and those that are factually accurate,” says the lyricist, who has previously emphasized the need to pay heed to facts before levelling allegations when citing the hatred that Kangana Ranaut faced from the Sikh community over her film, Emergency.
The Teri Mitti writer has penned the lyrics for the soundtrack of the January 17 release that promises to showcase what transpired during the 1975 Emergency that had come into effect in India. Considering the shared passion that both Muntashir and Ranaut have for the country, this film, we suggest, may have been right up his alley.
“I cannot think of any better cast or artiste for this film than those who are already working on it,” he agrees, adding, “When I was approached for it, I was apprehensive about how it would play out, and if it would rightly depict what transpired at the time. But, when Kangana spoke to me, I was convinced that she would do justice to this film. I often say, a lot of my work on this film was copied from Kangana. She knew precisely what she wanted from the film’s music. The way she spoke and the things she said directly inspired certain lines that I wrote for the song. Kangana has a grasp on her craft, and I don’t simply imply her craft as an actor. She has [a flair] for direction, and I also noticed this in Manikarnika [The Queen Of Jhansi, 2023].”
Describing Emergency as a political musical, Muntashir says the five songs that add value to the film work in taking the narrative forward. “A film doesn’t simply become a musical because it has a certain number of songs. Here, the music is so integral to the narrative that if you eliminate even one song, you will feel that something is amiss.”
Released in August 2024, Singhasan Khali Karo revives legendary poet Ramdhari Singh Dinkar’s anthem that echoed through India’s darkest political hour. “It is an anthem that will be used [during protests] in the future too,” Muntashir is certain. Another track showcases what transpired when Indira Gandhi, played by Ranaut, realized that she had made a mistake. His favourite track, however, continues to be Ae Meri Jaan. “It’s the closest [work of mine] to Teri Mitti, so I am optimistic about it. It forms the crux of the film.”
A week after the release of Emergency, Muntashir’s work will again be on display in Sky Force. A recently released track from the Akshay Kumar-fronted film has already been positively received by fans. “This time again, the Teri Mitti singer-writer duo, that is B Praak and I, will come together. Tanishk Bagchi has composed the track beautifully.”
Art itself is feminine. Science is masculine-Arko Pravo Mukherjee
1:43 PM
Riya Sharma (BOMBAY TIMES; October 11, 2024)
For singer, songwriter, music composer Arko Pravo Mukherjee, love songs are essentially feminine. “Nazm Nazm is very special to me. It is the only song with no changes – neither from the director nor the label. Wherever I go, especially women, love the song. Men, too but because women are softer and gentler...these love songs are essentially feminine, unless there are alpha sentiments like ‘Mujhe Tu Chahiye, Haq Hai Mera’,” says the Saathi Rey singer, who was recently in the city.
In Delhi for an album launch, Arko speaks to us about his faith in his art and how the number game doesn’t matter to him. Elaborating on the femininity of love songs, Arko adds, “Art itself is feminine. Science is masculine. Science is like yeh maine discover kiya. Art doesn’t have that. It is not something that belongs to the author or the singer completely,” he says.
“I’ve done many singles, but they haven’t done as well as my film songs like Nazm Nazm. If a layman knows a song, then you know that it has worked; I’ve been much luckier with film songs,” says Arko
‘WE HAD ABOUT 30 VERSES OF TERI MITTI’
Talking about the song Teri Mitti that has been added to the list of patriotic songs in many music charts, Arko, who composed the music for the hit, shares, “I keep telling MM (Manoj Muntashir) that it is very difficult to have this standard of poetry – so lucid and deep at the same time.”
He adds, “In my experience, if you fiddle with a song too much, it does not improve, but this song is an exception. I had about 30 verses and it was so difficult to pick what to keep and what not. MM and I have a great time together. He knows that I am non-diplomatic and I say wrong things to big shots and I fight. Agar kisi ne kuch kiya toh main usko suna deta hoon. I didn’t give up cardio surgery to be a chamcha. I have left so many films because of this,” says Arko, who holds an MBBS degree.
Talking about Teri Mitti, he shares, “Anurag Singh argued against keeping the line ‘O maayi, kya fikr tujhe’ because there is no mother character in the film, but despite its irrelevance to the script, it was kept to convey the essential emotional connection.”
‘I DON’T THINK THE NUMBER GAME MATTERS TO ME’
Arko’s songs like Teri Mitti have 100 million views. Some would say it’s a success, but does the number game matter to him?
“I don’t think the number game bothers me. But there’s stuff to learn from it. It matters in the industry. Success matters because it gives you the freedom. Hats off to these boys (singers) like King and Anuv Jain, I really appreciate how they have come up without the support of a big producer. Bhatt sahab gave me my debut (Jism 2) but these boys have made it on their own and people have loved their music and it is good music. But it is now that I get more feedback about the song than I did when it was released. I really don’t think music has a time frame, we have to be honest about it but the freedom to be honest also has to be earned and I am thankful to Bollywood for that,” he replies.
‘I AM NOT A FAN OF THE CURRENT MUSIC SCENE'
I am not a big fan of the current music scene and it’s not just India but across the world. When I was in high school and college, we used to go and buy CDs. Paisa save karke and we used to buy that Bryan Adams album CD, Aaj ke Top 20s, 18 songs you will not like. Why is Lucky Ali sold out everywhere? Today’s kids are listening to old music. Kids are listening to Jagjit sahab because there is no such artiste. There’s a vacancy, there is nobody like that. Achcha, bura koi nahi hai. Jagjit sahab toh legend hain par koi toh ghazal gaaye. When you switch on the TV, all you see is old songs, remixes and Punjabi music.
‘I ONLY WANT TO DO THE KIND OF WORK THAT WILL KEEP MY INTEGRITY INTACT'
After 46 films, Arko says that he does not want to be dishonest with his work. “Things like ghost writing are rampant. There were producers who asked me to do albums under someone else’s name early on... We do it sometimes in the beginning, but I’m past that now. I’m not greedy. I only want to do work that keeps my integrity intact,” says the singer.
Ayushmann Khurrana expected to join Sunny Deol as parallel lead in Border 2
8:53 AM
Border 2 to roll in 2024, over two decades after original; sources say movie will focus on how the Defence Forces’ three arms came together in the 1971 Indo-Pak war
Mohar Basu (MID-DAY; December 8, 2023)
Hindi cinema has its fair share of war dramas, but J P Dutta’s Border (1997) stands out in public memory. Now, the makers are ready to roll with the sequel. mid-day has learnt that Border 2 is expected to go on floors in the first quarter of 2024. While there has been a change of guard with Dutta Sr passing the baton to producer-writer daughter Nidhi Dutta, one thing about the sequel remains the same—it will be led by Sunny Deol, who was the pillar of the 1997 offering. Sources say the movie will revisit the 1971 India-Pakistan war.
“Nidhi is designing it as the biggest war film made in the country to date. Unlike previous movies that have focussed on only one faction of the Defence Forces, the film shows the joint working of the Indian Army, Navy and Air Force. It has personal stories of the 1971 war heroes and martyrs,” says a source.
