Showing posts with label Laal Singh Chaddha. Show all posts
Showing posts with label Laal Singh Chaddha. Show all posts
Mona Singh is a Bachchan; film kaisi bhi ho, Bachchan sahab kabhi kharab nahin hotey-Saurabh Khanna
10:20 AM
Called a ‘Bachchan’ by those who’ve worked with her, Mona Singh is still defying type, chasing risk, and finding new ways to belong everywhere, even two decades after she played Jassi
Mohar Basu (MID-DAY; April 12, 2026)
I remember the single happiest day of my teenage years. I came back from school and found a pink letter on my table. It was a friendship band that was sent by Jasmeet Walia, aka Jassi. At 12, I genuinely thought of Jassi [the lead in the show Jassi Jaisi Koi Nahin (2003–2006)] as my friend. And there began my love for Mona Singh. Many years later, during an interview, I told her this story and she laughed. “That innocence of Jassi is something I hope we always carry with ourselves,” she’d told me.
In the past few years, everywhere we look, we see Singh. She is the tough cop in Sudeep Sharma’s Kohrra. She is a don in Vir Das’s wacky Happy Patel: Khatarnak Jasoos. She is the hero’s warm mother in Aryan Khan’s Ba***ds Of Bollywood (2025). She is the doctor who can save the world in Netflix’s Kaala Paani (2023). She is also Sunny Deol’s bantering wife in Border 2. And she is the menacing Babli Didi, a mafia queen in Suresh Triveni’s Subedaar. It raises the same question in everyone’s mind — how is she in so many things all at once, never looking out of place in any of these diverse set ups?
The best answer I found to this, came from a late night conversation with Saurabh Khanna, writer of Yeh Meri Family (2018), and the producer of Kaala Paani (2023). He said, quite-matter-of-factly, “She is a Bachchan! Aap koi bhi film dekh lo, Bachchan sahab ki, film kaisi bhi ho, Bachchan sahab kabhi kharab nahin hotey!”
Khanna’s Yeh Meri Family is considered to be Singh’s turning point. She played a mother to three kids in ’90s small town India. What about that show made Khanna think of Singh? “When we started casting, we knew we wanted familiar faces. This wasn’t a show about big lines, big drama. It was about everyday stories. She has this unique quality that she can shine in whatever you give her. Very rarely do we get actors who take punt on fresh ideas, who don’t ask ‘mere opposite kaun hai?’”
Singh broke out with her iconic role Jassi Jaisi Koi Nahin in 2003. The role itself was a risk. Television boom had seen an influx of interesting new actors but for any avid TV viewer of that era, Jassi was a revelation. An unofficial adaptation of Ugly Betty, Jassi too was the story of how a spirited young hard working woman is constantly admonished because she does not meet the traditional standards of beauty. At its peak, the show touched a TRP of 9.2 making it among the most-watched television programs in the country. In Jassi, young women saw their own story of being reduced to just their looks.
But success, especially of that magnitude, comes with its own design to pigeonhole someone. For Singh, the shadow of Jassi wouldn’t leave so easy. For years after the show ended, the industry struggled to see her beyond the braces.
“There was a time when people only saw me as Jassi,” she has said. Breaking that image took a lot of courage from her end, which also meant fresh punts. Between 2006 (after Jassi ended) and 2009, Singh was on both Jhalak Dikkhla Jaa and 3 Idiots (2009) — her first film with Aamir Khan, trying her hand at evolving in whatever way she could. She hosted reality shows, did her work in TV but she was made for greater things and it was the advent of OTT that put the spotlight back on her craft.
But it was Khanna’s Ye Meri Family and Ekta Kapoor’s Kehne Ko Humsafar Hai (2018–2020), that was the first of her big OTT outings. In the latter, Singh plays an independent artiste in a relationship with a married man. Written by Neena Gupta, the show portrays Singh with grace.
In 2018, Singh had told mid-day, “It is a tricky part. Ekta Kapoor (the show’s producer) was very sure from the beginning that she will not project her as a vamp. She is a modern woman who happens to fall in love with a married man.” It ties in with what Khanna had told us about Singh’s choices, “Expect the unexpected from her. That’s what she is seeking.”
It’s this very tryst that took her to play Aamir Khan’s mother in Laal Singh Chaddha (2022). As Singh had once corrected me, she is Laal’s mother, defending her decision of agreeing to play a mom to a man well her senior. During his drive from Goa to Mumbai, Adavait Chandan, director of Laal Singh Chaddha, called us to chat about what makes Singh such a phenomenal actor.
“There is a scene where she is crying when Aamir’s character is graduating. Even when I was directing that scene, I had tears in my eyes. It is my favourite scene of hers. She did become Laal’s mother. I find that loyalty she has her for work and craft, her most defining quality. She is a really great person and that energy feeds every character she plays. When our film didn’t work, she held me and we cried together. She taught me so much about how resilient an actor can be.”
But co-stars remember something entirely different about Singh. It’s her big laugh, that stays with those she meets on set, and her ability to remain calm under pressure.
Co-star Aditya Rawal, who worked with her on Subedaar, tells us, “This one day we had a big shoot sequence for Subedaar. We were shooting in Chembur and had ordered for chole bhature from somewhere. And then we had this really intense scene. No matter what Mona is shooting, she has this ability to stay calm. She can switch on and off between scenes. She is seamless in front of the camera. And as someone who was working with her, that I felt is the reason why she has endured across mediums, formats,” Rawal tells us.
Aditya Sarpotdar who directed her in the hit film Munjya (2024), told us, “She has always been a very secure actor. She would always encourage the new younger talent and was very approachable for all the young actors around her.”
