Showing posts with label Kumud Mishra. Show all posts
Showing posts with label Kumud Mishra. Show all posts
Ali Fazal, Richa Chadha team up for Shashie Vermaa’s situational comedy
9:30 AM
BOMBAY TIMES (July 6, 2026)
After wrapping the children’s sports film Murga Trophy, Chandan Anand and Ravi Narmulla of SceneWork Productions and Mukesh Giri of Giriraj Productions are teaming up for a situational comedy that blends social commentary with the chaos of Delhi’s traffic jams, with Ali Fazal and Richa Chadha stepping in to make the sparks fly.
Directed by Shashie Vermaa, the film is not just set in Delhi — the place itself is a character. Billed as a sharp, fast-paced comedy with a satirical edge, it promises to make audiences laugh first and wince a moment later. The film also stars Kumud Mishra and Dinesh Lal Yadav in pivotal roles.
Talking about the film, Vermaa says, “This is a story that celebrates people, relationships, the lens of society and the chaos that a small moment can bring in someone’s life. Delhi itself is almost a character in the film. Having performers like Ali, Richa and Kumud brings depth, spontaneity and heart to the world we’ve created, and I can’t wait to begin filming.”
The film is set to go on floors later this year with a theatrical release in 2027.
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Upala KBR (MID-DAY; July 6, 2026)
After winning audiences over in the Fukrey franchise, Ali Fazal and Richa Chadha are set to reunite on screen for an untitled situational comedy directed by Shashie Vermaa. Set against the colourful chaos of Delhi and co-starring Kumud Mishra, the film will go on floors in the second half of 2026.
In a joint statement, Fazal and Chadha said, “The film has a very organic sense of humour that comes from its characters and the world they inhabit. That’s what made it stand out for us. It’s also the first time we’re sharing the screen as an on-screen pair, which made saying yes even more exciting. We’re looking forward to bringing this story to life with Shashie Vermaa, whose vision and writing give the film a distinct voice.”
Vermaa described the film as “a situational comedy carrying a strong social message”, adding that Delhi is central to the story, with Ali and Richa playing a humble middle-class couple.
Today, people discuss box office more than cinema-Kumud Mishra
9:47 AM
Kanksha Vasavada (BOMBAY TIMES; June 13, 2026)
Kumud Mishra has already carved a niche for himself across theatre, films, and OTT platforms, but the actor continues to explore new creative avenues. Making his Gujarati cinema debut with Dhabkaaro, he delivered a brief yet impactful performance, reaffirming his belief that “agar script achchi hai, toh medium ya language se koi farak nahi padta.” Kumud, who was in Vadodara for the play Dhumrapaan, talks about theatre, choosing scripts carefully, and more.
‘Theatre still values stories and craft over numbers’
Kumud believes the priorities of both creators and audiences have shifted. He says, “Today, every art form is judged by the number of people watching it. A few years ago, after watching a film, conversations revolved around cinema itself — whether the film was good, how the story was, the making, the production, and so on. But now, the discussion is only about how much money it will make or how it will perform at the box office, all in terms of crores. Unfortunately, even audiences today seem more focused on discussing everything around the work rather than the craft itself, which is sad.”
He adds, “However, theatre still has that unique space where discussions around the genre, the story, the challenges, and the creative process keep it exciting for me. Of course, there are economic considerations too, but our focus remains on creating plays that audiences genuinely enjoy while also being creatively fulfilling for us. I also enjoy the fact that new directors and actors continue to join the group.”
‘Theatre mein aap bina ghabraye fail ho sakte hain’
Working extensively across OTT platforms and films today, Kumud has continued to remain deeply rooted in theatre. He says, “I never left theatre, nor did I ever feel like leaving it. If you feel like you are holding on to something, it stops working—but theatre was never like that for me. It is a necessity in my life. It was there long before films, OTT, or any such ambitions even crossed my mind. Theatre has given me everything I have today as an actor, and it still offers me the freedom to experiment fearlessly. Theatre mein aap bina ghabraye fail ho sakte hain. The focus is on experimenting with the content, not on the money attached to it.”
‘I read scripts in one sitting before saying yes’
Asked about how he chooses projects, he says, “The truth is that mujhe bohot saara kaam offer hota nahi hai. Jo kuch hota hai, uss mein se I select. When I read a script, I finish it in one sitting and can clearly visualise that world unfolding before my eyes. Even if it’s a script for a web show, say, 300–400 pages, I will still read the entire thing. People may find it amusing, but I see it as part of my job. There can be other reasons as well, such as the desire to collaborate with a particular filmmaker, but the script remains the most important factor.”
Talking about adapting to characters, Kumud says, “I don’t merely portray the characters I’m given—I become them. Whether it’s a billionaire or a policeman, they are all real people to me. I don’t imitate them; I step into their lives. What truly makes a character stand out is their place within the story and the way they respond to the situations around them. I have always believed that an actor should look the part. So, I underwent a physical transformation for my character in Assi. The role required me to appear leaner. In theatre, that is not much of an issue because wahan aap 40 saal ke hoke bhi 17 saal ke ladke ka character kar sakte ho, and vice versa. But in films, you cannot betray the audience, which is why casting becomes extremely important.”