Twenty-six years is a long time to separate the Deol, Akshaye Khanna and Suniel Shetty-starrer from its sequel. It turns out J P Dutta was clear he wanted a story that would be a worthy successor. He had penned the original, with dialogues written by his filmmaker-father, the late OP Dutta.
“The idea was conceived of in 2022, and the script finally locked in April 2023, with the screenplay and dialogues penned by Nidhi. It took a year and multiple trips to Delhi to get necessary permissions from the Defence Ministry to shoot in real locations and use real names.”
It will be a heart-warming reunion for the Duttas and leading man Deol, who has had a meteoric rise after the smashing success of Gadar 2: The Katha Continues. He is expected to be joined by Ayushmann Khurrana as the parallel lead.
The source adds, “The Duttas knew from the word go that they wouldn’t make Border 2 without Sunny. Ayushmann’s contract is expected to get locked by next week. The remaining cast will be finalised over this month and next.”
While Nidhi is the brain behind the project, she is said to have entrusted the directorial responsibility to Anurag Singh, known for the Akshay Kumar-led period drama, Kesari (2019).
Kesari makers couldn’t do justice to the subject. I want to make a film on it next year-Rajkumar Santoshi
8:36 AM
Having halted his film on Battle of Saragarhi after Akshay’s Kesari was announced in 2018, Santoshi plans to revive project next year
Hiren Kotwani (MID-DAY; January 23, 2023)
Rajkumar Santoshi’s Gandhi Godse - Ek Yudh will open in cinemas this week, marking the director’s return after nine years. The long gap was not intentional. In 2016, he had announced Battle of Saragarhi, which was to depict the 1897 battle that saw 21 Sikh soldiers of the British-Indian army fight the 10,000-strong troop of Afghani tribesmen.
“Randeep Hooda, who was cast as Ishwar Singh, lived like a sardar for two-and-a-half years. We had shot for 20 days, when Akshay Kumar and Karan Johar announced Kesari, based on the same subject. After that, our financial set-up, satellite and OTT talks came to a halt. I had to stop work on my film as I had no [financial] support to see it through,” laments the director.
“We’re from the same fraternity. Yet, no one bothered to ask me if I was making the film. [They could’ve made] a courtesy call.”
Over three years since the release of Kumar’s Kesari, Santoshi is ready to revive his project. He believes the epic battle deserves a retelling. “They couldn’t do justice to the subject. Even the get-up was not right. I want to make a film on it, hopefully next year.”
For now, Gandhi-Godse has his undivided attention. The drama marks his daughter Tanisha’s debut. Santoshi reveals he was initially skeptical about casting her. “If I scolded her on the set, she would complain to her mother [Manali], who would question me. I didn’t want all that. One has to work as an artiste. She promised me artistic discipline before I cast her.”
Unlike star kids who are launched as the lead in projects, Tanisha plays a supporting role. “No role should be big or small. I’m not making a film for her. She fit the bill, so I gave her a chance to work. Her hard work and merit should take her ahead.”
It may take 10 years for you to find fame in Bollywood, par, phir, aapke din nahin, aapka daur aayega-Manoj Muntashir
8:18 AM
With a career spanning over two decades, National Award winner Muntashir on the importance of learning from legends
Sonia Lulla (MID-DAY; August 1, 2022)
Manoj Muntashir appears to make a reference to his own life when he says, “If you’re a pure artiste, it may take 10 years for you to find fame in Bollywood, par, phir, aapke din nahin, aapka daur aayega.” Having come into the spotlight after his work on Ek Villian in 2014, the Teri Mitti writer has grown from strength to strength, establishing his foothold in Bollywood. He connects with mid-day for a conversation after his recent National Award win for Saina.
Edited excerpts from the interview.
Looking back at your work on this project, what do you think was among its most defining factors?
The music took five years to make. I have to thank Amaal Malik, who was determined to make this his [most defining work]. Also, you would imagine that a man like Bhushan Kumar, who produces 50 films [at a time] would possibly not be able to invest his time in small things, but he will sit in on meetings of each song, and will pin point every word [if needed]. Finally, Amole Gupte gave me such a brief of Saina’s [Nehwal] life, that it helped me in my process. If you hear the track, Parinda, it doesn’t have details of her life; it is a portrayal of her attitude towards life, and reflects that she didn’t want to be part of one small page in history [books], but wanted to make history. I thought about how I would feel if I was Saina. And that’s how all great artistes work. They either live [like] the character, or create one. I have been lucky to have worked on stories of real-life people in a major chunk of my projects, and they give me an idea of how I should approach the music. [At the onset of my career], when I’d write for Kaun Banega Crorepati, both for Mr Amitabh Bachchan and Shah Rukh Khan, I would think about how they would speak in those situations.
When you look back at the beginning of your career in this industry, what was your approach to writing 20 years ago?
I was heavily inspired by Sahir Ludhianvi, among others. Having a role model can set you off in the right direction. I have seen youngsters saying that they don’t wish to follow [writers] or practices in films, but if you do not have a hero, a certain frame, you can’t fill a picture in it. If you don’t study the basics, you can’t sit for the medical examination, and these role models help you easily learn the basics. As soon as we stop getting influenced by the works of the greats, we will start digging our own grave. I also think there was a seed of writing in me. If you’re not a born writer, nothing in this world can make you one. Do something else, and you can still succeed. After a lot of introspection, I knew that words support me, and I can articulate subjects. Finally, I think it’s important to reiterate the importance of reading. Bank mein agar paise nahin daloge, toh nikaloge kya? Aur yeh roz ki sadhana hai. You have to wake up each day with the aim of creating something that outlives you. I am glad that with Saina being awarded, it is good music that has been recognised.
Looking back at your career, what have been the defining milestones for you?
I don’t think one song can define you. Often, you may write something that you think may be great, but it may elicit no response. But, you need to keep writing well. If I still have to point a few out, I’d say Galliyan was a defining one. After that song, people [appreciated] the fact that there was someone in the industry who was writing in that way. From there, I got a lot of work. Rustom's Tere Sang Yaara was another important song, in which Akshay Kumar and [producer] Neeraj Pandey allowed me to use lyrics that were poetic, even though they were using the song in a commercial film and needed the track to be a defining one. I’m fortunate that they gave me that chance. For a while, our industry has harboured the notion that female-led songs don’t do well, even though we have legendary female singers in India. At such a time, the fact that I got to use the female-led track Kaun Tujhe as the crux of M S Dhoni: The Untold Story, was special. Phir Bhi Tumko Chaahunga was a track that had been [penned] 15 years ago. People rejected it, until it was finally accepted. But, finally, it is Kesari's Teri Mitti that really revolutionized my life. People saw me as someone who was more than just a writer. After it did well, people would touch my feet, and I would feel ashamed and ask them to not do that. They’d say that they weren’t bowing down to me but to the talent that wrote it.
What about the importance of poetry in cinematic music do you think people are not identifying?