But no one can read you better than the one who gave you your break. Rajan Shahi, who directed Jassi Jaisi Koi Nahin, says the secret to her evolution is quite simple. It’s the one virtue she has had all along in her life, “When I think of Mona, the thing that stands out is she is a selfless soul. She is a true artiste. I remember something from her pre-Jassi success days. She was a nervous student, sitting with script, learning lines, scared before exams. Till date, she is still that nervous student wanting to do well. After the show broke out, Mona was the biggest TV star back then. I remember one day SRK was crossing our set, he and his children waved at her and she waved back. We then got a call from Yash Chopra saying Shah Rukh and his kids want to meet Mona. So many people change after success. They slow down creatively, fame corrupts them. But Mona has stayed grounded. She is humble and kind. When I watched Kohrra season two, I was so surprised that the same young girl is this fine actor today. You know why Mona jaisi koi nahin, because Mona remains unfazed by fame!”
Kamini Kaushal, leading lady in first hits of Dilip Kumar and Dev Anand, passes away
8:35 AM
Avijit Ghosh (THE TIMES OF INDIA; November 14, 2025)
Kamini Kaushal, who made her film debut in Chetan Anand’s classic ‘Neecha Nagar’ (1946), who sparkled as the leading lady in the first box-office hits of Dilip Kumar (‘Nadiya Ke Par’, 1948) and Dev Anand (‘Ziddi’, 1948), and who enjoyed a fruitful second innings as character actor in films such as ‘Upkar’ (1967) and ‘Do Raaste’ (1970), passed away at her Mumbai residence late Thursday night. She was 98. The news was confirmed by Sajan Narain, a close friend of the family, to news agency PTI.
Like the leading character of her last film, ‘Laal Singh Chaddha’ (2022), Lahore-born Kaushal’s career too was marked by her presence in significant moments of film history. ‘Neecha Nagar’ was a Grand Prix winner at Cannes. Raj Kapoor also acted with her in his second film, ‘Jail Yatra’ (1947).
Kaushal was the first heroine with whom Dilip Kumar formed a winning pair. ‘Shaheed’ (1948), ‘Shabnam’ (1949) and ‘Arzoo’ (1950), being three other films. In the opening credits, she was billed above Kumar in all these films, which underscores her seniority and star value at the time.
Director Bimal Roy’s ‘Biraj Bahu’ (1954), based on Saratchandra’s 19th century novel, was the high noon of her acting career. Kaushal was pitch-perfect in the title role capturing the tone and tang of a rural Bengal homemaker whose life unspools from idyllic to calamitous.
The Times of India described her performance as “dignified, refined, sympathetic, beautiful, rounded to the last nuance and shade and tone of expression, a histrionic gem of flawless perfection, the finest of her career.” It fetched her Filmfare’s best actress award.
Her second innings as a supporting actor began with Manoj Kumar’s ‘Shaheed’ (1965), where she played his mother. She became a regular in his positive nationalism films. ‘Upkar’ (1967) offered her the stand-out part of a widow torn between two sons with opposing approaches to life. Another notable role came in Raj Khosla’s superhit family drama, ‘Do Raaste’ (1969), where she played an amiable bhabhi who tries her best to keep the family from falling apart. In Ravi Tandon’s ‘Anhonee’ (1970), Kaushal delivered a deliciously wicked surprise to her fans playing the devious and plotting stepmother willing to kill for money.
Life dealt her unkind cuts. Born on Feb 24, 1927, Uma (her real name) lost her renowned botanist father, Shiv Ram Kashyap, when only 7. The five siblings -- two brothers and three sisters -- were brought up by her mother. Undeterred, she graduated from Lahore’s Kinnaird College displaying a flair for sport and plays.
Then Kaushal’s elder sister died in a motor crash and she “came to Bombay to nurse her two little nieces and her brother-in-law BS Sood who had been seriously injured. She decided to look after him as a wife for the rest of her life” wrote Sushila B Rani in the book, Stars of the Indian Screen (1952). Sood was an officer with Bombay Port Trust.
At this stage, she was offered ‘Neecha Nagar’ by Chetan Anand, who named her Kamini Kaushal. In 1954, she also acted and produced ‘Chalis Baba Ek Chor’, a comedy with a bunch of kids that flopped.
Kaushal participated actively in public life and freely spoke her mind. While inaugurating a women’s section of the Indo-Soviet Cultural Society in Bombay in 1958, she underlined the need to build closer understanding between the peoples of India and the Soviet Union. “Cinema was never my be-all and end-all,” she told TOI in 2008.
In 1969, G D Khosla committee’s report on Film Censorship spoke up in favour of celluloid kissing which created a strong conservative backlash. Kaushal supported the report. “A kissing sequence done gracefully would be a good substitute for blaring erotic songs,” she said at a Lions Club function in Delhi that year.
Making puppets was a passion in her late life. She was also an active chairperson for the Children’s Film Society of India. Kaushal floored everyone with her spirit, elegance and self-deprecating humour while delivering the Filmfare Lifetime Achievement award acceptance speech in 2015. “Ours was a quieter period…may be our eyes spoke more than our bodies,” she said. The audience connected and clapped.
But there was also a tinge of sadness. “I am missing our gang today. Most of them are gone. Just not fair. I feel very lonely here today. All of them are disappearing and going away one by one. Which breaks your heart…,” she said. Everyone stood up when she finished her speech.
Now Kamini Kaushal has joined her gang.
