Showing posts with label Khuda Haafiz. Show all posts
Showing posts with label Khuda Haafiz. Show all posts
I will fight for my daughter’s Indian nationality and custody-Faruk Kabir
7:22 PM
Neha Maheshwri (BOMBAY TIMES; January 8, 2024)
Filmmaker Faruk Kabir had hoped for a happily ever after when he married Shoksanam, a 20-year-old Uzbekistan national, in December 2022 in Delhi. A year later, his marriage has taken an ugly turn. The ‘Khuda Haafiz’ director says that his wife fled from Mumbai with their newly born daughter Aarya Fiza Kabir, her parents (Dilfuza Gaipov and Tejas Khanna alias Muhammad Ali), and her brothers on December 20.
Faruk promptly filed a habeas corpus plea with the Bombay High Court on December 26. Swift action from law enforcement resulted in stopping them from leaving the country. They were traced in Amritsar, following which the baby girl, Shoksanam, and her mother were brought back to Mumbai.
‘I couldn’t stop crying while cradling my daughter’
After 11 days of running from pillar to post, Faruk finally held his baby girl on New Year’s Eve. He shares, “I couldn’t stop crying while cradling her. My daughter was with me for about half an hour before she was taken away along with Sanam, and her family by the Versova police. While Tejas Khanna is still at large, the rest are out on conditional bail, prohibiting them from leaving the city.”
‘I didn’t marry and relocate. Sanam moved to India with me’
The habeas corpus petition is listed to be heard on January 16. The filmmaker plans to appeal for the right to see his daughter, spend a few hours with her a day, and get her Aadhaar card and Indian passport. “Aarya is a citizen of India by birth and ensuring she gets the nationality she belongs to is my fight. I didn’t marry and relocate. Sanam moved to India to live with me,” he exclaims.
‘Sanam’s family wanted our daughter to have an Uzbekistan birth certificate’
Ask him what led to this unexpected turn of events, and Faruk replies, “It was a happy marriage until our daughter was born. I was informed that Sanam’s mother and her stepfather wanted our daughter to have a birth certificate from Uzbekistan. I was baffled because Aarya was born here. I tried to reason with them, but they were adamant about obtaining Uzbekistan nationality for her. Sanam argued that, as a Muslim, she felt unsafe here, but I thought it was an excuse. I am a Muslim and have never faced any discrimination in my country.”
“Now, when I look back, I realise it was all part of a plan, even the marriage. It is a classic case of baby trapping. They thought they would be able to escape with my baby and continue tormenting me. However, I am not going to be silent because I have nothing to hide,” he retorts.
How Faruk and Sanam met
Faruk met Sanam in 2019 while he was shooting in Uzbekistan. He recounts, “My ‘Khuda Haafiz’ (2019) crew hired Sanam’s parents as interpreters. In 2022, I revisited Uzbekistan. Her family got in touch with me again, and Sanam and I discussed a potential future together.”
‘They were planning to escape to Uzbekistan with my child’
He believes Sanam was influenced by her parents when she travelled to Uzbekistan in July 2023. Sanam’s parents and her brothers came to India to stay with her 15 days before her delivery. He recounts, “My baby was born on November 29, and by December 9, Sanam’s stepfather had procured an emergency travel card for her that read, ‘Return to Uzbekistan’. How can she return to a country she doesn’t belong to? Besides, I had not given consent for that, which means that possibly a forged undertaking or NOC with my fake signature was likely presented to the officials. Fortunately, the FRRO (Foreign Regional Registration Offices) asked them to produce a copy of the electricity bill, which they couldn’t, thwarting their plan of escaping to Uzbekistan with my child overnight.”
‘I want my daughter with me’
While it appears to be a long-winding legal journey ahead, Faruk is ready for it. He asserts, “I know this is the beginning of a long battle. Now that my baby has been found, I want her to be with me. I also hope the police will act on my complaint for forgery, impersonation, and identity theft, filed on December 16. I will go to the courts to fight for my daughter’s custody and demand the issuance of her Indian passport and Aadhaar card, which is her right.”
Police Speak
Senior PI Crime Branch Zone 9 (Mumbai), Daya Nayak tells us, “The crime branch conducted a parallel investigation and traced the complainant’s (Faruk Kabir's) daughter, wife, and family in Amritsar. We fulfilled our duty by bringing them back to Mumbai. He had also filed a habeas corpus plea with the Bombay High Court, which instructed us to produce the child, his wife, and her family. Additionally, a complaint was lodged with the Versova Police by him, accusing the wife and her family of obtaining a travel document for the child without the father’s consent and theft. The case will be further investigated by the Versova police.”
Ganesh Pawar, Senior PI of Versova Police Station, states, “The daughter, wife, and her family are currently residing separately under our surveillance, and we have seized their travel documents. The habeas corpus plea is scheduled for a hearing before the Bombay High Court on January 16, and we will adhere to its directives.”
Khuda Haafiz director Faruk Kabir's wife and mom-in-law, who fled with baby, held
8:20 AM
Ahmed Ali (THE TIMES OF INDIA; January 1, 2024)
Mumbai: The crime branch has arrested the estranged wife and mother-in-law of filmmaker Faruk Kabir on charges of ‘stealing’ his newborn daughter and trying to flee the country. They also rescued the baby.
On December 21, Kabir, the director of ‘Khuda Haafiz’, lodged an FIR with Versova police station against his wife Sanam, an Uzbekistan national, her mother Dilfuza and her stepfather Tejas Khanna.
“Inspector Daya Nayak and his team traced Sanam alias Shoksanam, Dilfuza and the baby to Amritsar. They brought them to Mumbai and handed them over to the Versova police for further investigation,” deputy commissioner of police (crime) Raj Tilak Raushan said. A search is still on for Khanna, a police officer said.
Kabir and Sanam got married in Uzbekistan last year and had been living in India since then. Problems arose in December when after the delivery of their daughter, Sanam and her parents insisted on getting Uzbek nationality for her.
Faruk, in his complaint to the Versova police, had alleged that Khanna tried to pressurize the hospital staff to mention Uzbekistan as the newborn’s nationality. He had further alleged that his wife and her parents fled with the baby, along with the latter's birth certificate and other documents and gold ornaments worth Rs 7 lakh.
Kabir had also filed a habeas corpus in the Bombay High Court to produce his daughter and allow her to stay with him. Versova police, in its reply to the court, had said that they have traced Sanam to Amritsar and they have notified the Foreign Regional Registration Office about the matter. The court had then directed the police to take necessary steps.
Vidyut Jammwal was would not even take phone calls during those 12 hours on the set-Faruk Kabir
8:35 AM
Rachana Dubey (BOMBAY TIMES; July 9, 2022)
As a director, who enjoys a peaceful, slow process of writing films, Faruk Kabir barely had the time to create a new world for Khuda Haafiz, Khuda Haafiz Chapter 2 - Agni Pariksha. In a conversation, the filmmaker takes us through the journey of the emotional-action drama starring Vidyut Jammwal and Shivaleeka Oberoi as a couple searching for their missing daughter. Excerpts from our chat:
You conceived Khuda Haafiz Chapter Two Agni Pariksha and took it on the floors in a matter of months after the first chapter was streamed on an OTT platform. What kind of planning went into making a film soon after the first part was released?