‘Hope to do more Gujarati films’
Talking about Dhabkaaro, he shares, “Abhishek (director) is a dear friend, and I also loved the script. Some scripts are so good that you simply want to be associated with them in any way possible. I also enjoyed the way this industry functions. It felt like being part of a family. Everyone worked with a lot of focus and dedication, which was touching. Also, while we have always seen (Devan) Bhojani doing comedy, seeing him playing such an intense character was quite an experience. We interacted a lot and had great fun.”
He adds, “I wish I had the opportunity to learn and speak more Gujarati, because as artistes, we always feel the need to fully understand a language and its nuances. I hope people appreciate my work and I get more opportunities to work in Gujarati films.”
‘Barodians are warm and welcoming’
Talking about Vadodara, he says, “My experience in Gujarat has always been wonderful. I’ve visited Ahmedabad several times, and we also perform regularly in Vadodara. This time in Vadodara, it was a unique experience because we were performing at a new venue, for an audience that was entirely new to us. Vadodara has long been known as a vibrant and thriving centre for the arts. I first visited the city many years ago when my brother was working there. He loved the city so much that he eventually bought a home there, which later became my base as well. The people are incredibly warm and welcoming, making you feel instantly at home, as though you’ve known them forever.”
Kumud Mishra on Satrangi: Badle Ka Khel: "I said I won’t use a lot of abusive words"
9:38 AM
Actor Kumud Mishra reveals he joined ‘Satrangi’ after the director agreed to his request of not using the excessive expletives present in the script
Priyanka Sharma (MID-DAY; May 23, 2026)
Given how Satrangi: Badle Ka Khel explored themes of caste and power, actor Kumud Mishra was certain that he wanted to be part of the series. But he made a request to director Jai Basantu Singh before stepping into the role of the antagonist. “I said I won’t use a lot of abusive words, unless it is important,” recalled Mishra.
The actor’s decision stemmed from an observation he made over the past few years. He shared, “Whenever we go into Hindi heartland, abusive words become a tool to make a series dramatic. The director strongly agreed [with me]. Of course, abuses are used in society on an everyday basis. I am not judging that; even I use abusive words. But in art, it should be deployed where its impact is felt. If it’s in every other dialogue, then it’s being used for effect.”
Led by Anshumaan Pushkar, Satrangi tells the story of a Launda dancer’s son, who is forced by circumstances to join the world of Launda naach. Through his journey, the revenge drama examines how the community is often discriminated against.
What appealed to Mishra was how the story showed the reality when Indian showbiz is becoming increasingly escapist.
“We are living in an escapist time. We bury our heads in the sand and think everything is fine. Even the stories being made are escapist. At such a time, the show is an attempt to raise a hard-hitting subject.”
The fact that you said Assi and Dhurandhar in the same breath is good enough-Anubhav Sinha
3:01 PM
As Assi drops online, filmmaker Anubhav Sinha gets candid about its box office reception, making unpopular choices, and why he believes films like The Kerala Story and The Kashmir Files have a right to exist
Priyanka Sharma (MID-DAY; May 3, 2026)
Stationed at a city hotel, filmmaker Anubhav Sinha is busy recording long media interactions about his latest film, Assi. If one didn’t know better, the director’s enthusiasm would give the impression the film is about to release. But the Taapsee Pannu-starrer released two months ago, and began its streaming run last week. For Sinha, though, it feels like a re-release.
“The film dropped on Zee5 on Thursday night (April 17). Friday was a little quiet. So, I thought maybe OTT release is like this. But, Friday night onwards, it became viral — whether it was Instagram Reels or Whatsapps or DMs from filmmakers, friends, bichhde hue dost Mathura aur Jaipur se. So, for me, it’s feeling like a re-release,” he smiles.
Still, two months is a long time for a maker to observe the reactions that a film received during its theatrical run, agrees Sinha. “Largely, things that are said about the film are in appreciation. There are a slim percentage of people who find Kumud’s [Mishra] character, Kartik, to be an outsider to the story. But that’s all that I have heard as a critique. The other observation is that the film is very disturbing, which it was intended to be,” he says.
It feels the right time to register a feedback that one felt while watching the movie that works both as an investigation and an introspection centred around the rape of a school teacher (played by Kani Kusruti) in the capital. The feminist intent notwithstanding, the execution in parts feel preachy, we share with Sinha. The director replies, “I respect this observation and if I looked at the film from that viewpoint and it’s not absolutely unfounded.”
Sinha, consistently, has been among the voices in the industry who remain open to dialogue and dissent. So, we ask him how he views Pannu’s widely-discussed Instagram post, before Assi’s release, where she appealed to the audience to be louder in their support for films that aren’t cut from the cloth of mainstream. “You deserve good cinema only when you value it,” reads a sentence from her post. Doesn’t it put an unfair amount of responsibility on the audience, which is an outsider to the rooms that decide what gets made in the industry?
“The responsibility of the audience is directly proportional to the expectation of the audience. So, Tapsee is probably coming from a place where she very regularly hears that good cinema is not made. Even though, I don’t agree much with this because how do I assume my cinema is good? People will decide that. But Tapsee was probably trying to talk about real cinema, real stories. So, if the audience has expectations and demands from cinema, then it becomes your responsibility as well [to support it] because making such films is an unpopular choice. People have no idea what it takes to get these films off the ground,” he says.