When a person like Amitabh Bachchan backed me to do it, I became confident-Aamir Khan
8:34 AM
As Aamir Khan bypasses OTT giants to release Sitaare Zameen Par only in theatres, he opens up on how Amitabh Bachchan gave him confidence when no one else supported his decision
Priyanka Sharma, Upala KBR (MID-DAY; June 7, 2025)
At one point in our interview, Aamir Khan candidly says, “I’m not known for my practicality.” We’d disagree. After all, the actor and producer is one of the sharpest business minds in the Indian film industry. That explains why the industry is looking to him as he tries what could well be a gamble with his upcoming release, Sitaare Zameen Par.
Khan has announced that the slice-of-life film, directed by R S Prasanna, won’t be available on OTT after its theatrical release, defying the current business model of the industry.
To some, it’s a risky move. To him, it’s a matter of loyalty. “I’m a loyalist of cinema. I have reached here because of theatres, and I won’t turn my back on them. Secondly, I have faith in my audience. We keep saying that the audience doesn’t come to theatres. It’s common sense that I cannot sell the same thing twice. That’s why I am coming only in theatres,” explains Khan, while also refuting rumours that he is opting for a pay-per-view model on YouTube for the film.
Making the unusual decision was admittedly scary. Scarier even was that no one in the industry endorsed the move. The superstar recalls, “Some of my friends said that I was taking too big a risk. I was in a dilemma because, of course, I also get scared.”
But one person showed faith in him, when nobody else did. “One person put me on the track — Mr [Amitabh] Bachchan. During a dinner at his house, I told him my problem. He said, ‘You always take risks. You are known to be a risk taker. You should do it.’ When a person like Amit ji backed me to do it, I became confident. The next day, I told my team, ‘Amit ji has told us. We are not releasing anywhere, only in theatres.’”
The superstar knows that with Sitaare Zameen Par — which also stars Genelia Deshmukh, and tells a heartfelt story of how 10 neuro-divergent kids inspire an ill-mannered basketball coach to change for the better — he is changing the norms of the industry. But he insists he is doing what feels right to him.
Khan says, “No production house is green-lighting a film until you pre-sell it digitally. So, you’ve shown that you won’t make a film without OTT. I’ve made it clear that I won’t make a film with OTT. I have no problem with streamers, but I don’t think it’s logical that a film streams so soon after its release. Show my film on OTT after six months, I won’t mind it. But OTT platforms told me, ‘If you are not streaming it within eight weeks of release, then we don’t want it.’ I said no to that. I’m losing a lot of money. If a film of mine without presale from OTT doesn’t do well in theatres, I’m finished.”
The question then is: How did streamers become so powerful to dictate the business in Bollywood? “We’ve taken the wrong step. We are responsible,” admits Khan.
Now, as he is hoping to undo the practice, the actor believes he couldn’t have asked for a better film. He remembers being touched by the story — an adaptation of the Spanish film, Campeones (2018) — when Prasanna approached him with it in 2022. The actor’s only hesitation was that the character of Gulshan, a politically incorrect guy, was far from him.
“I told R S Prasanna that the character is politically incorrect, rude, and arrogant. There are a lot of people in the industry who will suit him. Why don’t we go to them? I even suggested the name,” he laughs. But the director was clear that he wanted Khan in the role, and the superstar agreed.
Khan’s excitement regarding the film, however, turned into desolation after Laal Singh Chaddha (2022) tanked at the box office within days of its release. “When Laal Singh didn’t do well, I was heartbroken. We were to start Sitaare… I called Prasanna and said, ‘I am in depression. How will I work in depression? I won’t be able to do it. I don’t want to leave the house right now. My crying hasn’t ended yet.’ I told him to make it with someone else,” recounts the actor. Prasanna respected his wishes, and chose two actors to lead the film that was to be made in two languages, at that time.
Khan reveals, “We finalised Farhan Akhtar for Hindi and Sivakarthikeyan for the Tamil version. Dates were locked.” However, just before going into prep, the superstar started having a change of heart. “In that one week [of fine-tuning the script], as Divy Nidhi Sharma [writer] was reading it, I suddenly felt, ‘Why am I not doing this film? It’s such a good script.’ As the week ended, I told them how I was feeling. I said that of course, nothing could be done as the bullet had left the gun.”
While Prasanna was happy to know that Khan, his first choice, wished to lead the film, he requested the superstar to talk to Akhtar and Sivakarthikeyan. After much pressure from his collaborators, when Khan spoke to the two actors, they were graceful about the turn of events. He remembers, “Farhan was disappointed. He really loved the role, but he understood. Sivakarthikeyan said, ‘Why are you saying sorry, sir? Please do the film. It’s yours.’”
Did you know?
Aamir Khan’s mother Zeenat Hussain and sister Nikhat Hegde have cameos in Sitaare Zameen Par. When Hussain visited the movie set one day, director R S Prasanna decided to cast her in the title song that plays at the end of the film. Hegde features in another scene.
Loveyapa director Advait Chandan on Junaid Khan's public appearances: "When you're a terrible dancer..."
8:27 AM
Director Advait Chandan talks all things Loveyapa—from not treating it as a star kids’ launch vehicle to being proud of Junaid Khan’s conduct in promotions even as the internet slams his awkward behaviour
Priyanka Sharma (MID-DAY; February 5, 2025)
Director Advait Chandan is getting the “exam-wali feeling” as Loveyapa readies for release this Friday. But this is an exam that the director was reluctant to take in the first place, he tells us. When producer Madhu Mantena bought the rights to the Tamil hit, Love Today (2022), and asked Chandan if he wanted to adapt it, his answer was a straight no.
“I said that I don’t want to do a remake. After Laal Singh Chaddha [2022], I had decided I’d work on something original and not do a remake. I was writing something of my own,” he narrates. But when Mantena persuaded him to watch the rom-com revolving around a young couple, who exchange their phones before getting married, he had a change of heart.