I wrote this film over a span of 10 months, and even during that process, I had offers from other very senior producers to direct content for them. However, for me, this movie was extremely important. Writing is not a simple job, and I cannot hire someone else to do it for me.
I respect and nurture the writing process. It is a scary process; it’s like walking on eggshells, you can go overboard and lose track of things. You have to cut out the noise. With every passing piece, you have to strive to get better. With a sequel, a story has to move forward. It can’t be a mere extension of the previous film.
Before producers Kumar Mangat Pathak and Abhishek Pathak approached you, did the thought of making the second chapter cross your mind?
I could see the germ of part two when I was working on Khuda Haafiz, but I’m not one of those vain people to start imagining a sequel before the first film has even reached its audience. In my mind, I always wanted to know what happens when they return to India, how their love story shapes up with all the baggage that they’re carrying — the fact that she was pushed into the flesh trade and that they had to endure extreme situations to get back together and so on. Two years ago, I wanted to know how society reacts to them, whether they find acceptance, their pressures and their own sense of intimacy towards each other. I created the rest of it when Kumar Mangat ji told me that we were making part two.
What have you tried to explore with this film?
For starters, it’s a deeper and more intense story than part one, which is mildly evident in the trailer of the film. There are more layers to the character that Vidyut and Shivaleeka are playing. They have also done a lot to get back into the spaces of their characters. This is a film they had to come prepared for on the set. They had to understand the text and the subtext, why they’re saying certain things and how they’re saying it. The idea has always been to create a plausible reality. The material is relatable and something that is meant for Indians to watch. Women should see it for sure. The relationship between the husband and the wife and even adoption and mental health are strong themes in the film. I would call this an emotional, family, action-drama where the trigger for the action is emotions.
Did you approach both the films differently, given that the first part was consumed by an audience sitting at home on an OTT platform, while the second part is a theatrical release?
Today, the industry is still trying to understand the manner in which the audience has been reacting to films. I agree that the audience is different, and it is a challenging thought to work on. Yes, it has crossed my mind several times — would a larger audience, or the same audience that saw part one in their homes, go to the theatres for the second part. I believe in the energy of this film, in Vidyut and the power of the sheer word-of-mouth that can create magic. Once some important people sample the content, and it resonates with them, word will catch on. I am banking on Vidyut, the emotions that trigger the action and the good sense of the audience that loves performances and a great story presented at the right scale. From what I have observed, good content has to be backed by the correct scale. Theatres are up and running after two years, and the cinematic experience has to be far more pronounced than the pre-pandemic standards. Today, there is no pundit who can predict whether something will work 100 per cent, but Vidyut and I are confident that anyone who decides to watch the film will come back liking it. We have this faith; we’re not overconfident.
You share a great bond with Vidyut. He has often spoken well about you as a friend as well as a filmmaker. How do the demands of the professional space play out between the two of you?
Vidyut shows a lot of love and trust, and I value it. When an actor and a director become friends, some people want that partnership, that bond to break. We know of it and we exchange notes all the time. There is no reason why we became friends. My father passed away a few days before we went to shoot in Uzbekistan, and he took such good care of me during that time. We have a very natural and organic friendship, which has no professional bindings. I have to hand it to Vidyut for also leading from the front when it came to avoiding distractions while shooting for the film. He was disciplined, focussed and away from all the chatter... not even phone calls during those 12 hours on the set!
Is Khuda Haafiz Chapter Three already on your mind?
If it has to happen, it definitely won’t happen as soon as this one. It will take some time. I now intend to focus on some other stories that I have been working on. There’s one that Suriya sir (South actor) has liked. There’s another one that is a contemporary resonance that I intend to direct, and of course, I would love to continue working with Vidyut.
(Crisp) Movie Review: KHUDA HAAFIZ CHAPTER 2 - AGNI PARIKSHA by FENIL SETA
2:24 PM
Khuda Haafiz Chapter 2 - Agni Pariksha has a routine story. The director does a superb build-up by introducing menacing characters and giving solid grounds to the protagonist to go and take revenge. But once the revenge begins, it turns into a predictable fare. The first film had a good twist in the second half. Here, there are no twists and moreover, the makers make a mockery out of the villains as they get eliminated fairly easily. Lastly, the action is very disturbing. We have seen blood and gore in several films and it’s a sub-genre in itself. But in this film, the bloodshed and savagery go to another level in a few scenes. Vidyut Jammwal puts his best foot forward. Shivaleeka Oberoi has a challenging part and handles it sensitively. Sadly, she has nothing much to do after a point. Sheeba Chaddha is menacing and does full justice. She is, however, let down by the writing. The same goes for Dibyendu Bhattacharya. Riddhi Sharma is cute while Bodhisattva Sharma (Bacchu Thakur) is decent in the negative role. Rajesh Tailang plays a character, inspired by Ravish Kumar, and is excellent. Rukhsar Rahman (Dr Roshni Acharya) is lovely. Danish Hussain (Talha Ansari; Sameer's cellmate in the prison), Bachchan Pachehra (Shivram, Ice-cream seller) and Satish Sharma (Inspector Amit Tyagi) are fair. Monica Sharma (Kalki) plays an interesting part and is decent. All in all, Khuda Haafiz Chapter 2 - Agni Pariksha disappoints due to the gore and predictable and unexciting happenings, post-interval.
My rating - ** out of 5!
I had started the first film with a different actor-Faruk Kabir
8:30 AM
Ready with Khuda Haafiz 2, director Kabir discusses how Vidyut stepped in to front the action franchise after first-choice actor left the project
Mohar Basu (MID-DAY; July 8, 2022)
When writer-director Faruk Kabir shot the climax of Khuda Haafiz (2020) that saw Vidyut Jammwal’s character rescue his wife who was abducted and forced into human trafficking, he knew that the love story between the lead characters was only beginning. Soon after the film’s release, the director sat down to write Khuda Haafiz Chapter 2 - Agni Pariksha. “That incident changed them. The wife was raped, and had unimaginable trauma. Vidyut’s character doesn’t know how to reach out to her. Their relationship can’t be normal. I knew that could be the starting point of this story,” recounts Kabir.
What followed was 10 months of rigorous writing, as he gave Sameer and Nargis — essayed by Jammwal and Shivaleeka Oberoi respectively — a new journey. The latest release sees the couple put the ghosts of the past behind them and begin anew as they adopt a daughter. It took the filmmaker a while to zero in on the right story for the sequel.
“As an artiste, you can’t plateau while making a sequel. You should be telling a better and more sensitive story. I needed to nurture the story. I am confident that women will like this film.”