But another argument arises that the audience merely reacts to the visual assets of a film or to a star, if it’s a star-fronted feature. If a filmmaker fails to ignite excitement among the viewers, the onus shouldn’t fall on them to still pay to watch a film, howsoever well-intentioned it is. Sinha agrees that the responsibility lies more on the industry to churn out diverse stories on a regular basis, even if it fails at times, in an attempt to reach out to the audience and eventually condition it to give a chance to “unpopular films”.
How does one restore the balance that an Assi and Lapataa Ladies can co-exist with a Dhurandhar and a Pathaan [2023]? “Yes, the balance has become very lopsided. But the fact that you said Assi and Dhurandhar in the same breath is good enough. Around 13 lakh people went to see Assi in the theatres. If I draw an analogy, 40–50 thousand people sit in a stadium to watch a match. Now, three crore people went to Dhurandhar, but its stakes and ambition were different. Assi’s ambition was not that three crore people should go to see me,” he argues.
But Sinha is a producer as well and the commercial ambition of Assi will have a number attached to it. “It should have done much better than what it did for it to fall into that [success] category. But that’s one of the later metrics that I look at. In the real world, it seems that the math of a film is very urgent. But it takes a backseat, not only for the filmmaker but for the whole team, including the stars and the studio. Years later, it doesn’t matter how much money did Satya [1998], Chandni [1989] or Lamhe [1991] make. On an urgent basis, Lamhe was a flop. But today, it is a hit.”
What remain urgent are Sinha’s stories. So, we mention our recent conversation with filmmaker Mahesh Bhatt, who said that stories on screen are being weaponised to push people away from each other.
“As an audience, you can choose one story over the other but all of them have the right to exist. The Kerala Story [2023] has a right to exist, and so does The Kashmir Files [2022],” Sinha says.
So, where does an artiste’s responsibility lie? “Artistes will make their own choices and then history will place them on shelves. It’s not my job to place another artiste on a shelf or myself on another shelf. We are making films, and today there is a knee-jerk response. Twenty years later, when a smart girl writes a massive article about what happened in this era in India, we will all be judged much later. If you are fortunate, you will be judged, otherwise you will most likely be ignored by history.”
Taapsee Pannu's honesty towards her work is terrific-Kumud Mishra
9:53 AM
Priyanka Sharma (MID-DAY; February 16, 2026)
Actor Kumud Mishra speaks about stepping out of his comfort zone for Anubhav Sinha’s next directorial venture, Assi, a role he initially resisted but ultimately embraced.
There won’t be an Anubhav Sinha project that Mishra would want to refuse. Yet the director never takes their equation for granted, always sending him the script and asking which part he would like to play. With Assi, Mishra picked a role for himself, but Sinha had other plans.
“But he had something else in his mind for me. He gave me a character that I felt was not for me at all. I thought it belonged to someone else. But he said, ‘Aap karenge aur uske liye aapko tayyar hona hoga’.”
Though he agreed, Mishra was apprehensive. “Every character has a look. Your physique should be closer to that of the character. So, I didn’t feel I was ready for this role,” the actor told mid-day. With only two months to prepare, he had to lose weight.
“First I said yes but then I got scared if I would be able to pull it off. I feel in this film, I worked harder on losing weight than on acting,” he laughs.
Reuniting with Taapsee Pannu was a joy. “Her honesty towards her work is terrific. When you have worked with someone several times, you develop a comfort factor and surety that you will be able to create something good.”
Manav Kaul directs a film after 13 years: "I am acting in the film too"
9:16 AM
Based on his 2024 book Sakshatkar, the movie will go on the floors in Uttarakhand in November
Deep Saxena (HINDUSTAN TIMES; July 6, 2025)
Actor Manav Kaul is set to don the director’s hat after 13 years. He exclusively tells us that he has locked locations for his untitled next in Uttarakhand and the shoot starts this November. “The movie is based on my book Sakshatkar. It did well, so I adapted it into a screenplay and set it in the Himalayas. I am acting in the film too, alongside (actors) Kumud Mishra, Manasi Bhawalkar and some theatre artistes. We have finalized a few untouched locations in Kumaon and Garhwal,” says Manav.
Speaking about his past directorial ventures, he says, “I directed Hansa in 2010 and Tathagat in 2012, which were released in 2012 and 2021, respectively. Bahut garibi main shoot ki thi dono films. So eventually, I released them on YouTube. It was an experiment and a great learning experience.”
Ask what took him over a decade to get back to directing a film, and he says other crafts kept him occupied: “After 2012, I wasn’t ready for many years. I was juggling multiple roles — acting, theatre and writing books. Filmmaking demands at least a year of dedicated time. So now, I have taken a break from everything to focus entirely on this. Since my theatre group is also involved in the film, we are all very excited.”
Will the film be a commercial one or more in the indie space? “It’s set in a fun zone, has good humour and a gripping story that will appeal to a wider audience. I am not fixated on the commercial aspect, as my priority is making a good film. If we deliver a good product, it will definitely find its audience. I believe in the script and will pour my heart and soul in it. Of course, since filmmaking is a business, we would like it to do well commercially,” he ends.