Chandan was sold as far as the story was concerned. But he had reservations whether Junaid Khan and Khushi Kapoor were the right choice to lead the Hindi adaptation. With his dilemma, he went to the one person he trusts the most in the industry—frequent collaborator and Junaid’s superstar-father Aamir Khan.
“I was unsure of both Junaid and Khushi. Maharaj [2024] hadn’t released, nor had The Archies [2023]. So, I went to meet Aamir sir and told him, ‘A film has been offered to me with Junaid and Khushi attached. I’m considering taking the film up, but I don’t know if Junaid is the right person for the film.’ He said, ‘Take up the film. If you think Junaid is not right for the part, then drop him. I won’t mind it and won’t create any pressure on you. You do whatever is right for your film.’ He suggested that I do readings, auditions, and hang out with them and if at the end of the process, I feel they aren’t right, I should let go of them. That was very reassuring,” he smiles.
Over the next two months of readings and prep, the young actors won Chandan over with their “hard work and dedication,” sealing their place in Loveyapa. While it marks the big-screen debut of Junaid and Kapoor, the younger daughter of late Sridevi, the director asserts he didn’t approach the film as a launch vehicle for the two star kids.
Chandan says, “If a producer comes to me with a budget and a good story, I will make it with anybody who is talented. Khushi and Junaid didn’t walk in with the attitude that ‘I am Sridevi’s daughter’ or ‘I am Aamir Khan’s son’. They came with the approach of making this film well. Khushi made a playlist for her character, she sent me colours that she thought Bani would wear. The pressure was not to launch a star kid. My responsibility is not to star kids, it’s to the audience who has given me their time and money. If I managed to entertain them, I have also done right by Junaid and Khushi. I approached them as two professionals, who needed to know their lines, be emotive and professional. They were all these things. By collaborating to make a good film, we all helped each other. What does that have to do with who is whose father?”
In the last few weeks, the two young leads have aggressively promoted the film. The director takes immense pride in the way Junaid, a self-confessed introvert, has made public appearances.
Tell him that the actor’s awkwardness is glaring, and Chandan replies, “It takes immense amount of strength and courage to stand in front of an audience that is so quick to throw eggs and tomatoes at you, and troll you. He still stands, does that one step again and again, and takes all of that just because he is keen on calling people to theatres. I take immense pride in that boy. It’s easy to go on stage or feature in a reel when you’re a good dancer. But when you’re a terrible dancer, to stand on stage and do that hook step takes courage.”
But isn’t it unfair to make an actor, clearly uncomfortable with putting himself out there, engage in excessive promotions? Chandan shoots back, “Did your heart go out to him? If yes, then my job is done. This is what makes an actor a star.”
As he gears up for the Friday test, it also brings back memories of the last Friday two years ago when he had failed. Chandan’s Laal Singh Chaddha (2022) may be widely loved today, but upon release, the Aamir and Kareena Kapoor Khan-starrer had tanked at the box office. It’s understandable when the director says he is still not over it.
“I went into a dark space. I took the failure to my heart; those days have still not ended. I still feel very emotional when someone says they like Laal Singh Chaddha. I care about the audience and every critic. I have read every comment on the film’s trailer on YouTube and every comment about the film on X (formerly Twitter). When the film didn’t land for a lot of people, it knocked me out.”
While Aamir has publicly expressed that he believed his performance was one of the reasons for the film’s fate, his director disagrees. “Aamir sir has a lot of grace and maturity to process it, I did not. I just shut down. I didn’t know if I could make a film again. But then, I got back and said let’s do better this time. While making Laal Singh Chaddha, I cared about every aspect of that film. I cared about Aamir sir’s performance. His performance landed for me. When I remember the scene in which he is sitting at Rupa’s grave, I choke up even now.”
Did he fear for his career after the debacle of Laal Singh Chaddha, considering he was at the helm of a superstar vehicle? “A director absolutely fears whether he will get enough work after a superstar vehicle doesn’t work. I am grateful to Aamir sir because without him, I wouldn’t have the craft or a career. I wouldn’t be anywhere without him. The way Munna Bhai hallucinates about Gandhi ji, I hallucinate about Aamir sir,” he grins.
For the longest time, people said that I couldn’t sing-Shilpa Rao
8:18 AM
Debarati S Sen (BOMBAY TIMES; August 31, 2024)
Shilpa Rao first sang for the Hindi film music industry over 17 years ago and since then, has had hits like Khuda Jaane, Kalank, Subhanallah, Bulleya, Ghungroo, Tere Hawaale, Chaleya and Besharam Rang among others to her credit.
In a conversation with us, this Grammy-nominated singer talks about creating a space for herself in the music industry despite her voice being termed unconventional at the beginning of her career. Excerpts:
Initially, your voice was termed unconventional. Did you face challenges to get a break in the music industry because of that?
Throughout my childhood, people said I couldn’t sing, and I believed them. Back then, I was learning to sing because I liked music. I never thought I’d be a musician. I wasn’t very goal-oriented, in that sense. Even now, I am learning music because it brings me happiness. Also, today, I don’t think much about what people say. I just believe in working hard. People can say whatever they want, but we must filter out the comments that are not relevant. If someone like Rashid Khan sahab would say something to me, I would listen and see value in it, but not from everyone. It's important to use your own mind, pick things that you're passionate about, work hard on that and listen to people who are wiser than you. Like, if Pritam tells me something, I will think hard.
How did you manage to find your voice even after facing criticism at a young age?