In Jammwal, Kabir says he has found the perfect leading man and a friend. He reveals that the actor was not the first choice for Khuda Haafiz. “The film chose him,” he smiles, before adding, “I had started the first film with a different actor. We shot for a few days, and it didn’t work out. I came back home and told my mother, ‘This isn’t meant to be.’ Then Vidyut came along, and I understood how this movie was meant to be with him.”
He credits the actor for bringing the character alive on screen. “He doesn’t speak much in the film, but he has internalized [the pain]. Vidyut and I spoke about personal things to dig [into the nuances] of relationships. He understands quickly and adds the right nuances. People will see a tectonic shift in him. I realized this during the shoot of an emotional scene, when he fainted after completing it.”
Today, actors want to match the bar I have set in the action genre-Vidyut Jammwal
8:23 AM
Onkar Kulkarni (BOMBAY TIMES; July 7, 2022)
He has won acclaim as an action hero not just in Bollywood, but globally. Someone who grew up training in martial arts, Vidyut Jammwal indeed has flaunted his mastery in this sphere many times over. While he has entertained the audience with high-octane stunts in his earlier films, in his next film, Khuda Haafiz Chapter 2 - Agni Pariksha, he promises that he’s going to move the viewers emotionally, too. In a conversation with BT, Vidyut talks about how he continues to push the envelope in the action genre, why he decided to turn producer and giving a chance to new talent. Excerpts:
How did the idea of Khuda Haafiz Chapter 2 - Agni Pariksha crop up, considering Khuda Haafiz was inspired by true events and it did conclude like the real story of the couple?
Khuda Haafiz saw a happy ending with the protagonist rescuing his kidnapped wife from the fresh traders and bringing her back. One fine evening, Faruk (Kabir, director), who was in touch with the couple, told me that it isn’t as easy as it looks for them. The woman, who went through a tough time after being kidnapped, continues to battle trauma as she struggles to lead a normal life here.
Some people judge her. So, she ends up switching her job constantly. Her husband, too, is facing trying times as he is also judged. Faruk told me that the couple is indeed going through an agni pariksha where people have sympathy for them, but they are not letting them be. He asked me, ‘Why don’t we make a story about what really happens after a happy ending?’
Your films are known to be action oriented, but this time around, given the emotional angle, it seems there is ample scope for you to show your acting skills?
From action to emotions, I have taken everything a notch higher in this project. Everything that I have learnt in the last 11 years, I have put it all to use in the movie. Not only acting, but I also invested my interests in other departments of filmmaking. Along with the team, I shared my thoughts on the music for the film. I have always loved Sufi music and we have three amazing Sufi songs in this film. I have also choreographed action stunts in this film.
Through your journey of 11 years, where you have largely done action films, do you feel the need to constantly reinvent yourself as an action hero to hold the audience’s interest with new stunts and moves?
I have been training in mixed martial arts for many years, and I am constantly thinking about new situations and moves that I could include in my films. I am just trained for it. This thought process is always on. The one thing I cannot imagine is getting hit by someone. In fact, when Faruk first came to me for Khuda Haafiz, I could not relate to the character as he is someone who gets hit. I am someone who can’t get hit in real life and even in reel life. But then, the way he narrated the story and the emotional angle, it made me think ki chalo screen pe maar kha hi lete hai (laughs!).
You launched your own production house this year. What kind of content do you want to back?
My number one motive is to work with the talented bunch of people who I have come across in the last 11 years. There are a few who are talented and still waiting for an opportunity. I want to be a part of their journey. Jahan talent dikhega mujhe, mujhe unke saath kaam karna hai. The first project I am making is IB 71. I am collaborating with Sankalp Reddy (director), whose work I have watched before. A few people told me that he’s arrogant, but I wanted to form my own opinion and reached out to him. I realized that he isn’t arrogant, but quiet and keeps to himself. I just want to work with such people, who I genuinely believe in, even if nobody else does. As an actor, when I started off, I worked towards finding my tribe. You need to find your tribe. It takes a while. It isn’t too difficult an industry to be in. People talk about these never-ending struggle stories… haan, thoda samay lagta hai to find people who believe in you. So, Faruk and all the people that I have collaborated with in the last 11 years are a part of my tribe. I don’t know if I am getting my due in Bollywood, but whatever I am getting here is all on my own.
You have been an action star for 11 years. Do you want to explore genres that are drastically different?
I am one of the top martial artists in the world. I represent our country internationally. Ab achanak one day I can’t get up and take a plunge into something else na. I have changed the way India sees action as a genre. Before me, and I say it with great pride, there was nobody who would do real action… everybody was using harnesses, stunt doubles etc. I have raised the bar, and today there are actors who want to match that and be a part of the action genre. I am happy that India is churning out great action movies. Talking about doing something different, Khuda Haafiz gave me that opportunity to go beyond as the role is high on emotion too. I don’t see myself following a pattern for sure. My formula is simple, you find talent and you work with them. They don’t necessarily have to be the ones who are the biggest in the industry today.
During my stint as an assistant director, I got to learn a lot from Salman Khan sir and Akshay Kumar-Shivaleeka Oberoi
8:21 AM
Onkar Kulkarni (BOMBAY TIMES; July 6, 2022)
Shivaleeka Oberoi is glad that so early in her career she has been able to play the complex part of Nargis Chaudhary in the Khuda Haafiz franchise. The actress who stars opposite Vidyut Jammwal is excited that Khuda Haafiz Chapter 2 - Agni Pariksha will release in theatres this Friday. In a chat with Bombay Times, she opens up about her film choices, recollects her days working as an assistant director and why her family wasn’t too keen on her pursuing a career in Bollywood. Excerpts:
It was quite a happy ending for your character, Nargis in Khuda Haafiz, who is rescued by her husband from the flesh trade. What’s in store this time around in the film’s sequel?
Khuda Haafiz: Chapter 2 Agni Pariksha will showcase a new side of Nargis. In the previous part, people saw a girl-next-door who had to face difficult situations. Those situations changed her as a person. Now, you get to see Nargis 2. 0. This time around she is a warrior. It’s quite an intense role and it has been physically and mentally exhausting for me to play Nargis on screen.
Wasn’t it tough to portray such an emotionally challenging part very early on in your career?
It isn’t an easy character to play. You have to balance out her innocence with her strength, especially given the fact that she dealt with so much. It has changed me as a person in a lot of ways. It has really pushed me as an actor. I play a mother in the film, which is something that a lot of actresses refrain from doing at the beginning of their career. I wasn’t worried about it because it did justice to my character. Shooting with a child artiste is not easy as you have to make them feel comfortable. Also, my sister has twins and I have enjoyed being around them.
You began in showbiz as an assistant director working on two out-and-out commercial films like Kick (2014) and Housefull 3 (2016). What kind of films do you want to be associated with as an actor?