Theatre audience comes for the play, not to fan over an actor. For that, there is cinema-Kumud Mishra
8:06 AM
Neha Maheshwri (BOMBAY TIMES; November 10, 2023)
Kumud Mishra was seen on stage after four years in a play titled ‘Purane Chawal’ at the Prithvi Theatre Festival. While the actor has deeply impressed the audience with his roles in movies, his passion for theatre and belief that this medium of performing arts will thrive is evident. Mishra, who did not take up any other project for a few months to focus entirely on this play, talks to us at length about the beauty of theatre, working with young actors, and more.
‘I feel there is a shortage of performing spaces’
Talking about the economics and commercial viability of this medium, Mishra explains, “There is a shortage of performing spaces. In that regard, Prithvi is a true blessing for us, it is a place where you can continuously nurture and hone your art. However, I have witnessed the emergence of new, albeit, smaller spaces where emerging actors are given an opportunity to perform. The key is that the economics of theatre should be sound.” However, he also adds that whatever the space or the format, “a good story is the only hero an actor needs”.
“Aapke pass kahaani hai kehne ke liye, toh log aayenge. That’s the beauty of theatre. As long as one person wants to tell the story and another is willing to hear it, theatre will thrive. So, I am not worried about the medium,” he says.
‘I enjoy working with young directors’
The ‘Thappad’ actor, who also produces plays, constantly encourages and collaborates with young talent. He explains, “I enjoy working with young directors. As you grow older, you tend to become rigid, both physically and mentally. A fresh perspective is essential to break that rigidity, and that can only be introduced by young people. Not every project will turn out perfectly, but my experience will keep getting enriched because every talent brings their unique grammar to a production.”
‘The medium shouldn’t be individual-centric’
“Theatre is primarily a director’s medium,” Mishra explains to us, on being asked if he expects his name to pull in more audience for the play. “I am fine with my name being used to promote the show, but I still find it uncomfortable. I am a purist in that regard. Naam se bada naatak. The theatre audience comes to enjoy the play, not to fan over a particular actor. For that, there is cinema and the associated stardom. Theatre, as a medium, is vast, and if we focus on individuals, we will not do justice to it. So, I don’t see myself at the centre of anything; the medium is at the centre of it all. Theatre is not an individual medium,” he signs off.
Kumud Mishra is against censoring vulgar content on OTT: "Aaj kal log har baat par hurt ho jaate hain"
8:20 AM
Syeda Eba Fatima (HINDUSTAN TIMES; August 2, 2023)
Actor Kumud Mishra’s recent outing, Lust Stories 2, showed him as a sexually abusive husband, and he admits that he had “inhibitions” if he’d be able to pull it off. However, he’s quick to add that he wasn’t too worried about the audience’s acceptance or reaction.
“Whenever I take up a role or play a certain part, I can’t keep my audience in mind. Big stars can do that because unki ek image hoti hai. But, for me as an actor, fan base is never the reference, but what matters is my own challenges as a performer,” says the 48-year-old.
Of late, audiences have been calling out vulgarity on OTT reasoning that such content isn’t fit for family viewing. In such cases, Mishra advocates self-censorship. “All kinds of content should be made, and is being made. People have the choice to not watch it. You can’t decide what should be made and what shouldn’t. There’s no way to find out what [type of content] will hurt whom. Aaj kal log har baat par hurt hote hain,” he opines.
The Kuttey actor doesn’t mind doing experimental roles on OTT, but is averse to the idea of being a part of propaganda projects. “I can play a negative part if there’s a reason for his actions. But, I can’t do a part for sensationalism. Mujhe sex scenes ya gaali dene par bhi koi aitraaz nahin hai, par woh gaali aap kyun de rahe hain, uske peeche ek wajah honi chahiye,” he ends.
To get Kajol and Kumud Mishra as a couple was unbelievable-Amit Sharma
10:20 AM
Initially doubtful whether Kajol would front Lust Stories 2, director Amit says her pairing with Kumud elevated his short
Priyanka Sharma (MID-DAY; June 30, 2023)
One would think that Amit R Sharma has a flair for telling stories about lust, or the lack of it. After all, his last directorial venture, Badhaai Ho (2018), saw a couple reviving their romance after decades of being married.
“Badhaai Ho could have actually been a Lust Story! A lady from Kolkata had called me, saying that while watching the film, her husband and she held hands in a theatre for the first time in 30 years,” he recounts.
Yet, the director admits his first reaction was hesitation when Lust Stories 2 was offered to him. “All of us are [only beginning to] know the term ‘lust’. So, I was [hesitant], thinking, ‘Me? Really?’ That said, I was sure that if I got an exciting story, I would make it,” explains Sharma, who is joined by filmmakers Sujoy Ghosh, Konkona Sen Sharma and R Balki in the Netflix anthology.
For his segment, Sharma cracked the story of a woman, whose husband is attracted to their help. The next challenge was to get the casting right. While Kajol was his first choice for the central role, he was unsure whether she would be interested in it.
“I was doubtful if she would say yes. But to get Kajol and Kumud Mishra as a couple was unbelievable. They made my life so easy, giving me [a far superior] performance than I [anticipated]. It was a difficult casting to crack. My team and I had multiple discussions, but the moment we paired these two in our head, it made sense.”