I think it helped me when people said I couldn’t sing (laughs). On a serious note, my parents instilled in me the idea of having my own voice and opinions, which shielded me from being too affected by others’ opinions. My dad always believed in learning music because it enriches your life, and I still hold onto that outlook. My voice was nurtured by my parents, who were big fans of artistes like Begum Akhtar, Prabha Atre ji, and Parween Sultana ji. I was fortunate to have seen some of them perform live as a child. Listening to Farida Khanum was also common in our house. My parents instilled in me the idea of having my own voice and opinions, which shielded me from being too affected by others' opinions on my singing abilities. My dad always believed in learning music because it enriches your life, and I still hold onto that outlook. Attaching happiness, love and good energy to my songs translates to the audience, and that’s important to me.
You’ve sung numerous popular Bollywood songs in the past few years. What’s your process when it comes to singing?
For me, it’s about approaching each studio session as if it were my first. Every recording is a fresh opportunity to connect with music, like a child in a chocolate factory exploring new flavours. For instance, when I was first told about Kaavaalaa (Jailer, 2023), I wondered why Anirudh (composer Anirudh Ravichander) chose me for it, as it was unlike anything I had sung before. However, trusting the composer and director’s vision is crucial. With Besharam Rang (Pathaan, 2022), Siddharth Anand was confident about me singing it. That meant a lot to me. People have told me how much they have loved the song. Sometimes, it’s not just about singing for a movie, it’s also about the emotional attachment people form with the song. So, having faith in what you do is essential.
During recording sessions, is your input as a singer considered?
Yes, always. Artistes who have been in the industry for a long time, whether it’s Pritam, Vishal-Shekhar or Mithoon, are always open to inputs from singers. They’re willing to listen to ideas and suggestions because they understand that it can only enhance the work. I enjoy collaborating with new people as witnessing their spontaneity and energy in the studio is amazing. There’s a unique dynamic that emerges when you bounce off ideas and energy, and often, something magical happens when they listen to your input.
You'd said earlier ‘Kalank’ took three months to complete. Which other song has been challenging for you?
Every song requires dedication and hard work. But if I had to pick, Mudhi Mudhi Ittefaq Se (Paa, 2009) was particularly challenging. I worked with Ilaiyaraaja Sir for that song, and he is known for his discipline and perfection. Impressing him wasn’t easy. Gustakh Dil (English Vinglish, 2012) was also tough because it conveyed complex emotions. Bulleya (Ae Dil Hai Mushkil, 2016), too, posed its own challenges, depicting a unique relationship dynamic.
And are there any songs that you breezed through?
I’d say "Manmarziyan" was definitely one of those songs. It felt tailor-made for me, and Amitabh (Bhattacharya) and I wrapped it up in just 30 minutes. It's quite rare for things to come together so seamlessly like that. Initially, it wasn't even called Manmarziyan, but as soon as I sang the first line, Amitabh immediately named it. Another quick recording was Chaleya. We finished the recording in just 20 minutes because we were both (composer Anirudh Ravichander) present, making decisions swiftly and bouncing off each other's energies. It really does make a difference when you have multiple perspectives in the room, including the composer, lyricist, and sometimes the director. When you're alone, it's challenging to navigate all those possibilities.
In an industry where most songs are male dominated, Tere Hawaale from Laal Singh Chaddha was one of those rare ones where male and female voices were given equal weightage. How did this song come about? How involved were you all?
Tere Hawaale is an ideal duet. The film is not just about one character; it's about the parallel lives of Laal Singh and Rupa, intersecting and drifting apart. The song reflects this journey, where they finally acknowledge their need to be together. It took a lot of time to perfect. We started working on it before COVID in 2019 and experimented with different ways of singing the two lines, and then the final recordings were done. Aamir Khan sir felt that the last part should be from Rupa’s (Kareena Kapoor Khan’s character in the film) perspective to conclude the song properly. It was truly a collaborative effort.
Mona Singh's next with Aamir Khan Productions is in a similar space as Delhi Belly
11:04 AM
Thrilled to work with Aamir Khan Productions again, Mona Singh’s next project will be in a similar space as Delhi Belly, sources claim
Priyanka Sharma (MID-DAY; July 21, 2024)
It’s a hat-trick for Mona Singh. For her next theatrical release, the actor reunites with superstar Aamir Khan for the third time after the 2013 campus comedy 3 Idiots and Laal Singh Chaddha (2022). Sources inform that unlike her previous outings, Khan is only involved as a producer this time around. The yet-untitled film is slated to release during Diwali.
“Mona has just wrapped up the film’s shoot. She has a wonderful relationship with Aamir Khan Productions and is excited to work with them for the third time,” says the source.
The film is another comedy adventure in the actor’s filmography, following the success of her last theatrical release, the horror comedy Munjya. While details about the project that will see Singh as a gangster are being kept under wraps, an insider informs, “The comedy adventure will take the audience back to Delhi Belly [2011] days.”
This won’t be the first time Singh plays a gangster on screen. She will also portray the character in her upcoming series, Paan Parda Zarda, which is set against the backdrop of illegal opium smuggling. In an earlier conversation, the actor had emphasized the importance of maintaining a balance between OTT and film releases and how she practiced it.
“It’s not easy, but it is great that we have been able to maintain the balance between OTT and theatricals. I am glad to be a part of this beautiful change in the industry,” she said.
I made so many mistakes, says Aamir Khan on Laal Singh Chaddha failure
8:27 AM
HINDUSTAN TIMES (February 26, 2024)
Opening up about the failure of his 2022 film, Laal Singh Chaddha, that made him take a step back from acting, Aamir Khan says he was “emotionally hurt” that “a film close to my heart” did not work out at the box office. A remake of actor Tom Hanks’ 1994 feature, Forrest Gump, the film was directed by Advait Chandan and starred Kareena Kapoor Khan, Naga Chaitanya and Mona J Singh.