Everyone loves poetry, even if they don’t know it. It is in the DNA of this soil. People are mistaken to assume that the young generation doesn’t enjoy poetry. Look at my followers – I have 5.5 million followers on the internet. Who uses the internet? The young generation does. Poets like to ignore this huge audience because they think kids don’t like poetry. But that’s wrong. I realised that poets have just not delivered to them something that’s of their interest.
Can you tell us what’s in the pipeline?
I’ll talk about three of them. The first is Vikram Vedha. I’ve penned the dialogues and the songs, and it has Vishal-Shekhar’s music. Then there’s Maidaan, which has been beautifully made. It marks my first collaboration with A R Rahman, and I am so excited about it. I am also very excited about Adipurush, which is the story of Ram; it has been narrated several times in India, and there is always an audience for it. With Prabhas as Ram, Kriti Sanon as Sita, and the music of Ajay Atul, this is something to look forward to.
Cape of Good Films, a production house that has been silently succeeding
8:01 AM
The content house believes in creating content that challenges norms
HINDUSTAN TIMES (January 3, 2022)
Cape of Good Films, a logo sitting quietly on the poster of many successful films, actually has a lot to boast about with the success that the production house has seen over the last few years. Founded in 2009, this boutique content house started working its way up to making films that are meaningful, yet commercial in nature.
The company’s partner, Rana Rakesh Bali, says, “Every story can be told through the medium of cinema, provided it is treated sensitively, keeping in mind the audiences you are making the film for. No one comes to the theatre, paying their hard-earned money to be taught a lesson. If you want to say something serious, say it in a way that educates them while still making them smile. That is the mantra Cape is run by.”
In the last six years, through its associations with massive hits — from Airlift (2016), Toilet: Ek Prem Katha (2017) and Mission Mangal (2019) to National Award-winning and critically acclaimed films such as Rustom (2016), Pad Man (2018), Chumbak (2017), and commercial grossers such as Kesari, Good Newwz (both 2019), and 2021’s biggest hit Sooryavanshi — Cape of Good Films has had it all.
Path-breaking films by Cape also include Naam Shabana (2017) and Durgamati: The Myth (2020), which were headlined by strong female protagonists. Its films, such as Laxmii (2020) and the recently released Atrangi Re (2021), are breaking new records for the highest viewership on OTT platforms too. The content of these diverse films by the content house spans genres like no other. Their foray into producing music videos also struck a chord with Filhall and Filhall 2 shattering records.
What stands out about Cape is that there is no face to it. “It is just a team trying to make what they believe in and want to keep it such. The feeling emanates from the fact that the films that we make are larger than an individual and an entity, and should be preserved that way,” Bali shares.
The content house now looks forward to dishing out sought after films such as Raksha Bandhan, Ram Setu and OMG 2. It enters 2022 with a firm belief in backing and making content that breaks stereotypes, challenges notions, and makes the audience fall more in love with what they have always loved — movies!
I support films like Roohi and Mumbai Saga, which opted for theatrical runs-Shariq Patel
8:02 AM
Rachana Dubey (BOMBAY TIMES; March 25, 2021)
As much as all of us at Zee Studios want to host a grand bash, we have to keep the celebrations muted. The second wave of Coronavirus is here. So, we have to ensure we’re all safe. I am sure once we tide past this difficult time, we can celebrate. We are overjoyed and extremely humbled with these wins. The work of our studio has been acknowledged at the highest level in this country. When the films had been entered into the competition, we knew that we would win something, but we had no idea we’d come so far. Anandi Gopal, Manikarnika: The Queen of Jhansi, The Tashkent Files and Chhoriyan Chhoron Se Kam Nahi Hoti have all made us proud. It makes us believe that maybe we are selecting films to partner with correctly — the films are finding resonance with the audience and fraternity.
With seven National Awards this year, will the studio be very choosy about what it bankrolls in future?
We have always followed a multi-language strategy. We have always believed in creating great commercial content with a promising story at the core and with the right mix of talent. The idea has always been to come up with content that cuts across as many boundaries as possible. We have been tapping the pulse of the audience, keeping this as our benchmark across languages for years, and the National Award wins in so many categories across films in different languages is like a reaffirmation of everything we believe in as a company. As a studio, we plan to invest more in stories that transcend boundaries. Awards are never the starting point of any project that we work on. When a film turns out well, and it finds resonance with the audience, we know we have a winner at hand. Films like Anandi Gopal and Chhoriyan Chhoron Se Kam Nahi Hoti were trying to say something so important. Anandi Gopal put the spotlight on a hero of our society. Yes, like every other studio, we, too, love to see awards coming our way, but our priority is to entertain the audience with newer stories and groundbreaking content. With the National Awards, the idea is to get back to the drawing board and come out with even more engaging stories for the years to come.
We’re proud to partner with the right mix of artistes. Kangana, Manoj Bajpayee, who won for Bhonsle and Dhanush who won for Asuran, are fantastic actors. It gives us joy to work with some of these names with such frequency. Manoj worked with us for Suraj Pe Mangal Bhari and is now a part of the cast of our film, Silence. Thalaivi’s trailer, too, has won Kangana a lot of praise. And we’re just getting started for 2021. In the next 12 months, we will release about 25-30 films across languages. We have to scale up the studio’s operations. There will be a quantum jump in the films that we are producing.
After releasing Suraj Pe Mangal Bhari in theatres, do we see the studio bringing out more films on the big screen, given that the audience is still warming up to the idea of going to the cinemas again?
I support films like Roohi and Mumbai Saga, which opted for theatrical runs. It is easy to go direct-to-digital and pocket the money and not worry about the box office. I take pride in the fact that we started this trend with Suraj Pe Mangal Bhari. We have to ensure that as content creators, we stand by the theatres in this hour. Vaccination drives have only made us all hopeful, but planning a film’s release does remain a challenge today. We can only react to a situation as it unfolds. So, our plans will also change depending on where we are in this new normal at a said time.
I haven't watched Money Heist-Ajay Jethi
8:40 AM
We track down the man of the moment, Ajay Jethi, who has got everyone talking about his hacker act in the latest season of Money Heist, to Spain
Mohar Basu (MID-DAY; April 19, 2020)
Who would have thought that an Indian actor, playing a Pakistani hacker in a Spanish show, would grab eyeballs at a time when the world is under lockdown? Actor Ajay Jethi, who plays Shakir in the fourth season of the much loved Money Heist, is as surprised as he is elated to find the spotlight on him. We tracked down the man of the moment, Jethi—who has got everyone talking about his hacker act in Money Heist—in Spain, he throws a curveball as he candidly mentions, "I don't have a TV, so I haven't watched the show. But, a friend recently told me that I could watch it on my phone. So, I have downloaded Netflix and hope to catch it soon."Essaying the role of a professional hacker who helps the Professor in his mission, the actor shot for the thriller late last year. "I thought it's a Spanish show; I had no idea it would be available in English subtitles and screened worldwide. On April 4 [when the latest season dropped online], I woke up to countless messages from Indians and Pakistanis all over the world. That's when I understood the wide reach of the series."
Ask him how he landed the role, and Jethi says he had previously collaborated with creator Alex Pina on a Warner Bros movie. "The production house and casting directors were familiar with my work. So, they didn't ask me to audition for the role. I shot for my portions alone, and didn't get a chance to meet the rest of the cast."