I could relate to my character in Saroj Ka Rishta on a personal level-Sanah Kapur
8:06 AM
Sanah Kapur says she was drawn to Saroj Ka Rishta as it champions body positivity
Uma Ramasubramanian (MID-DAY; September 12, 2022)
It has been a significant year for Sanah Kapur who tied the knot with Mayank Pahwa in March. Now, it’s work calling the actor as she readies for the release of Saroj Ka Rishta. Director Abhishek Saxena’s slice-of-life film takes on body shaming as it tells the story of Saroj, essayed by Kapur, who tries to lose weight to woo the man of her dreams. “It felt great to be a part of a project that deals with an issue that all of us face — that of not being accepted if you are different. I believe that everyone is special in their own way,” says the actor, happy to return to the screen almost seven years since Shaandaar (2015).
Giving her nod to the film was a no-brainer. She not only aligned with the movie’s message of body positivity, but also identified with the central character. “Saroj and I share a lot of similarities. I am not as courageous and bold as she is, but I agree with her opinions on certain points. So, I could relate to the character on a personal level.”
The September 16 release also stars Supriya Pathak, Kumud Mishra and Gaurav Pandey. Kapur notes that the director has woven a beautiful bond between Saroj and her father, who encourages her to become self-reliant instead of bowing down to society’s norms.
“One of the things that attracted me was how beautifully the father-daughter relationship was written. It was an honour to share this on-screen bond with Kumud Mishra. If a father is there for his daughter and believes in her, it gives her the strength to be herself.”
Akshay Kumar kickstarts shoot of Capsule Gill; hopes to wrap up UK schedule by August-end
8:13 AM
Akshay kickstarts shoot of Capsule Gill, based on Jaswant Singh Gill, hoping to wrap up the UK schedule by August-end
Upala KBR (MID-DAY; July 10, 2022)
Undeterred by the debacle of his last film, Samrat Prithviraj, Akshay Kumar has swiftly moved on to his next. The actor headed to England on July 4 to kickstart the shoot of the film, tentatively titled Capsule Gill. The film is based on former additional chief mining engineer, the late Jaswant Singh Gill, who saved the lives of 65 people trapped in a flooded coal mine in Raniganj of West Bengal, in 1989.
“Jaswant Singh Gill’s heroic rescue operation is counted as one of the most successful missions in the history of mining. The unit of Capsule Gill is shooting at a farm in the Yorkshire area [England] which had many deep coal mines,” informs a source close to the unit.
The last operating deep coal mine in the United Kingdom, Kellingley colliery in North Yorkshire, closed in December 2015. Directed by Tinu Desai, the film, also starring Parineeti Chopra, Pavan Malhotra, Ananth Narayan Mahadevan, Ravi Kishan, Kumud Mishra, Varun Badola, among others, is expected to wrap up the UK schedule by August 22.
“The 48-day first schedule, which kicked off earlier this week in England, will wrap up on August 22 with the rest of the cast. Akshay will shoot in England till July 31. He is currently shooting some dramatic action scenes with action director Parvez Shaikh. After the first schedule, shooting will resume from September across Mumbai, Amritsar, Raigarh and Raniganj,” adds the source.
When Naseeruddin Shah says, ‘I saw your work and you were fantastic,’ it’s an overwhelming feeling-Arjun Kapoor
8:17 AM
Actor Arjun Kapoor talks about having a busy 2021 and how focus on his personal life affects him, at times
Titas Chowdhury (HINDUSTAN TIMES; December 27, 2021)
Sandeep Aur Pinky Faraar (SAPF), Sardar Ka Grandson and Bhoot Police — actor Arjun Kapoor had a rather eventful 2021. Grateful to have received the chance to entertain audiences even during the pandemic, he says, “You have to be grateful and have humility in accepting that at a time when the world was in chaos, work was happening for me and I received love for it. It’s great to stay connected with the audience, reconnect with them and remind them that I’m here to act and earn my bread and butter by entertaining them.”
SAPF had a theatrical release and it earned him critical acclaim for his portrayal of a Haryanvi police officer. That made 2021 “a professionally satisfying year” for the actor. “My effort has been noticed by the upper echelon, who care about credible work,” says Kapoor, adding, “When Naseeruddin Shah (actor) says, ‘I saw your work and you were fantastic,’ or when Kumud Mishra (actor) says, ‘You didn’t even slip in your accent even once’, it’s an overwhelming feeling.”
The film “is still paying dividends”, admits the 36-year-old: “Even the critics have had a conversation about it. The film had its own share of ups and downs, and we had to wait a long time for its release, but eventually, it worked out.”
Apart from his work, he has also been in the news for his relationship with actor Malaika Arora. Quiz him if it bothers him and he admits, “Sometimes I feel it’s a little unfair, but it’s passable. I respect the boundary till a certain degree to which people can have an opinion, beyond which if they get too personal, I don’t enjoy it.”