I am happy that challenging roles in content-driven films have come my way, now I am waiting for something massy and commercial to come my way. I want to do a romantic comedy, or a mushy romantic film. I am glad that at the start of my career I got moulded by people like Faruk Kabir sir and Vidyut Jammwal. During my stint as an assistant director, I got to learn so much from Salman Khan sir and Akshay Kumar sir. In fact, recently when I met them, they met me like we have known each other for years. I worked hard as an AD too. People think jo actors banne aate hai, woh as AD set pe kuch bhi kaam nahi karte. But that’s not true. I used to give the clap, call the actors when the set was ready and make call sheets. I learnt a lot about facing the camera, how lighting works on set and more
such details.
Your grandfather, Mahavir Oberoi, was a producer; did coming from a film related background help you pursue a career in showbiz?
On the contrary, because of that, my family did not want me to pursue a career in showbiz. I could never meet my grandfather. My father was 16 years old when my grandfather passed away. My grandfather had produced just one film Sheba And Hercules (1967) and passed away while working on his second production. My father has seen my grandfather struggle as a producer. He has seen the kind of stress one goes through and the unpredictable nature of this business. My father was never into movies. My mother comes from an academic background and she wanted me to focus on my studies. My sister studied law and I was studying fashion design. There was an acting school close by and I wanted to join that out of curiosity. I convinced my mother to allow me to train as an actor and also started doing auditions. My mother gave me a window of two years to get a job as an actor, if I couldn’t do that I was supposed to pursue my masters. Luckily, things worked out for me, and here I am today.
Coolie No 1 scores very well on satellite
8:21 AM
Box Office India Trade Network
COOLIE NO 1 has scored very well on satellite as it clocked up 1 crore plus impressions on its premiere. If it holds in subsequent screenings, it will emerge a HIT film on satellite. The film also scored on OTT as it recorded the best numbers outside LAXMII for OTT premieres. The satellite numbers have followed a similar pattern showing its a similar audience as far as home viewing goes.
Like LAXMII, this film also saw huge negativity on social media and the media in general when it was released but even after all this, the audience still turned up to its first screening on satellite. The satellite results of LAXMII and COOLIE NO 1 again reiterates the importance of the box office as that is the actual results and not what is said.
The satellite numbers of COOLIE NO 1 are around 60% better than the last release of Varun Dhawan STREET DANCER which had a fair performance on satellite. COOLIE NO 1 also become one of the 25 odd films in the last five years to top the 1 crore impressions mark on its premiere.
The top premieres on television since the pandemic started in March 2020 are as follows. The numbers are impressions which are the number of television sets viewing the film.
1. Laxmii - 2,51,44,000
2. War - 2,12,25,000
3. Tanhaji: The unsung Warrior - 1,38,40,000
4. Baaghi 3 - 1,29,06,000
5. Coolie No 1 - 1,00,91,000
WAR was a 2019 release and the other four films - TANHAJI: THE UNSUNG WARRIOR, BAAGHI 3, LAXMII and COOLIE NO 1 - are the only four successes in over one year when the pandemic hit. Another film that can be noted as a minor success is KHUDA HAAFIZ while DIL BECHARA did well on OTT but tanked horribly on satellite.
Khuda Haafiz is decent on satellite; Gunjan Saxena mediocre; Sholay is INSANE
8:37 AM
Box Office India Trade Network
KHUDA HAAFIZ which was released on Disney+ Hotstar in August and was one
of the very few OTT successes of the year along with LAXMII, COOLIE NO 1 and DIL BECHARA. It has reiterated with success on satellite as it racked up almost 55 lakh
impressions. It's success is not at the level of COMMANDO 3 which also
featured the same actor Vidyut Jammwal but 10 lakh views on OTT on
release and 55 lakh impressions on satellite release are decent results
especially in this horrible year.
GUNJAN SAXENA - THE KARGIL GIRL which also released in August on Netflix
in had mediocre results on satellite as it recorded 31.5 lakh
impressions on release. This is 42% less than KHUDA HAAFIZ. Although
its actually better than DIL BECHARA, but that's not saying much as DIL BECHARA was not much of a film and its OTT success was mainly as the
release was post the death of its lead actor Sushant Singh Rajput. The
numbers of GUNJAN SAXENA - THE KARGIL GIRL on satellite means its
pretty much lights out for the film in the long run.
The biggest BLOCKBUSTER ever in Indian cinema SHOLAY (1975) again showed
the force it is still today as it racked up almost 45 lakh impressions.
This is 45 years after release and the audience still cant get enough
of the epic. Its the greatest example of critics mouth saying one thing
and the paying public doing exactly the opposite. The pocket never lies
but words coming out of mouths of critics are usually lack of knowledge
on films or lies and there is no bigger proof of that than SHOLAY.
Verdicts and classification 2020
9:02 AM
Box Office India Trade Network
The year has been a disaster due to the pandemic as it saw just one
HIT film with TANHAJI: THE UNSUNG WARRIOR. This is the worst return
ever with the previous worst being 2002 which saw 4 HITS (RAAZ, DEVDAS, SAATHIYA and EK CHHOTISI LOVE STORY). Obviously 2002 was bad because
many films did not work while 2020 was an enforced bad year due to
covid.
There were films that found an audience when theatres were shut but whether these were Average, Hit or Super Hit that is impossible to tell as there was no box office. So for these films all we can label them is with success tag which means the year saw one blockbuster and a handful of successes.
BLOCKBUSTER
There were films that found an audience when theatres were shut but whether these were Average, Hit or Super Hit that is impossible to tell as there was no box office. So for these films all we can label them is with success tag which means the year saw one blockbuster and a handful of successes.
BLOCKBUSTER
TANHAJI: THE UNSUNG WARRIOR released in January scored heavily at the box office and also recorded very good numbers on satellite. No doubt the results would have been very good on digital as well. The film created history in Maharashta by grossing over 100 crore nett in the state becoming only the second film to do so after BAAHUBALI 2: THE CONCLUSION. The film is not just the biggest HIT in Maharashtra this year but one of the biggest of all times. In Mumbai circuit (which includes Gujarat) the film did 143 crore nett while films like PK, DANGAL and EK THA TIGER stand at around 103-104 crore nett.
SUCCESSES
BAAGHI 3 was released in March and had a seven day run across India and then another 3-4 days in some circuits as the pandemic hit and cinemas start to shut down. The film grossed 92 cr with most of that coming in week one but even here the collections would have been affected by covid as talk of lockdowns had started. The film proved to the biggest HIT on television of 2020 beating TANHAJI: THE UNSUNG WARRIOR which confirmed that the film would have easily done higher numbers if it was released earlier in the year rather than March.
DIL BECHARA saw a digital release on Disney+ Hotstar in July and scored with record numbers at that time as it hit 22 lakh concurrent views on release. The film found an audience as it released after the death of the lead actor of the film Sushant Singh Rajput and the death was news at that time. The film would probably have not done well was it not for the death as a few months later the film fared very badly on satellite when the death was not main news. But the fact is on release, it found an audience for whatever reason and that qualifies for some sort of success.