Now that viewers have taken notice, Jethi hopes his next casting call comes from Bollywood. Interestingly, he is a distributor of Hindi and Punjabi films in Spain and Portugal. "I distributed Kesari, Bharat, War and Dabangg 3. I have a long-standing association with Yash Raj Films and Zee Studios. I have done a few Punjabi movies, but now, I want to explore Hindi cinema. Apne mulk mein kaam karne ka waqt aa gaya hai."
My music is valued because I value it first, says Mithoon in a conversation with Manoj Muntashir
8:14 AM
Mithoon's offerings may be few and far between, but his die-hard fans don't mind waiting. He tells lyricist Manoj Muntashir why
Sonia Lulla (MID-DAY; March 30, 2020)
Manoj Muntashir complains that he often finds his social media inbox littered with pleas from Mithoon's female fans, seeking an interaction with him. He is set to prepare an invoice for the job to present to the composer, who does every bit to evade questions pertaining to his romantic interests, despite Muntashir's repeated attempts. Here's all that the duo discussed in an interaction at Muntashir's vibrant Andheri office in early March, before they departed with the promise of creating a music piece for the "emotional" ending of Tom Hanks' Cast Away.
Manoj: How did you save yourself from being entangled in this wave of re-creations?
Mithoon: I am always tempted to create original songs. Six years ago, I had recreated a song called Aye mere hum safar, which did well. But, I missed the happiness that one derives [while working on original compositions]. Even in the credits roll, [original composers] Anand-Milind's name was placed before mine. So, it wasn't guilt [that bothered me]. But, there was no joy. Many people say composers are not celebrated enough. But they don't understand the joy we derive when a newspaper seller sings our song at a signal.
Manoj: There are few composers whose names are used by directors as a selling point. They are proud to say: 'Mithoon is composing for us.' But, people also complain that you take too long to finish a song. Do you feel insecure about not meeting deadlines?
Mithoon: Like they say, ignorance is bliss. I don't know much about [how a delay in meeting a deadline can affect me]. And I prefer that it remain that way. I want to be consumed by music. In the Bible, it is written that the lord made the world in six days. On day one, he said, 'Let there be light.' And yet, he made the sun and moon on day four. So, I interpret this as the lord referring to the light within us, that is brighter than sunlight.
Mithoon: What went behind the making of Teri mitti [Kesari], which, according to me, is the best written song?
Manoj: At times, all we need is a trigger. Sometimes, our directors and the people around us turn out to be blessings. They elevate us from being ordinary writers. Kesari's director Anurag Singh was responsible for it. The tune was already established by Arko. Anurag referenced Kaifi Azmi's words in Kar chale hum fida, and asked me that if it had to be represented in today's scenario, how would [I do it]. I kept that brief in mind. If a soldier is shot, and knows that he will die within the next 10 minutes, what will he think in the interim? Will he be sad, upset or happy? So, the song was written from that point of view. If you see [a soldier] dying, you'll notice him smiling. Death is a painful process. But that smile comes from the joy of dying for the country. More worthy than any award for me was when I got a call from Punj, from a soldier who was a zamindar. When people would ask him why he was becoming a soldier, and choosing a job with a Rs 25,000 salary [despite being wealthy], he never had an answer. My song, he said, gave him the words he needed to do so.
Mithoon: [How important] is it for a musician to stay away from formulas and templates?
Manoj: There's absolutely nothing that I can say with as much certainty as I can this — setting a template implies death of music. We should be thankful that we don't have a formula. Every song has a journey, and if you begin to search for the roadmap that led to its making, [that isn't right]. None of the people who have made it big, have a roadmap. If you do, you'll be a one-film wonder. A good way to [approach your work] is to leave ego behind. Don't carry the weight of your laurels. Be the student you were when you started, each time you work on music.
Manoj: You received much acclaim for your song in Kabir Singh, which is Tujhe kitna chahne lage. There's something I noticed about it. If you study Kabir's character, who is aggressive and angry, it is tough to fathom how this spiritual song, which is all about surrendering, suits him. But that song helped the film tremendously. Many people have complaints against the character, and rightfully so. But what made Kabir relatable was his simplicity and vulnerability. And it is your song that gave us a peek into his heart, and made us see how weak in love he is. I don't think there's anyone who is as weak as a lover, just like there is no one who is stronger than him.
Mithoon: As much as I've never seen it that way, that's true.
Manoj: You don't have a social life. In fact, the people who love you will, for your own good, never invite you to a party.
Mithoon: As a teenager, I would feel everything that a man who is in love feels, but, that excitement would be to meet Pyareji [Pyarelal Sharma, of Laxmikanth-Pyarelal]. At 16, I was assisting my father [Naresh Sharma], who worked with orchestras for films. In the studio, every musician would have a different viewpoint, and as a young musician, I would want to hear each one, so that I could learn. But there was one voice that [mattered the most], and that was of Laxmikant-Pyarelal. He [Pyarelal Sharma] is my tayaji. But, I never [exploited that] relationship. I was passionate about learning from him. He is among the most passionate artistes that this industry has seen. He wouldn't tolerate mediocrity. I wanted to experience him in that form.
Manoj: You have few releases in a year, and keep your fans waiting for them. Is it a calculated move to keep them eagerly anticipating what's next?
Mithoon: The truth is that I celebrate and respect my music first. If I play something on the piano, and like it, I respect that bar [of music]. I won't simply tell my team to [work on] it and send it off to a client who is calling repeatedly for a song. My laptop is kept in my locker, because that's my wealth. I value it so much. For me, my music is a revelation. It must be kept on a pedestal. It is valued, because I value it first.
Final classifications 2019: Kabir Singh tops the list
8:50 AM
Box Office India Trade Network
There final classifications of 2019 were as follows as the year delivered 19 HIT films and nine of them of being major HITS. There were further six successful films and then two Below Average films. The year was dominated by Akshay Kumar with three of the top six hits belonging to him.
There was an ALL TIME BLOCKBUSTER film in 2019 also but that came from Hollywood with AVENGERS: ENDGAME. However, despite doing 363 crore nett business, the footfalls of KABIR SINGH were still more than AVENGERS: ENDGAME. KABIR SINGH and WAR were the only films to go over 2 crore footfalls and no film even came close to 3 crore.
The final classifications of films released in 2019 with distributor shares in brackets are as follows.