Even when Ayesha and I were dating, she walked out of my plays if she didn't like them-Kumud Mishra
8:14 AM
What an actor born in school theatre, raised on the Bhopal stage and trained at NSD can teach us about our approach to work
Gitanjali Chandrasekharan (MID-DAY; January 31, 2021)
"Pathare Sir, mein zindagi bhar theatre karoonga." Kumud Mishra recalls his parting words to one of the two teachers at the Military Academy in Belgaum, where he studied from Class VII to Class XII. It was at the academy, says Mishra now 53, that he was first introduced to theatre. A shy kid—he says he is still at discomfort in large gatherings—he found his place on stage. School productions headed by Pathare Sir and Janardhan Sir had him play a pandit once and a queen another time—it was an all boys' school. It was much later, that he discovered how good the quality of productions staged at school were.
Mishra, who brings a subtle excellence to all his roles, manages to both, blend into the canvas of the story with his roles and standout as an individual performer, making watching him a pleasure. Having spotted him again in Saif Ali Khan-headlined Amazon Prime web series Tandav as Gopal Das Munshi, a seasoned politician, one wonders what drives the excellence of Mishra's craft.
The first hint comes early into the interview when Mishra says he prefers to respond to the questions in Hindi. Later, as we wonder if we'll need to bring out our dictionary to transcribe this interview, he says, his grasp over the language isn't good. Mishra doesn't seem to strike a false note of modesty. Just that of someone who studies his craft so well—after bidding adieu to Pathare Sir, he headed to Bhopal where he did theatre under the likes of Alakh Nandan and Satyavrat Raut and later studied at the National School of Drama in Delhi—that he still feels he isn't good enough. He thinks, he has a far way to go even where acting is concerned.
Describing how conversations around acting go at home with wife Ayesha Raza, he laughs, "Ghar pe Vibhishan baitha hai." Raza, he says, is critical and vocal about his work. Even when they were dating, she walked out of his plays if she didn't like them. "She never feared that I'd be hurt. We were not even married then, it was quite risky," says Mishra.
Raza, he says, has even shut down one of his plays. A dream to take stage while speaking English, Mishra says, he was practicing the lines at home. After a few days, irritated by how the sound fell on her ears, she asked him why was he pursuing a play in English. "When a French actor can do a play in English, a German actor can do one, and an English actor can do a play in Hindi, why can't I do a play in English?" To which Raza responded, "You are spending all your energy in concentrating on the language. When will you perform?" He tried rehearsing for a few days and gave up. But, the dream isn't over yet. One day, he says, he will perform in English. On her own performances, Mishra says, Raza is so critical, she announces a ban on seeing a play or a role if embarrassed by it.
First introduced to Mishra on stage in the Manav Kaul directed Shakkar Ke Paanch Daane, where Mishra—who has trained in the Chau form of martial art/dance—plays Rajkumar, a villager telling the story of his life through the five people who stood out in his life, we wondered at the fluidity of Mishra's body. He jumps up on boxes and runs across the stage with an energy that belies assumptions. He credits the audience for half the success of a stage actor. "They bring their own imagination and creativity. If you say I am taking a round of the stage and reaching Hastinapur, when you complete the round, the audience will believe it. On the screen, you have to show the mountains for an audience to see mountains." On Shakkar, he says, the other part of the success is to be attributed to Kaul's text. "He has given me some good work, but Shakkar is the best. Is mein jo saralta hai… paani ki tarah behta hua text hai. If I perform Shakkar at 80 as well, the audience will negate the age. They will be able to see the child in the performer."
The first time he had performed Shakkar, he said, it had come with curiosity. To understand the subtext. Then, a time came, when he performed the text mechanically, knowing where the laughs would break the silence in the theatre and where the audience would cry. "But one day, the audience didn't do that. I realised I was performing mechanically and taking it for granted. The audience wants to share your experience and give you a hint of theirs."
When he shared this with Kaul, the playwright-director-actor said, "You are trying to relive the emotions of the original production. Instead, perform how you feel about the text today."
There's much to say about Mishra. How he chooses his film roles for example. He doesn't shy away from the pragmatism of it. Where he picks the script first, then the role, money is also an issue. We ask if he has ever negotiated for another role. "Just once," he admits. And even then, he says, he told the director to consider him only if the other person whom they had picked rejected the part. "And then too, I felt bad."
While he had a love for movies, it was never meant to be his medium. At school, they'd be shown Naseeruddin Shah's films. After watching Paar, he thought, "Baap re baap, aisa bhi hota hai" and wanted to be an actor. And yet, never in the movies—he came to Mumbai for a theatre audition with all intentions of return to Delhi, but, life had other plans.
After completing school, while the forgers headed for the National Defence Academy (NDA) or to the Combined Defence Services (CDS) Examination or the Officers' Training Academy, Mishra sat on a train back home and made a promise he isn't still quite sure why. "But, chipak gaya hai."
Theatre is worse off than cinema in this pandemic-Kumud Mishra
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Kavita Awaasthi (HINDUSTAN TIMES; October 4, 2020)
In the last few years, he has been appreciated for his performances in movies such as Thappad, Article 15 (2019), Mulk (2018), among others and actor Kumud Mishra feels it is the faith of filmmakers that worked. “As an actor, when a director can see you in different roles, your confidence increases. In the last 4-5 years, my career has grown well and that is due to the different kind of roles I played and the kind of cinema that is being made today,” says the actor.