LAXMII saw a digital release on Disney+ Hotstar in November and smashed all digital records outside cricket as it recorded 37 lakh concurrent views on release. The film had seen huge negativity since the trailer released but this did not stop the audience turning up in huge numbers to watch the film. The film would have seen very good numbers in the Maharashtra/Gujarat belt especially if it had a normal theatrical release on Diwali. North may have been a different story as there it would be depending just on Akshay Kumar star presence as the content would have held little appeal there.
COOLIE NO 1 saw a digital release on Amazon Prime and became the top show on Amazon Prime on Christmas. The concurrent views on release are not known but a fair bet could be in the 30 lakh region. The film though was watched in a record 3500 plus cities across India which is a record. Although Amazon Prime is second to Disney+ Hotstar in terms of subscribers it may have a wider reach with subscription in more cities due to more regional content which has led to the huge reach of COOLIE NO 1. Again like LAXMII, this film saw huge negativity but still it found a huge audience to emerge a success. The film also fared well Overseas as far as Indian content goes on Amazon Prime. But Overseas is all about face value and this would be the first time that Amazon premiered anything with face value for the NRI diaspora.
BELOW AVERAGE (These cant be called successes but are also probably cant be called FLOPS especially in such a bad year)
MALANG released in February and grossed a fair 58 crore nett. Sattellite was not too good though.
SHUBH MANGAL ZYADA SAAVDHAN released in February grossed a fair 59 crore nett and saw mediocre results on television.
KHUDA HAAFIZ released in August on Disney+ Hotstar and saw decent results of 10 lakh plus concurrent views on release.
The year saw a lot of negativity for the film industry in the digital world but the actual audience is very smart and will watch what they want irrespective of what is being said. People can praise things by words into the skies but still no audience and others can be trashed like anything but the paying public will still watch if they really want to.
Khuda Haafiz sequel's working title is Khuda Haafiz: Ek Agnipariksha; to be filmed in May-end
8:00 AM
Khuda Haafiz director reveals the second instalment in offing; says Vidyut Jammwal's character will rise above tragedy to take the story forward
Mohar Basu (MID-DAY; December 16, 2020)
The climax of Khuda Haafiz saw Vidyut Jammwal's Sameer rescue wife Nargis, who was abducted and forced into human trafficking. The film's final moments left writer-director Faruk Kabir wondering whether the newly-weds would be able to put the ghosts of the past behind them and rise above the tragedy. Intrigued, Kabir began writing the second instalment soon after the action drama's digital premiere in August.
"The real challenge starts after Sameer rescued Nargis in Oman. Can he make his peace with the fact that she was raped? Will she be able to accept him? There is a strong emotional potency in the story. The agnipariksha cannot be skewed towards one gender; this couple faces it together," says the director over phone.
The working title of the second edition is Khuda Haafiz: Ek Agnipariksha. Dedicating another two months to developing the script, Kabir is eyeing to kick off the prep in March. "In this outing, Vidyut's character will reach the stage of unconditional love for his wife. I had told Vidyut about the sequel while prepping for Khuda Haafiz. We will hopefully be shoot-ready by May-end." The drama will be filmed in Lucknow and overseas.
It's not easy to maintain the plot's emotional core while catering to Jammwal's fans, who lap up his stunts. "Vidyut and I had discussed whether we should stay honest to the story or cater to his fanbase. The latter is easy, but it will end up convoluting the story. Neither of us wanted that."
The story of Sameer and Nargis remained unfinished in Khuda Haafiz-Faruk Kabir
8:05 AM
Faruk Kabir will carry the journey of the real-life couple forward in a sequel with Vidyut Jammwal and Shivaleeka Oberoi; film expected to roll in April 2021
Akash Bhatnagar (MUMBAI MIRROR; November 19, 2020)
Soon after the film’s release, the makers announced Khuda Haafiz: Chapter 2. Faruk admits that the idea of a sequel had always been on his mind. “I felt that the story of Sameer and Nargis remained unfinished at the end of Part 1, but at that time, I thought it would be preposterous to suggest a sequel. I’d once shared the idea with Vidyut vaguely, just so his imagination could take flight. Post the success of the film, Kumar ji (Kumar Mangat, producer) was eager I carry the journey forward,” he reveals.
Khuda Haafiz was inspired by the real-life story of a newlywed couple. Sameer and Nargis’s world turns upside down when they lose their jobs during the economic slowdown of 2008. When an agent offers them jobs in Oman they apply and she gets a call first. On arrival, she calls her husband to say that something doesn’t seem right and begs him to rescue her, but on reaching there he discovers his better half is in the shackles of human traffickers. After a desperate fight, with the help of the local cops and the judiciary, he manages to rescue her and they return to India.
Faruk shares that he never met the wife, and only interacted with the husband once during his research. They belonged to a simple, conservative family in Hyderabad and after the incident, they were forced to move to another city and even change their names legally. “The core idea for Chapter 2 also comes from them and certain incidents that happened with them. They went through a literal agnipariksha,” he says.
Faruk admits that he still has three months of writing ahead of him and plans to take Chapter 2 on the floors in April 2021, and release it in theatres this time, in the third quarter of next year. While Part 1 was majorly shot in Uzbekistan, he is still undecided about where to set Chapter 2. “There’s a possibility in the script for the film to be shot in two different locations,” he shares.
The filmmaker admits that the sequel will be a bigger challenge for his lead pair and a more difficult film to approach emotionally. “Since it’s Vidyut, there will be action, but only what is plausible to Sameer’s world,” Faruk insists, all praise for his actor-friend. “Our relationship goes beyond films. After a long time, I’ve found a friend within the industry. I don’t see him the way others do and that allows me to present him in a new way. We talk not only about cinema, but also about life. I want to showcase that depth in his personality on screen too.”
Faruk hasn’t given a thought to the rest of the cast yet but reveals that there will be three to four significant secondary characters who are still being developed. Meanwhile, during the lockdown, he locked one more script which he is co-producing, but will not direct. “It will feature a very big South star,” he says, refusing to divulge more.
Industry experts debate on simultaneous release of films in OTT as well as cinemas
7:59 AM
An open letter by a trade analyst-critic again brings up the topic of movies releasing simultaneously on OTT as well as theatres and single screen cinemas. Industry insiders feel only streaming platforms have the final say, and no actor or producer can interfere
Prashant Singh (HINDUSTAN TIMES; November 4, 2020)
Last month, theatres finally got a green-light to reopen with 50% capacity. And ever since, talks have been rife about the non-availability of fresh content, especially toplined by big names, to revive the exhibition sector. Surely, one reason is that most of the new, ready films have already been acquired by OTT (over-the-top) players.
Technical issue
Now, as Akshay Kumar-Kiara Advani starrer Laxmii readies for the digital premiere, the ‘content talk’ has reared its head again with trade analyst-critic, Komal Nahta writing an open letter to the star making an appeal to have his film simultaneously release in single-screen cinemas [top multiplex chains have already decided to not screen those films that don’t premiere only in cinemas] as well as on OTT.