Looking at the funny side of things. Khan said, “Two things happened; after a long time my film didn’t work, so family and friends would come home to ask me, ‘If I’m okay?’ I realised that I’m getting a lot of love after a flop. That was the funny side of it.”
The 58-year-old also shared what he learnt from this experience. He said, “The real side is, failure teaches you what really has gone wrong. It gives you an opportunity to understand what was your mistake in terms of communicating that story.”
Speaking at the ABP Ideas of Summit 3.0 recently, the actor added, “I gave it a lot of thought; it was a big learning for me. I remember telling Kiran (Rao, ex-wife, filmmaker), once, ‘I made so many mistakes in this film on so many levels. Thank god I made these mistakes in just one film.’ Emotionally, I’m hurt that the film has not worked. I’ve taken time to absorb the grief.”
Kiran Rao says failure of Laal Singh Chaddha affected Aamir Khan deeply
8:02 AM
HINDUSTAN TIMES (February 12, 2024)
Aamir Khan had taken a sabbatical from acting after his last release, Laal Singh Chaddha (2022), tanked at the box office. And now, his ex-wife, filmmaker Kiran Rao, has opened up about how deeply hurt the actor felt.
“It’s really disheartening when you put in all the effort and it doesn’t work, which is what happened with Laal Singh Chaddha. And it definitely affected Aamir quite deeply. It affected all of us because it was a project that had seen so many stages; it had done the Covid-19 roller coaster; it had been a dream project for Aamir. He had been working on getting the rights for the script for a decade before we made it,” she revealed in an interview with Zoom.
Rao added, “I am really happy that people are responding well on social media (after the movie’s OTT release), because I do feel the film did not get as much of a chance. But it did not work, and we do have to accept the fact that the audiences did not like it or did not want to see it.” The film was a Hindi remake of the Tom Hanks-starrer Forrest Gump (1994).
Somebody commented ‘Aap toh lady SRK nikle’ as Shah Rukh Khan also had 3 releases this year-Mona Singh
8:03 AM
With three hit projects to her credit this year, the actor talks about the unexpected high and becoming a Gen Z fave
Navya Kharbanda (HINDUSTAN TIMES; December 23, 2023)
With web projects such as Made In Heaven 2, Kaala Paani and Kafas to her credit, 2023 has been a great year for Mona Singh. The actor, who is overjoyed with the kind of appreciation that came her way, tells us, “I got a compliment on Instagram: ‘Aap toh lady SRK nikle’, because he (actor Shah Rukh Khan) also had three releases this year. Secondly, I lost 12 kg and revamped my wardrobe and style. Bulbul Jauhari (her character in Made in Heaven) was a highlight for me this year. I’m being invited to so many round tables now.”
The 42-year-old continues, “All this (praise) is new to me. The entire industry was reaching out to congratulate me. I am grateful for 2023; I experienced this high exactly after 20 years. I saw this kind of madness in 2003 (referring to the fame she earned for her debut TV show Jassi Jaissi Koi Nahin).”
All set for a thrilling “2024 as there is a great lineup of shoots and releases”, the actor admits that OTT has turned things around for her.
She explains, “Earlier, only mothers and grandmothers would say, ‘We love you’. But now, I’m getting all the love from Gen Z as well. That’s the power of OTT. It is the only platform that can tell all these bold and beautiful stories. Every actor is shooting for OTT now, whether they are from film, TV or theatre.”
The actor never anticipated a successful 2023. “All the work that I have done this year was because of Laal Singh Chaddha (2022). Next year, I have six releases lined up and they are all because of how [my role] Bulbul was received,” Singh ends.
Salman Khan is sharp as a knife; Shah Rukh is made of special cloth; Aamir is too focused on himself-Kareena Kapoor
9:03 AM
Kareena Kapoor Khan on her cinema, clan, and version 2.0
Mayank Shekhar (MID-DAY; October 14, 2023)
I think it works for actor Kareena Kapoor Khan to not come across as way too interesting, during interviews—scratching merely the surface, without engaging too hard during a conversation. One, it keeps the mystique alive, for a star-actor, who’s been under the Bollywood spotlight for 23 years, straight.
Also, forget an overpowering intellect, for a second—there is rarely a correlation between an incredibly interesting conversationalist, and an equally fine actor, on screen. In fact, the reverse might often be truer.
Take Kareena, when she’s out with roles far too different from her public image—seamlessly slipping into lives of distant others. She inevitably surprises.
She says, “I have always tried to balance out the stardom/persona, with character-driven films, all through. I was 22, when I did Chameli [2003; that shines a light on a sex-worker’s life, over a night]. Back then, there weren’t mainstream actors attempting such a role. Likewise, Dev [2004], Yuva [2004], Omkara [2006]…”
At one point, Kareena, 43, reiterates, “Of course, the big-ticket films will be there. But I don’t wanna do stardom anymore. Would rather dig deep into challenging parts.”
This is in context of Jaane Jaan (2023), that she debuted on OTT with, starring alongside Jaideep Ahlawat, Vijay Varma—equally stars in their own right, although from another sky, namely, streaming.
This choice for Kareena was personal: “I binge-watch crime thrillers at home—I’ve watched all of Harlan Coben’s books that have been made into shows on Netflix. So, I always thought that if I come on a streaming platform—it should be in a genre that I would like to see, myself!”
As she also points out, she’s seen Mare Of Easttown six times already—and that kinda explains her next release, The Buckingham Murders, that premièred at the British Film Institute festival.
Over three weeks since Jaane Jaan dropped on Netflix—based on the crime thriller, The Devotion Of Suspect X—it’s been on the world top 10 chart, for non-English films, on the global platform. Kareena paints a picture of sheer vulnerability in the movie—single-parenting a teenaged girl, while they grapple with an accidental murder.