In August, his film Ram Singh Charlie released online which featured him as the lead. But he says, he doesn’t look at roles as the lead or character. “Of course, when you play a lead role, your responsibility is much more. I have always enacted all roles as important characters and this was the same manner of approaching this role as well,” he says, adding that playing a role, where the character dressed up and acts like the well-known comedian Charlie Chaplin was exciting. “Main kharab copy karta hoon so I didn’t want to imitate him. I was concerned about playing the Chaplin part in the film convincingly,” he says.
Having being part of theatre and numerous plays, Mishra admits that he didn’t want to struggle in films so he stuck to theatre, in his career. “Initially, I wasn’t interested in television or films and loved theatre. Also I might have been scared of the struggle or of failure in films or didn’t think I was capable enough. I did a bit of TV to earn money. But it took me almost 10 years to start doing films regularly but here I am,” he explains.
While he can’t wait for the cinemas to open again as he misses the energy of cinema halls. His heart pains for the theatres and personnel who work in theatres. “Theatres don’t have sustaining power like films. Theatre is worse off than cinema in the Coronavirus pandemic. Live plays will take time and people are thinking of options. Backstage personnel and theatre actors are suffering,” he concludes.
Had it not been for OTT projects, I’d be doing character roles in films or lead in TV shows-Shweta Basu Prasad
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Kavita Awaasthi (HINDUSTAN TIMES; September 8, 2020)
“OTT has given work to actors like me,” says actor Shweta Basu Prasad, who has five projects coming up this year on various online platforms. “I have never been this busy in my life. This is common for every actor like me who are getting good roles. Web projects give respect to writers who then create characters that can shine, so content has become king and due to that, actors like me are getting really substantial roles. Had it not be for OTT projects, I’d be doing character roles in films or lead in a TV show. Before The Tashkent Files (2019), I didn’t get good enough roles but now I am.” She has been enjoying doing projects on OTT including short films and web shows.
Prasad was noticed as a child actor in Makdee (2002) and Iqbal (2005) and recently was seen in Badrinath Ki Dulhania (2017), and the TV show Chandra Nandini (2016-2017).
Having being exposed to world cinema since childhood, she is glad that finally audiences are able to enjoy good content from around the world. “I am also enjoying watching actors like Neena Gupta, Pankaj Kapur, Kumud Mishra, Sanjay Mishra playing lead roles in OTT shows. It is a great time to be an actor as everyone is experimenting. (Actor) Vijay Varma said, that now actors are not feeling insecure that their prime is getting wasted. That time nikal raha hai as everyone is getting good work. People of all ages and all kinds of images are getting work, provided you are a good actor. In fact, in the pandemic taught us that we need art - books, music and cinema - to survive and this is the time,” she says.
We pretend that domestic violence isn’t happening, but it is-Kumud Mishra
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Kumud Mishra on why he decided to do a film on domestic violence, one of the toughest roles of his career, in his fourth collaboration with Anubhav Sinha
Avinash Lohana (MUMBAI MIRROR; February 25, 2020)
After the brooding judge Harish Madhok in Mulk, and the oppressed-turned-aware cop Kisan Jatav in Article 15, Kumud Mishra’s role in Anubhav Sinha’s upcoming drama, Thappad, as Taapsee Pannu’s father, seems like cakewalk. But the actor, who has also collaborated with the filmmaker on the yet-to-release Abhi Toh Party Shuru Hui Hai, insists that it is one of the toughest roles of his career. “There is no obvious drama in this character. So, it becomes more difficult for an actor to pull off,” he reasons.
So, what made him take up the film? “The brilliant script,” he exults, adding that it tackles the subject of domestic violence. It isn’t widely discussed so awareness is all the more necessary. “We pretend that it isn’t happening, but it is and unfortunately, is considered normal,” the veteran actor points out.
In Mulk, since he had joined the team only towards the end, he did not get a chance to share screen space with Taapsee. This time around, most of his scenes are with the actress and he is all praise for her. “She is instinctive; her acting process keeps changing with the moment, just like mine. She is a fantastic actress and I have never seen her in a role like this. Thappad is one of her finest works,” Kumud asserts.
Kumud shares a close bond with Anubhav but likes to maintain distance to allow space for dialogue. “For an actor, he is a wonderful director as he gives us creative freedom and is open to discussion,” he raves, adding, “Unka alag hi jadoo hai. I’d drop everything to take up a role if he made the offer,” he admits.
Kumud will next be seen in Sooryavanshi, which is directed by Rohit Shetty.
John Abraham roped in for a cameo in Arjun Kapoor-Rakul Preet Singh's film?
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Mohar Basu (MID-DAY; December 17, 2019)
While Arjun Kapoor has begun shooting for the yet-untitled cross-border love story with Rakul Preet Singh, the cast will soon be joined by another star on the set. It has been heard that producer Nikkhil Advani requested frequent collaborator and co-producer John Abraham for a cameo in the family drama, and the actor was only too happy to oblige.
A source reveals, "While the Kaashvie Nair-directed vehicle is primarily about Arjun and Rakul's characters, Kumud Mishra and Neena Gupta have prominent arcs in the story. John has been roped in to play a younger version of Kumud sir in the film and will be seen in one of the flashback sequences. The team is currently looking for a newcomer to portray Neena ji's younger version. After finishing the shoot of Satyameva Jayate 2, which too is backed by Nikkhil, John will shoot for his portions in the drama."
mid-day reached out to Abraham's spokesperson, who remained unavailable for comment.