So, the big questions are: is it possible, and feasible for an OTT player to allow such simultaneous releases, after having paid a premium price for exclusivity? And how much an actor or a producer can help in salvaging the situation? “In spirit, and on an emotional level, what Mr Nahta has written is absolutely right. But technically, it’s not possible. As an exhibitor, I know a film like Laxmii can change the entire scene for us but as a producer, I know that once a deal has been signed, no one can do anything about it,” says film exhibitor-distributor and producer, Aditya Chowksey, adding: “I have had the experience of dealing with an OTT player vis-à-vis my film, Khuda Haafiz. So, I know that once you sign a legal agreement with them, no actor, producer or director can interfere. Then, it’s totally their prerogative.”
Not enough money
Not just Laxmii, the coming days will see a number of star-spangled films such as Coolie No. 1, Ludo, Bhuj: The Pride of India, Chhalaang, Torbaaz, AK Vs AK, Duragavati, Jhund and The Big Bull among others, releasing on OTT platforms. Business-wise, simultaneous release on single-screens “won’t make any sense” for streaming sites, say industry experts.
“I am all for the welfare of single-screen cinemas, but theatres still remain shut in many states, including Maharashtra, which is the biggest market. Only a few single-screen cinemas (across India) are available (to release a film), and they can only be filled to a 50% capacity. So, I am sure the OTT players realise that having a simultaneous release won’t fetch them a lot of money,” says trade analyst Taran Adarsh, adding: “Also, it doesn’t really matter what we say. Ultimately, only the OTT players can take a final call as it’s their acquisition and product now.”
Big (screen) love
At the same time, many believe that a top name such as Kumar can turn things around. “There’s no doubt that the ball is in the OTT platform’s court because technically speaking, they have the rights. Having said that, India is a country where a star’s voice is heard. So, that way, he may initiate a conversation about it, and have his say,” says exhibitor-distributor Akshaye Rathi.
For Laxmii producer, Tusshar Kapoor, who has produced the film along with Kumar and Shabinaa Khan, it’s all about how the OTT platform decides to go about it. “Once the deal is done, being the distributor, Fox Star/Disney+ Hotstar has to take a call. Let’s see what they decide to do. They have to talk to the (film) distributors. As far as I know, there are no such plans as of now,” he says.
At the end, Chowksey puts things in perspective, by saying” “I am sure any actor would love to have his/her film running on the big screen as, after all, that’s what made them stars in the first place. But you can’t beat technicalities, or break terms of legal agreements.”
Fenil's Bollywood Talk # 640
10:39 AM
HOW FILMS DISAPPEAR FROM PUBLIC MEMORY IN NO TIME THANKS TO OTT!
When films release in cinemas, the entire promotional exercise and even the situation naturally used to be such that those films would get talked about for a couple of weeks at least post its arrival in cinemas. Pre-release, the buzz would be maximum thanks to elaborate publicity strategy. Even if promotion was minimal, there used to be a discussion about the films on social media and even offline. Once the film would release, the promotions from the part of the producer used to reduce. But the reviews, daily box office reports etc used to keep the film in news or at least in discussion among netizens.
Today, with theatres shut and many films releasing directly on streaming platforms, the scenario has altered drastically. The films make minimal noise when the trailer is out. The promotions are limited because the producers don’t feel the need as they have already got the money from the OTT giant. This was not the case earlier when the makers went with the belief the more you promote, the more the chances of film catching the attention of the viewers and the more the chances of it becoming a box office success. And once the film releases on OTT, there’s a bit of noise surrounding it because of the reviews and moviegoers sharing their views. However, in 3 or 4 days, the movie gets forgotten, as if it’s wiped off from public memory!
The first major release on OTT was Gulabo Sitabo, starring Ayushmann Khurrana and Amitabh Bachchan. It was released on Friday June 12 and it hardly made waves on day 1 and day 2. On day 3, it was totally forgotten as the same day, Sushant Singh Rajput passed away and it dominated the headlines (and still continues to do so). Hence, a benefit of doubt was given to it. But the same happened with the other films as well. On July 31, 3 films released on different platforms – Shakuntala Devi, Lootcase and Raat Akeli Hai. All three were acclaimed but got discussed just for 48 or at best 72 hours.
August 12 saw the release of Gunjan Saxena – The Kargil Girl, starring Janhvi Kapoor. It is the story of India’s first woman combat pilot and it got into controversy because of the portrayal of Indian Air Force. This is the only film that was discussed for more than 3 days and that too due to these issues. Again, a week later, it faded into oblivion. Same with Sadak 2. It was in the news as its trailer got the most number of dislikes on YouTube. The film was widely panned and usually such films do stay relevant for being trashy. Sadak 2 proved to be an exception.
In case of films which don’t face a controversy, the condition is horrible. Khuda Haafiz, an actioner starring Vidyut Jammwal, got praise from critics. But it just didn’t make any sort of noise. It may have got viewership but it’s sad such a nice film was ignored on social media. If it had been released in cinemas, this wouldn’t have been the case. A similar example is of Dolly Kitty Aur Woh Chamakte Sitare. It stars Konkona Sen Sharma and Bhumi Pednekar and is directed by Alankrita Srivastava of Lipstick Under My Burkha fame. This flick raises some important issues of patriarchy, feminism, a woman trapped in unsatisfied marriage, cross dressing etc. There’s no doubt it would have stirred a huge discussion if it was a theatrical release, notwithstanding its box office fate. But it was released online and didn’t really have the traction it deserved. It’s not even uncommon to see many moviegoers not even being aware that Dolly Kitty Aur Woh Chamakte Sitare and Khuda Haafiz have even been released.
The upcoming few months will see the release of big films online like Laxmmi Bomb, Coolie No 1 and Bhuj – The Pride Of India, starring biggest of names in the star cast. It remains to be seen if these films also get royally ignored or do they manage to be talked about for at least a week after it’s digital release.
Khuda Haafiz is all set to return with an action-packed Chapter II
8:38 AM
BOMBAY TIMES (September 3, 2020)
After Khuda Haafiz, directed by Faruk Kabir, opened to an impressive viewership on an OTT platform recently, the makers have now announced its sequel, Khuda Haafiz Chapter II.
The movie, produced by Panorama Studios, will take the love story between the lead characters (essayed by Vidyut Jammwal and Shivaleeka Oberoi) forward on the big screen. It is also touted to feature thrilling action sequences, which have been woven seamlessly into the love story.
Vidyut says, “Sameer (his character in the film) getting his wife Nargis (Shivaleeka) back is not the perfect ending to their story. Leading a normal and successful life after the ordeal Nargis has been through, is the real beginning of their love story. That’s what we’re planning to showcase in the second chapter.”
Producer Abhishek Pathak shares, “It feels great to be one of the frontrunners canvassing for and backing good stories. The response to Khuda Haafiz was phenomenal and I can only hope that viewers will embrace its second chapter. It will be full of surprises and this time around, we’re determined to keep the audience on the edge of their seats. Our sole endeavour is to seek fresh content and experiment with the taste of the audience to further the cause of cinema, and we are excited to do so with Khuda Haafiz Chapter II.”