All Time Blockbuster
-
Super Blockbuster
1. Kabir Singh (135 crore)
Blockbuster
2. War (151 crore)
3. Uri: The Surgical Strike (101 crore)
Super Hit
4. Housefull 4 (104 crore)
5. Good Newwz (96 crore)
6. Mission Mangal (94 crore)
7. Chhichhore (66.50 crore)
8. Dream Girl (65 crore)
9. Bala (50.50 crore)
Hit
10. Saaho (Hindi) (77 crore)
11. Total Dhamaal (75 crore)
12. Kesari (74 crore)
13. Super 30 (70 crore)
14. Gully Boy (66 crore)
15. Batla House (41.75 crore)
16. Luka Chuppi (41.50 crore)
17. Badla (39.50 crore)
18. Pati Patni Aur Woh (37 crore)
19. Article 15 (28.50 crore)
Semi Hit
20. Bharat (102 crore)
21. De De Pyaar De (44 crore)
22. Mardaani 2 (21.75 crore)
Average
23. Manikarnka - The Queen Of Jhansi (43 crore)
24. The Accidental Prime Minister (11.25 crore)
25. The Tashkent Files (5.50 crore)
Below Average
26. Student Of The Year 2 (32 crore)
27. Marjaavaan (22 crore)
It hurt that the audience could not see a more authentic version of Battle Of Saragarhi-Randeep Hooda
11:30 AM
Randeep Hooda opens up on Battle Of Saragarhi, admits he didn’t watch Akshay Kumar’s film on the same subject
Himesh Mankad (MUMBAI MIRROR; March 23, 2020)
Randeep Hooda recently wrapped up Prabhudheva’s Radhe, featuring Salman Khan in the titular role. In his first negative role he plays a Mumbai-based gangster and has shot some dare devil action scenes with a Korean stunt team. “I’ve had this action image for a long time and I would always wonder why because I’ve never punched anyone, never used my fists. But I love action, if it’s not too over-the-top,” smiles the actor.Randeep underwent extreme transformation, shedding 18 kilos for Sarabjit Singh’s biopic and then growing his hair and learning the Sikh martial arts to enact the role of Havildar Ishar Singh in Rajkumar Santoshi’s war drama, Battle Of Saragarhi. “It’s just an extra effort I put in for my character and there’s a sense of responsibility and respect when you are playing one who was for real. There’s also a fear that people will find out that I can’t act,” he guffaws.
Battle Of Saragarhi was shelved and it was Akshay Kumar who played the braveheart in Anurag Singh’s Kesari. Surely, it must have been upsetting? “It hurt that the audience could not see what would probably have been a more authentic version with more real emotions of the story. That apart, you learn to move on. Through the journey I learnt the principles of Sikhism and I’m a better person now,” he avers. Did he watch Kesari, you wonder, and he quips, “Nope, it didn’t excite me much.”Randeep will soon be seen in Sai Kabir’s Mard and describes him as a “quirky director” who is trying to extend himself with this film. “Every film has a life of its own. Since I don’t go on holidays, my only holiday is to go into the world of films,” he exclaims.
His last release, Imtiaz Ali’s Love Aaj Kal, despite Kartik Aaryan and Sara Ali Khan, failed to connect with the audience. Ask him what went wrong and he laughs, “It didn’t do well? I’m not sure because had it done well, I’d have got a grand piano from Imtiaz, but I believe I’m not getting it now.” Prod him and he says he thought it was a novel story, underlining the difference between the sex-starved, gender-separated love of the ’90s with the sexually easy yet empathetic world of today. “It was well directed, I enjoyed it,” he avers.Sajid Nadiadwala has confirmed that a sequel to his 2014 directorial, Kick, is being scripted. The first part had featured Randeep as a no-nonsense cop, Himanshu Tyagi, on the hunt for Salman’s Devil aka Devilal Singh. Has the maker returned to him with Part 2? “I have no idea they were doing the sequel!” he exclaims. “I really enjoyed Kick, Sajid’s debut directorial.”
Buzz is, Randeep will soon be seen in a quirky comedy produced by Sanjay Leela Bhansali. He interrupts, “That’s being produced by somebody else now. Yes, it’s a comedy and I play a cop. I am shooting for it right now at Karnal.”
Speculaton is also rife that the actor will soon tie the knot with model-actress, Lin Laishram. The actor neither confirms nor denies the rumour and signs off keeping the suspense around his personal life intact. “As a rule, I don’t discuss my personal life, I have enough to talk about professionally. But yes, I am in a very good space at the moment,” he winks.
The entire nation is standing by my side, making me believe that Teri Mitti is beyond awards-Manoj Muntashir
8:24 AM
Nikita Deb (HINDUSTAN TIMES; February 19, 2020)
The debate about the fairness of award systems in India has existed for as long as the entertainment industry has been around. And recently, after rapper Divine, and Ankur Tewari won the Filmfare award for best lyrics given in the song Apna Time Aayega (Gully Boy; 2019), lyricist Manoj Muntashir took to Twitter to express his disappointment and said that he will not “attend any award show till I breathe my last”.Manoj, who had written the lyrics for the song Teri Mitti (Kesari; 2019) is upset that his song lost out to what he calls “a song which no parents would like their children to sing”. He clarifies that his problem is not essentially with awards, but with “award shows”. “Award shows are meant to be entertaining and ready to be sold to the highest bidder. Like any other commodity, award shows are designed to create wealth for the organisers. The film industry is still stuck in medieval times. Only an insider can tell you how unequally and heavy-handedly we are treated as opposed to the stars, who are stars because we decorate them with our skills,” says Manoj, adding that he wouldn’t have felt bad if he had lost out to Amitabh Bhattacharya or Irshad Kamil, who were both nominated in the same category. But, when he lost to Gully Boy, he felt like “Lord Krishna who was killed by a hunter”. Manoj adds, “He deserved a better death, and I deserved a better defeat.”
The lyricist remembers first hearing the song Apna Time Aayega when his eight-year-old son was singing it. “My first reaction was that he has learnt this gaali-galauj by staying in the wrong company. I refuse to be judged by the prejudiced minds. Obviously, you can’t make everyone happy, but the least you can do is to not sell your soul. Teri Mitti has become the anthem of our 40 lakh soldiers and paramilitary forces. So, fairness is a no brainer here,” Manoj laments.The writer, who has also written lyrics of songs such as Galliyan (Ek Villain; 2014) and Kaun Tujhe (M S Dhoni - The Untold Story; 2016) goes on to share that for films and actors, special categories such as critics’ choice and popular choice are invented so as to not miff the actors. He says, “The organisers want to keep as many of them happy as they can. So, why can’t the same rule be applied to music as well? Let’s be fair and have popular and critic categories in music. But they are not interested in wasting time on us. Let’s face it — musicians, writers, technicians, don’t matter [to the organisers]. To them, we are just liabilities. Given a chance, they would stop inviting and honouring us, but traditions can’t be broken easily so they bear us like unwanted guests. It’s high time for us to find our lost self-respect and stop showing up where we aren’t welcome.”
Manoj signs off by saying, “In a few hours, I had an entire nation standing by my side, making me believe that Teri Mitti is beyond awards. Kisi ki jeet se zyada meri haar ke charche hain.”
Box Office India releases its final list of top 25 grossers of 2019
8:08 AM
Box Office India Trade Network
The year 2019 turned out to be pretty decent with the top twenty five films collecting 3600 crore nett plus as compared to 3000 crore nett last year. But a lot is to do with lower GST in 2019 as the GROSS numbers are 4250 crore compared to 3850 crore in 2018. There is a 20% difference in NETT numbers which would be a good result if all things were equal but in actual terms the difference is 10% as in GROSS numbers, all is equal. The 10% growth is roughly how much ticket rates grew in 2019.