It’s a whole new world for her, she admits. And the process remains the same. Which is? Mainly to learn your lines, yes: “Because that’s how you can manoeuvre a moment on a set. I’m a prepared actor. But I like to leave room thereafter for the director, co-stars, and the collective energy, that makes a scene and film work. I’m not set in my head.”
She essentially rubs off the energy in the room, she says. And that, of course, changes from room to room, doesn’t it? With Jaideep as co-star, and the role of Maya, for instance, Kareena says, “You have to be more focused. The [co-stars’] modus operandi is different.”
Which is diametrically different from, say, a Salman Khan film—whether Bodyguard (2011), or Bajrangi Bhaijaan (2015)? “With Salman, you have an actor playing on his confidence, and his super-duper stardom. He is confident to another level. And while it may seem so on the set, it’s not like he is unaware, or that he’s not listening, or is kinda sleeping… He’s listening to everything, and is sharp as a knife. Whereas Jaideep is sincere, constantly thinking about his character.”
Over two decades in Bollywood that’s been dominated by the Khan trio, it might be fair to suggest that the female co-star who’s been by their side all along might well be Kareena. Sometimes even picking parts more for the size of the film, than her role. She’s obviously in the best position to define that pop-culture phenomenon more closely.
I ask her to explain the three Khans, ideally through anecdotes, for how they roll, separately. With Shah Rukh Khan, she says, “He’s all those things you hear about him, and more—truly the Shah, or Emperor, or Conqueror, as they say. For him, the film is about everybody, who’s on the set—from the co-star, to the light boy on the tarp. You sense none of his stardom, once he’s in front of you, and how he multi-tasks, while making everyone feel special. He’s made of a special cloth.”
Kareena was 21, when she starred opposite SRK in Asoka (2001): “That was a truly brave film for his maiden home production. He took it all the way to the Venice Film Festival. It’s incredible, the vision for 20 years ahead, that’s he’s had. Back then, he knew that cinema was going to change, and he invested hugely in a VFX studio.”
The super-hero film, Ra.One (2011), with SRK and Kareena, was a result of that. As we speak, with Jawan (2023), SRK has made an astounding comeback for himself, and Bollywood itself.
It’s also not far away from the unexpected debacle of Aamir Khan’s Laal Singh Chaddha (2022), which was Kareena’s last release in theatres—a hard labour of love: “With several years of production gone into it.”
Kareena had her second child shortly after the film came out. And she barely had the time or mental space to mull over its commercial failure: “Recently, Aamir and I were at the inauguration of NMACC [Nita Mukesh Ambani Cultural Centre]. That’s when we first met after Laal. Well, I saw his face, and I could see how he was looking at me, apologetic and sad, at the same time: ‘What happened?’ Together, we’ve delivered big films, 3 Idiots [2009], Talaash [2012]. But you know what? It doesn’t matter. I wrote a long letter [on WhatsApp] to both Aamir and the director [Advait Chandan], telling them that our relationships and talent don’t depend on the outcome of a film.”
I wonder if she’s personally analyzed what went strikingly south with a movie so sincere and sweet, that the audiences simply stayed away?
“I think it was the post-COVID times. People were looking for some more fun in their entertainment. And Laal Singh Chaddha is dark. Even while we were making it, Aamir discussed with me if we were going too dark with my character, Rupa. I said, no, let it be—that’s what it is.”
As a Khan co-star, of course, Kareena has the same things to say about Aamir that’s earned him the title, Mr Perfectionist: “He’s too focused on himself; obsessed. Sometimes I’d tell him, ‘Bahut ho gaya yaar’. You can’t do anything else while working on the film—all the conversations and people are centred on one thing. But that’s Aamir for you. And we’ve loved him for that.”
It’s not that I say this because Kareena is before us. The fact is, my favourite Khan for a star-actor is, in fact, her husband, Saif. He’s defined urbane cool in unmatched ways, over a career as long as his Khan
contemporaries.
Also, taking creative risks with subjects that were so OTT, before there were streamers—take the English film, Being Cyrus (2005), for instance. She obviously agrees, “He’s the finest artiste, doing his own thing, a Laal Kaptaan (2019)…”
It must be mildly upsetting, though, that their own pairing wasn’t to the mainstream delight—whether that be Kurbaan (2009): “Hey, Tashan [2008] was a cool flick! It’s got the songs, and characters, and a cult value! So was Agent Vinod [2012], with a cool yet desi intelligent kinda James Bond.” Fair enough.
While Kareena would love to pair opposite Saif, he tells her something rather keenly observant: “Saif says that he wants to be the best in a film. But he loves me so much that he would want me to be the best.” This is a conflict of interest, alright!
Kareena’s own filmic story actually begins with her sister, Karisma, who got into the movies, first. Also, the first female from the Kapoor family to show up on screen. She’s a fourth generation actor, from what’s widely considered the first family in Bollywood—her great grandfather Prithviraj Kapoor, onwards.
Still, the fact is, it’s actually her mother, Babita, who raised her, almost single-handedly—the reason she’s in the movies!
Kareena says, “I’ve got my confidence and an independent streak from watching my mom. She’s the lioness, who raised the cubs, that is my sister and I. The fire in me comes from her, and she has the same fire for her children even now, when we discuss work. Three women under one roof can do anything! That’s how she took on the world and pushed Karisma’s career. She personally took her down South, to meet Rama Naidu.”
Ah, that’s how Prem Qaidi (1991) happened! Remember, Harish? Also, Anari (1993)! With Telugu superstar, Venkatesh, who’s also found a new audience, you would’ve noticed, with the recent Netflix series, Rana Naidu.