Director-writer, Faruk Kabir adds, “I have always wanted to take this story forward, but I waited to see how the audience responds to Khuda Haafiz. The second chapter will be a heartfelt love story about how the lead characters come to terms with what has happened to them. It’s an agni-pariksha for both of them and me, to match up to my own expectations as a storyteller and that of the audience, who have given such a positive response to Khuda Haafiz. I’m glad that Kumar ji (Kumar Mangat Pathak, producer), Abhishek and Vidyut feel the same way about this journey that we are about to undertake. It’s not going to be a franchise film, and this is the final chapter. Expect bigger action for sure, but also a bigger heart, and on a bigger screen.”
Khuda Haafiz Chapter II, produced by Kumar Mangat Pathak and Abhishek Pathak (Panorama Studios) and co-produced by Sanjeev Joshi and Aditya Chowksey, will go on floors in the first quarter of 2021.
I am not a completely digital man, I believe in human interaction-Mithoon
8:07 AM
Nikita Deb (HINDUSTAN TIMES; August 19, 2020)
Music composer Mithoon, who is known for his melodious and soulful songs, such as Maula Mere (Anwar; 2007) and Phir Bhi Tumko Chahunga (Half Girlfriend; 2017), has been working in Bollywood films for over a decade, and has composed music for almost 35 films over a span of 15 years. But this lockdown period came as quite a challenge for the composer.
“The way I work, I make a lot of basic sounds and then the entire work of the final album happens during the post-production of a film. So, when the director and producer of Khuda Haafiz approached me in May end asking to release a complete album on OTT, I was hesitant,” he says.
Mithoon adds, “I had taken up this project last year, but the second half of last year and the first half of this year went in shooting of the film, so the music had really not been worked upon. I had these basic songs, but they still had to be recorded properly and no studio was available and it wasn’t practically possible for me to bring an entire soundtrack out. So, I was almost ready to tell them that I won’t be able to deliver. But then, I thought about it and I spoke to my team, and we thought that this is probably the best message we can give out as human beings that things will get better. So, we connected with people and found softwares that helped us work from our respective homes. This madness happened, and God is great that we were able to produce an album that was made entirely during the Coronavirus lockdown.”
The composer agrees that while digital may not be the ideal way to work, for now, it is the only way to do things. “We do not have any clarity on what the social norms are going to be in the coming days. But I am not a completely digital man, I believe in human interaction and that’s one of the reasons why I don’t have a bank of songs. But under the present circumstances, until people have a cure in place for the virus, and permissions from authorities are given, we will definitely be working like this,” explains the Chal Ghar Chalen (Malang) composer.
Adding that digital concerts don’t do justice to the experience of listeners, Mithoon says that nothing can match the feeling of standing in front of a stage and watching your favourite artiste perform live. “It definitely takes away from the experience, but mankind has always fought and survived the greatest calamities and adversities and that is because of our ability to find solutions. So, we should not be narrow-minded. As a musician, I am also encouraging a lot of my colleagues to do digital concerts, and I think it’s pretty cool if people can sit back and listen to an artiste at home, let’s just see the positive side of things for now,” he concludes.
OTT platforms are competitive and choose content very carefully-Abhishek Pathak
8:44 AM
Rachana Dubey (BOMBAY TIMES; August 16, 2020)
As a young content creator, producer-director Abhishek Pathak has taken several leaps of faith — casting newcomers, backing newer directors, and releasing a project close to his heart on an OTT platform. The filmmaker, who believes that the film business is poised for change, talks to BT about his first direct-to-OTT release, Khuda Haafiz, and more. Excerpts:
Khuda Haafiz has recently released on an OTT platform. It was your first digital release, were you nervous about it?
Yes, we were excited and nervous, because this is new for us. The film reached a much wider audience. We have spent about two years developing, writing and filming it. Vidyut Jammwal and Shivaleeka Oberoi (lead actors) have been fabulous to work with.
What drove you to back Khuda Haafiz?
I am particular about the stories of my films, and always insist on a two-minute narration. I ask a filmmaker what he will put into the trailer of his film. If it grips me, I read the screenplay and take it further. I’ve known Faruk Kabir (director) for long. He asked for five minutes to narrate the story of Khuda Haafiz, and it impressed me so much that we decided to make the film in the first meeting itself.
With films releasing on OTT platforms, it’s going to be difficult to measure the success of a movie, which was easier with box-office numbers. Does that bother you?
Previously, when films went to OTT platforms, they had already been through the box-office litmus test. But now, when they’re directly releasing on digital platforms, the pressure of delivering box-office numbers is low. Also, the audience’s taste differs from cinema halls to TV screens to OTT platforms, people don’t consume the same things everywhere. So, parallel businesses will come into existence now. Even OTT platforms are competitive and choose content very carefully. In the long run, this will turn out to be a fabulous option for creators. Previously, one had to think about the logistics of releasing a slightly unconventional film in cinemas. This is a good way to take every deserving film to its audience.
So, you don’t regret the fact that you didn’t wait for theatres to open to release the film?
The film was going through edits when the lockdown happened. So, even if we wanted to, we would not have been able to release it in theatres. Khuda Haafiz has been mounted on a scale meant for the big screen, but eventually, when we got the offer to open on an OTT platform, and there was no date for cinemas to open, we had to make a decision.
Most producers have used the Coronavirus lockdown to finalise their future projects and complete pre-production work. Have you also done that?
Yes, we waited for 45 days to see how things are going. And then, we started locking projects, because things won’t settle so soon. Though shoots have begun, people are taking it slow. All eyes are on the team of Bellbottom. If everything goes well there, many producers can also hope to start work soon.
(Crisp) Movie Review: KHUDA HAAFIZ by FENIL SETA
7:46 PM
Khuda Haafiz is a decent action thriller that works for its no-nonsense approach to the story. The film is said to be inspired from true events and that itself adds to its intrigue value. Writer-director Faruk Kabir doesn’t waste any time and tries his best to come straight to the point as soon as possible. The action scenes work well and add to the film’s entertainment quotient. However, a few sequences are very violent and gory. Faruk however deserves maximum praise for not turning this film into a sleazefest. He had the chance to do, since it’s based on human trafficking. But he chose not to and he also didn’t add any item number for the heck of it. Kudos! On the flipside, while it’s good the film moves fast, it also doesn’t give chance for the audience to form emotional bond with some of the characters. The cinematic liberties, meanwhile, are a bit too much to handle in some scenes. Lastly, music is a complete letdown. Talking of performances, Vidyut Jammwal shows marked improvement as an actor. His action as always is great although this time he’s not doing his usual stunts as it doesn’t go with his common man character. Annu Kapoor is excellent and he suits the part of the kind-hearted Pathan cabbie to the T. Shivaleeka Oberoi is fine and has a good screen presence but has limited screen space. Shiv Panditt and Aahana Kumra are decent. Vipin Sharma, Nawab Shah and Ikhlaque Khan also do a good job. Special mention should go to Jitan Harmeet Singh’s cinematography – the lensman captures the locales of Uzbekistan very well. All in all, Khuda Haafiz makes for a nice one-time watch.