The biggest grosser of the year was WAR (Hindi) grossing 292 crore nett but the biggest HIT was KABIR SINGH. It was the universal blockbuster of the year which did equally well in all parts of India. It also had the highest footfalls of the year as it was released outside holiday periods on normal ticket rates. WAR and URI were also BLOCKBUSTERS but could have done better in the Central India markets where there performance was lower as compared to other areas. The other film to top 200 crore nett HOUSEFULL 4 could have done better in North.
No film got close to 3 crore footfalls which tells there was no really huge BLOCKBUSTER. In fact the last 3 crore footfall film was TIGER ZINDA HAI in 2017 though PADMAAVAT may have got there if it had released all over. Only two Hindi films - KABIR SINGH and WAR - managed to get more than 2 crore footfalls and the third film was AVENGERS: ENDGAME from Hollywood. SAAHO also manged it in all formats and if we take all formats into consideration then this film had the most footfalls of any film in India last year at 2.60 crore.
The ranking of the top films in terms of NETT collections are as follows and these twenty stand above the rest as the 26th film is under 50 crore nett. The GROSS collections may change the positions a little as there is state levy and higher service charges in some states and if films have a higher ratio coming from these areas then it changes the NETT to GROSS ratio.
1. War (Hindi) - 2,92,71,50,000
2 Kabir Singh - 2,76,34,00,000
3. Uri: The Surgical Strike - 2,44,00,50,000
4. Housefull 4 - 2,05,60,50,000
5 Bharat - 1,97,34,50,000
6. Good Newwz - 1,95,78,00,000 (35 days)
7. Mission Mangal - 1,92,67,00,000
8. Kesari - 1,51,87,50,000
9. Total Dhamaal - 1,50,07,50,000
10. Saaho (Hindi) - 1,48,84,00,000
11. Chhichhore - 1,47,32,50,000
12. Super 30 - 1,47,00,00,000
13. Dream Girl - 1,39,37,00,000
14. Dabangg 3 (Hindi) - 1,34,79,00,000
15. Gully Boy - 1,34,21,50,000
16, Bala -1,10,97,50,000
17. De De Pyaar De - 94,50,00,000
18. Manikarnika - The Queen Of Jhansi (Hindi) - 90,81,00,000
19. Luka Chuppi - 88,50,50,000
20. Badla - 87,56,00,000
21. Batla House - 84,99,50,000
22. Pati Patni Aur Woh - 80,41,00,000
23. Kalank - 80,03,50,000
24. Student Of The Year 2 - 65,70,50,000
25. Article 15 - 65,17,50,000
NOTE - Good Newwz is still running in week six but will not change the rankings as it has only 25-50 lakh more to come
Here's why Akshay Kumar had a historic year in 2019
8:11 AM
Box Office India Trade Network
Akshay Kumar has had a historic year which and is by far the star of the year with no other actor even in sight. The records have tumbled in 2019 with a cumulative total of the for Akshay Kumar starrers to be in the region of 750 crore nett and worldwide it will be the first time ever that an actor will cross 1000 crore.
It does not stop there as the domination continued on satellite as HOUSEFULL 4, 2.0 (Hindi) and KESARI all took openings which placed them in the top ten of all time on release. HOUSEFULL 4 became that very rare film to top 2 crore impressions on first screening.
There have been many times that an actor has givev 3 hits in a year but there is a big difference between 3 and 4 as that 4 is a rarity in history. Today most actors cant even manage to have four releases let alone 4 HITS. This is where most actors get it wrong as the fact is there are no MUGHAL-E-AZAM, SHOLAY or BAAHUBALIs being made in the Hindi film industry which need 200 or 300 days to shoot. So its very difficult to understand how actors have just one or two release a year. Hardly any Hindi films have any real cinematic value today and on average are 50-60 days shoots and there are 365 days in a year.
This is where Akshay Kumar has scored over all the other actors in recent times as most of the others have gone into that zone of less work which puts pressure on the films for big numbers. But as Akshay Kumar has more films, there is not the pressure of doing 200 crore nett or 300 crore nett each time and he can even get away with a 100 crore nett film as long as the others do the better numbers.
There is no actor even in sight in 2019 after Akshay Kumar as the gap is so big. The next best is probably Hrithik Roshan but even there WAR was a two hero film and the credit goes 50-50 with Tiger Shroff. But the edge for the year has gone to Hrithik Roshan as his other release SUPER 30 did better than Tiger Shroff's other release STUDENT OF THE YEAR 2.
The other actor in contention for second spot is Ayushmann Khurana with two solo SUPER HIT films DREAM GIRL and BALA. But its actually a fight for 11th spot between Hrithik Roshan and Ayushmann Khurana as Akshay Kumar is actually 1-10 as far as 2019 goes. The records for Akshay Kumar in 2019 are as follows.
India Theatrical
Kesari - 151.87 crore
Mission Mangal - 192.67 crore
Housefull 4 - 205.60 crore
Good Newwz - 200 crore (expected)
TOTAL - 750.14 crore (The previous best was 510 crore by Salman Khan in 2015)
Worldwide Theatrical
Kesari - 203 crore
Mission Mangal - 277 crore
Housefull 4 - 293 crore
Good Newwz - 305 crore (expected)
TOTAL - 1078 crore (The first time that the 1000 crore mark has been broken and its unlikely to be broken many times. The previous best was 968 crore by Salman Khan in 2015)
Actors To Give 4 or more HITS In A Year
Dharmendra (1966, 1970, 1972, 1973, 1987)
Rajesh Khanna (1970, 1971)
Amitabh Bachchan (1977, 1978, 1981)
Akshay Kumar (1994, 2019)
Not much to say here as the other names means you are with the greats of all time and its very unlikely any contemporary of Akshay Kumar or a younger actor will join this elite list while Akshay Kumar may add another year. As mentioned above 3 HITS in a year happens but 4 is a rarity.
Television Ratings
2.0 (Hindi) - 1,65,13,000
Kesari - 1,56,66,000
Mission Mangal - 56,96,000
Housefull 4 - 2,15,42,000
TOTAL - 5,94,17,000 (Almost 6 crore impressions in television premieres in one year which is an insane number and could have been higher if Mission Mangal worked on television. Despite this it will be a huge record for anyone to break.)
The figures say it all and its a phenomenal year from all angles and there will be chances of a repeat next year
I want to keep deconstructing myself-Akshay Kumar
8:10 AM
After experiencing another fulfilling year, Akshay Kumar says he still follows only his heart; adds even now, he has the ‘same hunger and greed’ to do quality work
Prashant Singh (HINDUSTAN TIMES; December 30, 2019)
In 2017 and 2018, he had three releases. Although the number went up to four this year, what remained unchanged was Akshay Kumar’s hit ratio, as Kesari, Mission Mangal and Housefull 4 hit the bull’s eye even as Good Newwz opens on a very strong note. “I still feel nervous [before a new film’s release] and there’s a bit of anxiety, too, regarding what is going to happen. So, there’s some stress as well and always a small prayer for everything to go well,” says Akshay, as he readies for Sooryavanshi, Laxmmi Bomb, Bachchan Pandey and Prithviraj next year. Excerpts:
Like the past few years, you had multiple hits in 2019 as well.