Arjun Kapoor and Rakul Preet Singh will head to Punjab for next schedule of their cross border film
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Duo will be joined by Neena Gupta, Soni Razdan, Kumud Mishra, Kanwaljit Singh for a schedule that kicks off on Dec 10
Himesh Mankad (MUMBAI MIRROR; December 4, 2019)
Mirror was the first to report (November 6) that Arjun Kapoor and Rakul Preet Singh are teaming up for a yet-untitled family dramedy produced by Bhushan Kumar, Nikkhil Advani and John Abraham. The film went on floors in mid-November with Arjun shooting for his solo portions in Mumbai. “I’ve shot for five days and it was all interior stuff which we filmed,” Arjun reveals, adding that he is yet to shoot with his leading lady, with whom he interacted at length during acting and character-building workshops.Now, we have learnt that the film’s leads are headed to Punjab to kick off the second schedule on December 10. “It’s a coming-of-age story, a family comedy-drama which has a nice, feel-good vibe to it. I haven’t done something in this space before. We have a nice ensemble cast,” Arjun informs. The actor and Rakul will be joined by co-stars Neena Gupta, Soni Razdan, Kumud Mishra and Kanwaljit Singh in the Punjab schedule.
The cast of the film, which is written by Kaashvie Nair, who makes her directorial debut with the film, along with Anuja Chauhan and Amitosh Nagpal, is scheduled to shoot at real locations in and around Punjab. “We have an exciting schedule coming up across locations in Chandigarh, Patiala, Amritsar and the Attari border. The entire cast will be in Punjab for a better part of the month,” says Madhu Bhojwani, who is also producing the film. Bhushan goes on to add that the shooting spots play a major role in taking the story forward. “We will be treating Punjab as another character in the film, which is a cross-border love story. It’s a unique take on relationships within a family,” he informs.
According to a source close to the development, Arjun, Rakul and the team will fly to Los Angeles for the final shoot after the second schedule. “Filming will be wrapped up by January-end, following which the team moves on to post production. The film will release next year,” the source shares, adding that Neena’s getup in the film is prosthetic-heavy. “There were several look tests that she underwent with the team in October. Her look, once unveiled, will surprise many.”
After Narendra Modi, film on Yogi Adityanath to hit the screen soon
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Nakkash director says Kumud Mishra's role 'heavily inspired' by UP chief minister, Yogi Adityanath
Mohar Basu (MID-DAY; May 3, 2019)
Even as projects centred on Prime Minister Narendra Modi have been barred from screening amidst the ongoing election, Bollywood remains undeterred in telling stories about political figures.
In the latest development, actor Kumud Mishra — who has previously featured in Airlift (2016) and Rockstar (2011) — will be seen playing a character inspired by Uttar Pradesh Chief Minister Yogi Adityanath in Nakkash. The film, set in Banaras, apparently revolves around the idol makers of the holy city.
Unwilling to divulge too many details about the role, director Zaigham Imam describes Mishra's character as a "local leader of Banaras." "The character is heavily inspired by him [Yogi Adityanath] and he is presented in a positive light. It is such designed that the audience will enjoy his presence," he says.
The drama, he reveals, has got the go-ahead from the censor board ahead of its release next month. Ask him if he is worried about the film courting controversy, and he says, "It is one of the main characters in the narrative and will move the audience. Let the film do the talking upon its release."
Shahid Kapoor's sister Sanah Kapur to feature in Saroj Ka Rishta, a film on body shaming
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The actress plays the lead in a romcom three years after her debut in a film headlined by elder brother Shahid Kapoor
Avinash Lohana (MUMBAI MIRROR; July 4, 2018)
After making her Bollywood debut with Vikas Bahl’s Shaandaar that had featured her brother Shahid Kapoor and Alia Bhatt in the lead, Sanah Kapur will be seen in director Abhishek Saxena’s Saroj Ka Rishta, which deals with the culture of body-shaming in India. Sanah will start shooting for the romcom in August in Ghaziabad and Mawana.
“As a fat person, I have noticed that body-shaming doesn’t happen only with those who are on the heavier side, but also with thin people. The idea germinated from there. The film essentially revolves around a father-daughter relationship with Kumud Mishra and Sana at the centre. There is also a love triangle with the two heroes Gaurav Pandey and Randeep Rai,” informs the director, who takes the film on the floors this month with writer Deepak Kapoor Bhardwaj.
Meanwhile, Sana says that she fell in love with her character. “I am looking forward to mould myself into someone who is from a completely different culture. It’s mysterious and offers great scope for exploration,” she explains.
Abhishek knew he had found his protagonist when he saw Sanah in Shaandaar. “She is like Saroj in real life too. Her character shares a fabulous relationship with her father who is worried about being separated from her when she gets married and insists that she find a man who can stay with them,” he laughs.
Prod Sanah on her second film since Shaandaar and she says, “I took a year to concentrate on theatre to help myself improve as an actor while looking for a script that I wanted to be a part of. I also did a feature that released recently (Khajoor Pe Atke) and dabbled in some short films as well,” she signs off.
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