My rating - *** out of 5!
Don’t give people work, but don’t ignore them either-Vidyut Jammwal
9:05 AM
Vidyut Jammwal says talent must be acknowledged in the film industry
Roshmila Bhattacharya (MUMBAI MIRROR; August 13, 2020)
In April, when Mirror had spoken to Vidyut Jammwal, he’d been revolutionising fitness with an online exercise plan rooted in Kalaripayattu which promised to help people de-stress and build up immunity during the Coronavirus lockdown. Four months later, he’s delighted his lung, kidney and bone breathing has healed many. “Kalari means battlefield and payattu is to fight or practise. The ancient martial arts equips one for battle, the kind we are fighting today,” the actor asserts. And while many are getting angry, restless, even depressed cooped up at home, Vidyut sees it as a Samudra Manthan.
“Mother Nature is keeping us in while she cleanses the world. The future is very bright, we’ll come out of the Coronavirus pandemic, better and stronger,” he promises.
Vidyut has a release coming up, Khuda Haafiz, inspired by the true life story of a newly-wed couple. It traces a common man’s journey to get his wife back, after she’s abducted in a foreign country. “It’s a fantastic love story and I know, like Sameer, I too would do anything for love, be it my mother, sister or best friend. The difference is that while he had never fought in his life, I’ve been a trained fighter all my life, so, the challenge was to unlearn my physical reflexes,” reasons the actor who has yet to meet the man who inspired the film and will only do so, happily, if he expresses a desire to interact.
The film was among the seven acquired by a streaming platform. But while five others were announced with much fanfare at an event, Vidyut and his film were left out, along with a Kunal Kemmu starrer. “A BIG announcement for sure!! 7 films scheduled for release but only 5 are deemed worthy of representation. 2 films, receive no invitation or intimation. It’s a long road ahead. THE CYCLE CONTINUES,” he had tweeted, his objection coming at a time when in the wake of Sushant Singh Rajput’s untimely demise, people questioning the privileges accorded to star kids, were whipping up an outsiders vs insiders debate. “I woke up to the announcement and curious over my omission, posed a question. The nation stood up for me,” he says simply.
Does he still feel like an ‘outsider’, after almost a decade in the film industry? Pointing out that the word is interpreted differently by different people, Vidyut avers, “If it means I have no filmi connections, then yes, I am an outsider. But when I came to Mumbai I was told that you can’t make friends here. Today, I know that’s a lie because I have many good friends, mostly among producers and directors who’ve bet their money on me. And I say with complete conviction that the film industry is a beautiful place to be, a few rotten apples cannot change that.”
Does Randeep Hooda rank among his good friends given he responded to his tweet with a promise to watch Vidyut’s film? His Force co-star, Genelia Deshmukh, also pointed out that every film is made with a lot of sweat, love and a lot of people giving it their all and that it’s only fair to want a little respect, expect an invitation and at least be intimated. “But then, sometimes even life is not fair. Keep walking my friend,” she urged Vidyut, who calls Randeep “amazing and one of our best talents” even though they’ve never met and is grateful to Genelia for saying “the right thing at the right time”. Alluding to beggars at traffic signals who people sometimes look through, he insists that one should not be disrespectful to anyone. “In the film industry, it’s important to acknowledge and salute talent. Don’t give people work, but don’t ignore them either,” he asserts.
Admitting that there have been times when people have seen him and not come up to say “hello”, he says he now greets them before they can. “When I won awards internationally, no one tweeted for me and while that didn’t make me bad or sad, today, if anyone does the country proud, I always write to them,” he shares.
Quoting Jim Carrey, who said, “I think everybody should get rich and famous and do everything they ever dreamed of so they can see that it’s not the answer”, Vidyut insists that we should always be empathetic to others. “Kindness doesn’t cost anything?” he retorts.
A franchise that’s come to be associated with him is Commando. Vidyut reveals that producer Vipul Shah and he have been working on Part 4. “We aspire to make everyone proud,” he vows.
It was a Times Of India news report that inspired me to make Khuda Haafiz-Faruk Kabir
9:02 AM
Onkar Kulkarni (BOMBAY TIMES; August 13, 2020)
Ten years after making his Bollywood debut as a director with Allah Ke Banday (2010), filmmaker Faruk Kabir is all set to present his next movie, Khuda Haafiz, which releases on an OTT platform this Friday. The film, based on a real-life incident, has Vidyut Jammwal playing a common man on a mission to rescue his wife (Shivaleeka Oberoi), who has gone missing in another country. In a conversation with Bombay Times, the director talks about the long gap between his two directorial ventures, how a Times of India news report inspired him to make this film and working with Vidyut. Excerpts:
What was it about this particular news report that inspired you to make a film on it?
I remember reading this news on page one of The Times Of India. I was immediately drawn to it because of the emotional aspect of the story. I cut the article and kept it with me. That story stayed with me for a long time, so I decided to pursue it further. It’s an inspiring tale of a common man, who sets off to a foreign land to rescue his wife. Neither does he understand the language, nor does he have a support system or money. I liked the basic premise of this article — how far can you go for love? I think it is a relatable topic and that drew me towards it.
This film is based on a real-life couple. Were they a part of the filmmaking process?
I have only met the man, on whom Vidyut’s character is loosely based. I haven’t met his wife. He wanted complete anonymity, so I can’t reveal who he is. It took me two months to build enough trust for him to agree to meet me. He comes from a very simple space, and this journey has been life-changing for him.
Vidyut is synonymous with the action genre, how did you zero in on him to play your common man?
It was during my meeting with the producers of the film that Vidyut’s name came up. I just wanted to cast someone who would surrender to the vision of Khuda Haafiz. After a couple of meetings with Vidyut, I was convinced that he was apt for the role. In fact, I could see similarities between Sameer and Vidyut. I feel it was brave of him to take up this character, because it meant he would have to go against the grain of everything he has worked so hard to build —this larger-than-life action hero image. Here, I was asking him to get beaten, battered and bruised. Vidyut has shown so much maturity, not once did he ask me to make any changes so that he could showcase his action prowess.
After Allah Ke Banday in 2010,why did it take you such a long time to direct your next film?
It’s not like I didn’t work for these ten years (laughs!). I was busy making ad films. I did one beautiful commercial with Madhuri Dixit Nene and another with Virat Kohli, among many other interesting ones. I also directed some amazing web shows. I want the movie-making process to be organic. I want to direct films, for the stories that I am writing. This is one space where you can truly express yourself as a storyteller. It’s not that I don’t wish to direct films that are written by others, but I need to feel connected to these scripts, and that hasn’t happened so far.
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