For me, personally, it [the year] was the same [like any other]. Sometimes, four out of four films work. And at other times, the numbers fluctuate as well. Bas darr lagta hai kahin chaar mein kabhi zero naa ho jaaye (laughs).
After having achieved so much success, fame and money, has your definition of success and failure changed?
For me, the meaning of both the things still remain the same as it always was. It hasn’t changed even one degree. Even now, there’s the same hunger, greed for good work, and also a bit of insecurity. And it’s always revolving in my head. I guess, that’s what keeps me on my toes all the time, ke badhiya kaam karna hai aur mehnat karni hai.
In 2020, too, your filmography looks diverse and dissimilar. Is there any method behind the madness?
There’s no method behind the madness or astute planning as such. There’s only heart involved in it, and not the head. Dil se karta hoon jo bhi karta hoon. And by God’s grace, everything works out in a beautiful manner. Dil se jab aap kaam karte ho toh tukka bhi kabhi sahi baith jaata hai aur kabhi nahi baithta. I have always — from the start — worked from my heart. I also gave 16 flops so at that time, tukka, too, didn’t work. But I didn’t stop, and kept following my heart.
Many feel that your career took a new turn with Special 26 (2013). Now, as we get ready to enter 2020, do you feel it’s time for a redefinition?
According to me, the correct term isn’t ‘redefinition’. I want to keep deconstructing myself. Pehle banao phir todo, and that process should go on. The mantra is not to rely on the same construction. It’s just like the game [building blocks and construction sets] that kids play of constant construction and deconstruction.
Of late, most of your films seem to carry a message about some or the other issue…
Not really! What was the issue that we addressed in Housefull 4? There’s no ‘issue’ in Sooryavanshi. And which ‘issue’ are we addressing in Laxmmi Bomb. Aisa nahi hota; it’s not about the issue. It all depends on what’s the script like. If you like the script and screenplay, then you do it. Sometimes, you also encounter risky scripts. But if you are ready to take that leap of faith, then you should go ahead. My question is: ‘audience is ready, are you [as an actor]?’ If you are ready, then you convince the audience. Aap khud hi tayyar nahi ho, ya dar rahe ho, then how will you do it?
Now, as you get great reviews for your outing in Good Newwz — after the success of Housefull 4 — you seem to be always ready to play around with your comic avatar…
I love comedies. Vis-à-vis Housefull 4, I was absolutely ready for a slapstick comedy. I know a lot of critics panned it but I believe in slapstick [comedy] also because I know it has a separate audience. Uske liye main bhi tayyar tha. I did that film, including the song, Bala with absolute conviction, even though I knew that it’s foolish comedy because I know aise thode hi hota hai. It’s senseless for sure, but at the same time, it is fun too and also has a fan base. And you have to cater to everyone. Good Newwz, in comparison, has situational comedy because the incident happened in real life. It has been taken from a real incident and that’s one of the reasons why I took it up.
Recently, you also said that big names work with you only as a producer and not director…
I said it in jest but actually, that’s the reality (laughs).
At this stage, do you ever feel the pressure of the fact that so many people in the movie business – from exhibitors/distributors to spot boys – also depend/benefit from your films?
Main uss wajah se pressure nahi leta but pressure leta hoon ke bas film chal jaaye so that mera agla saal theek-thaak, acche se nikal jaayega. That’s the major pressure. See, [Hindi] film’s productions won’t stop. Logon ko kaam milna bandh nahi hona hai. If one Akshay Kumar goes away, there will still be 50 other films that would get made. On an average, 180 films are made every year, in Hindi. If I am not there, only four less films will get made. Baaki 176 toh phir bhi banti rahengi.
For the past few years, you have steadily maintained your work pace. Doesn’t it require a lot of effort from you?
Effort? Not at all! Do you know how long do I take to complete a film? Good Newwz, for instance, was completed in 32 days. Even if I take 40 days and multiply it by four films, it works out to 160 days. Out of 365 days, take out 160 days, and you are still left with almost 200 days. What would I do in those 200 days? I can maybe, do four more films (laughs) and still, would be left with 40 days. I am only talking about myself and not commenting about how other actors are working. But even a director like Shankar made 2.0 with me in just 38 days.
Clearly, you have developed some sort of a working system over the years…
It’s not about system. It’s all about the fact that you shouldn’t waste any time. If you [the lead star] come on time, the entire unit will also be on time. When you come late, everyone is like, ‘kya faayda, woh toh late aayega.’ So, you come late and then heroine too does the same and then other artistes also follow suit. Jahaan din mein teen scene shoot hone the, wahaan ek scene hota hai. Due to that, 40 din ka 120 din ho jaata hai. In Good Newwz, neither Kareena [Kapoor Khan] nor Kiara [Advani] worked for more than five to six hours. You don’t need more than 50 to 55 days for filmmaking, regardless of how big a film you are making. Tom Cruise took 55 days to complete Mission: Impossible. Usse bhi badi film bana rahe ho kya! It’s one of the most amazing action films ever. I feel if you do proper homework, then you can work very fast.
In Good Newwz, you teamed up with Kareena Kapoor Khan after many years. Do such castings help since you already know the other person?
I don’t know if it matters a lot because I have also worked with 18-19 new heroines in my career. It all depends on how you make a co-star feel or how comfortable and easy you make the other person feel. You should just be yourself and don’t get too attached to your stardom. I feel your stardom can be your own enemy as well. Maintain some distance from it and then, you can make everyone feel comfortable. That’s how you work with new directors and heroines as well.
You team up a lot with new directors, including the Good Newwz helmer, Raj Mehta. Do you find experienced ones boring, or is there another reason?
No, I don’t find the experienced ones boring (smiles). I just feel that new directors bring in fresh energy and plus, they have a lot of hunger, too. It’s a do-or-die situation for them. If I come across any good story/script from the experienced filmmakers and if they have the same hunger, I would readily work with them. If a good director – regardless of the experience – has great energy, why wouldn’t I team up with him/her?
Good Newwz is high on content, low on budget-Akshay Kumar
8:03 AM
Akshay Kumar is all excited to turn the year-end all goofy with his upcoming comedy drama that sees him opposite Kareena Kapoor Khan after a decade
Juhi Chakraborty (HINDUSTAN TIMES; November 25, 2019)
Akshay Kumar is one of the few actors who have successfully struck a fine balance between commercial and content-driven cinema. And his next, Good Newwz, offers both. With three back-to-back hits this year, the 52-year-old is looking to end 2019 on a high, with a comedy that is based on an in vitro fertilisation (IVF) goof-up. The film releases on December 27. Excerpts from the interview:
The trailer of Good Newwz has been received so well, did you anticipate such a response?
Actually, no. Nowadays, I don’t think you can really predict what clicks with the audience. Internally we all loved the trailer, but since you watch it so many times before it’s finalised, you tend to lose perspective. I’m glad and grateful that it’s doing so well. I believe it’s trending since it’s day of release. We know that we have a good film in hand, and it’s a simple film with a big goof-up which will make you a little teary but will mostly leave you in splits. Good Newwz is high on content, low on budget!
The trailer is hilarious, but at the same time it looks to be a meaningful comedy, not the regular kind we see in Bollywood. Your thoughts...
It reminds me of why I love humour and films so much. Good Newwz is such a well rounded balance of comedy, romance and drama — a mix that I think everyone loves to enjoy especially around Christmas and New Year. What I like about the film is that it doesn’t matter what happens, or how many lemons or whose lemons they are, love is what really matters, so make lemonade and stop fighting; what will be will be. A resolution I think everyone should try next year, less opinions of people and spread more love. Let positivity unfold…
The film tackles IVF in a way which has not been explored before. Whose idea was it?
Of course it’s director Raj Mehta’s vision, who is debuting with this brilliant story. He came to me with this script, when I was in the Himalayas shooting for Kesari, and I fell in love with it. Shooting for battle scenes all day, and then coming back and listening to this script felt light, something that I needed at the time. So if that’s how I felt, I’m sure it will give others just as much happiness as it gave me.
Is this film an effort to make people more aware of IVF?
Absolutely, I think IVF, adoption, are incredible miracles of giving and creating life for others. There’s so much that can be done nowadays. I pray this film gives hope to those who need it. Women have fought long and hard for their rightful stand in workplace; now there isn’t a biological rush to conceive right after marriage. Of course a healthy age is encouraged, but women can now enjoy their careers knowing that when they think the time is right, science can help them become mothers — if stress, fertility or time is a factor.
How did you research on the subject? Did you find anything new?
For my films, I like to follow my gut and heart, but with subjects like Pad Man (2018), Mission Mangal, and now Good Newwz, one must learn about the background, and not because of the role, but out of respect for the subject. Worldwide there are over 8 million successful IVF babies born and still counting. Our film may be based on a goof-up, but like many others, I believe awareness begins with humour. That’s why satire is admired and comedians help to generate awareness of almost all subjects. Though the movie is based on a goof up, the moral behind it is that love conquers all, and it will for eternity.
For many couples, IVF is a new ray of hope to become parents. But it is a costly procedure. Do you think there is a way to make it more accessible?
Unfortunately this is where my power ends. I can’t control the expense of science, I can give people hope, and donations, and spread awareness, but I sadly can’t do everything. But there are grants, and loans that can help those in need, couples must research as much as possible about reputable clinics and organisations before going through anything. As much as I wish the creation of life was free, this procedure takes a lot of expertise in specifically-controlled environments. The price of life is unfortunately out of my hands.
You have always associated yourself with content-driven cinema which has a direct impact on the society. Is it a challenge for you to identify or find such scripts?
I wouldn’t say I’ve always associated myself with meaningful cinema. It wasn’t a long time ago that I was portrayed as an action hero and was told to stick to my day job. But, with perseverance and patience, the time came where I could extend my want to do more in this industry. It took a lot of courage, because no matter how good a script is, if the audience isn’t ready, your good intention will pass. As much as I love action, using comedy for social messages is fulfilling. I guess, I’ve grown as much as my audience has, and this is where I believe the change starts. I think everyone has the power to create greatness.
You and Kareena Kapoor Khan are coming back on screen almost after a decade. How was it to reunite with her?
Making movies with Bebo is like going on a wild picnic. She is fabulous at everything she does. Even when she goofs up, Kareena is enigmatic. With sound of one clap, she switches from being a mummy, friend and co-star to a professional queen of cinema. I know fans have been waiting for us to reunite, and nothing could be more perfect than this film for both of us, right now!
War is the biggest single screen grosser of 2019
8:18 AM
Box Office India Trade Network
WAR is the top single screen grosser with almost 75 crore nett while SAAHO (Hindi) has the highest ratio of single screen business against the multiplex business and both have one thing in common and that is action. The big difference being that War had a star cast while SAAHO (Hindi) was a film from the South and worked for the action only.
The single screen has been coming down for years as they slowly shut down while others get converted into twin screens. But the single screens business is still a sign of stardom for the actors involved and also the reach of the film where the higher the business means the film has reached a larger audience. There are four films in the history of Hindi cinema that have crossed the 100 crore nett mark in single screens and they are BAJRANGI BHAIJAAN, SULTAN, BAAHUBALI 2: THE CONCLUSION and TIGER ZINDA HAI. BAAHUBALI 2: THE CONCLUSION a is among the greatest BLOCKBUSTERS ever and the other three are Salman Khan starrers and its this pull which makes him the top star at this time.
The top ten NETT grossers at single screens across India in 2019 are as follows.
1. War - 74,72,00,000 (28 days)
2. Kabir Singh - 54,82,00,000
3. Bharat - 53,29,00,000
4. Housefull 4 - 44,56,00,000 (17 days)
5. Saaho (Hindi) - 43,89,00,000
6.Total Dhamaal - 38,93,00,000
7. Mission Mangal - 33,15,00,000
8. Kesari - 29,05,00,000
9. Uri - The Surgical Strike - 27,94,00,000
10. Super 30 - 20,17,00,000
I’ve not understood this beast called Bollywood-Randeep Hooda
7:58 AM
Itishree Misra (BOMBAY TIMES; November 12, 2019)
The past few years may have been disappointing for actor Randeep Hooda professionally, but a more calm and confident person has emerged from it. The actor has been actively involved in social work and when asked about it, he says, “You have to go out in the world to feed the actor within you. And I feel that when I do something for the greater good, which is not personally or directly connected to me, I feel better about myself because I think there is this sense of contribution.”
He is now armed with several acting projects, including a film with Salman Khan and another with Hollywood hearthrob Chris Hemsworth. The Highway actor, who has just completed Love Aaj Kal 2 with Imtiaz Ali, says he is in a better space than he was when he had said ‘no’ to a lot of projects while prepping for his role of Havildar Ishar Singh for the film Battle Of Saragarhi. The film never got made, and the role was later played by Akshay Kumar in a different film, Kesari.
Talking about it, Randeep tells us, “It is not disappointing, rather it was a life-changing experience. I grew my hair and beard and I did it for my own satisfaction, and to test my own boundaries. Look, everybody wants recognition and the fact people are talking about it is recognition in itself. I know where I lacked and if given a chance, I will try and improve upon those things. So, it wasn’t disappointing that the film never got made, it has added to my personality immensely.”
Ask him if Bollywood has started taking note of him more now, and the actor laughingly says, “To be honest, I’ve really not understood this beast called Bollywood. I’ve been working in different kinds of films with different kinds of people. From an absolute commercial pot-boiler like Kick to a Sarbjit to doing a Bombay Talkies or even a Charles, I’ve worked with all kinds of people and have enjoyed each experience. Many successful and experienced people in the industry have told me that I shouldn’t change my look too often but I did just that. In the last 14-15 years, I’ve loved what I’ve done. If one says that Bollywood has started to notice me... well, it’s high time!”
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