Babita was the ‘Bollywood mom’, as was the prevalent practice in the ’90s: “She would always be with my sister. By the time, I made my debut, times had changed. She wouldn’t come on the set with me. She adapted with the new generation. Also, cinema changed from the ’90s.”
Kinda crappy decade the ’90s were, for mainstream female actors, no? I prod Kareena. She says, “Well, everybody still dances to Lolo’s songs at parties!”
Either way, it’s worth noting that up until the end of that decade, while producers and stars in Bollywood were only too happy to introduce their male children into films, they resolutely chose to keep their female progeny at a safe distance.
Clearly, something was amiss? That they didn’t think the film industry was a great place to work for women? Kareena is decidedly non-committal: “I think these were personal decisions. [With the Kapoor family], it could well be that light-eyed actresses don’t make it! In the ’60s and ’70s, it was simply a choice they made. My mom-in-law [Sharmila Tagore], for instance, continued to work after marriage, and even after Saif was born. She was a game changer of sorts.”
Even with Karisma, Kareena recalls her father, Randhir, “an open-minded cosmopolitan”, was clear: “Lolo would have to find her own way, and that he can’t help her [vis-Ã -vis a debut/launch vehicle].”
Lolo, being Karisma’s popular nickname. It’s derived from Italian actor-model, Gina Lollobrigida, Kareena confirms: “Now, I don’t know where Bebo [Kareena’s own nickname] comes from!”
She’s however named after Leo Tolstoy’s Anna Karenina, the novel Babita was reading, when she was pregnant with Kareena. Okay, another legend confirmed then. Has she read the book she’s named after?
“Have you seen the size of the book? Mere baal safed ho jayenge [I’ll grey, before I finish it!]. It’s lying at home. Guess who’s obviously read it!” Meaning, her husband, Saif, who’s more of a reader.
“Well, I may give off the vibe that I’m not a reader, which is not true. I do read, but more [in the crime fiction space] Scady [Scandivanian] stuff, like Joe Nesbo. Saif has a different taste, having been an art history student.”
Speaking of names, her new title, Jaane Jaan, is actually named after a film, starring her father, Randhir—who, I tell her, and not because she’s around, that he’s one of my favourite Kapoors, definitely underrated. Her own favourite Randhir films are the same as mine—on top, the crazy comedy, Biwi-o-Biwi (1981), then Chacha Bhatija (1977), which is before Kareena was born.
And that would be true for Randhir’s own stardom, that was quite something in the ’70s, and but it faded by the ’80s: “I was too young, when my dad had stopped working, as such. That’s why my mom had to step in to bring us up, and figure out the odds and ends, until Lolo started working. He did direct two-three films [Heena was one of them]. But he’s had a sporadic kinda career.
“He’s actually loved living life, a lot more—he’s a funny and warm man, with a large social circle, meeting close friends... There are a hundred of them. And they would have not one thing wrong to say about him. He gave more time to that side of his life. It’s something I’ve learnt to do with my circle as well. He’s given us a lot of love.”
The other thing that’s seeped into her personality is a middle-class upbringing, therefore: “My mother came from a humble background. Her father was a character actor, Hari Shivdasani. My grandmother was British. They met on a tour in the 1940s. Growing up, it was clear, that we would be provided the bare necessities. I could buy [expensive] clothes and other stuff, once I got a job.”
Karisma debuted at 15; Kareena, at 20: “My 20s weren’t about partying, shots, nightclubs... They got spent at Mehboob Studios. And I loved that! And it’s been my life since—early to bed, by 9.30 pm, up early. You’ll hardly find me at film parties, although I can have a late-night, once in a while.”
Once you start checking boxes, you realize, Kareena actually has a new-age doppelgänger. An actor who met and clicked with her husband (later), similarly, on a film set, having known him for years before that.
With a maternal grandmother, who’s British, while her paternal family is from the films. She broke out with a Karan Johar film. As did Kareena, in many ways. And now, they’re also related. That’s Alia Bhatt, who confesses to being Kareena’s biggest fan. It may appear she has modelled herself on her as well.
Kareena smiles, “She’s tried to keep that artistic balance. I’m a huge admirer of her choices. And that’s what ultimately makes an actor. I didn’t know her as a child. But of course, now Alia’s part of the family [married to Kareena’s cousin, Ranbir]. Recently we had a picture together that got everyone talking about how we must work together. And then Karan [Johar] started getting the same messages. The onus is on him to cast us then!”
Easily, the role that got Kareena pop-culture cred was as Poo, short for Pooja (as all Sidharths are Sids, and Adityas, Adys). It’s the snobbish fashionista’s role from Karan Johar’s Kabhi Khushi Kabhie Gham (2001) that got her all the teenage love: “I think the lingo and the language of the character is even more relevant today! The reason it worked was because I had so much fun playing the part—a rare mainstream, female role [that stands out] in a film full of [male] stars.”
As you can tell, it was inspired by Alicia Silverstone from Clueless (1995). Kareena had obviously seen that teen-com: “But, no, I was totally inspired by Karan. He just knew the part really well.” Looping back to the Alia-Kareena potential casting by Karan—if that does happen, I joke, it’ll fire up online trolls screaming, nepotism all over again!
Kareena sighs, “Now, what nepotism, yaar! I’ve been around for 23 years. People have seen my fair share of debacles. And I’ve proven myself. I keep coming back.”
What can’t be denied, however, is the edge, in any profession, for that matter, that one enjoys, by observing it from a close distance, being raised around it. As with films too.
She agrees, “For me, that happened with being on Karisma’s sets, growing up. I was lucky, yes. But the first time you face the camera is still the first time. And there is an X factor that you can’t take that away from someone. So, what you’re referring to is just a one percent advantage.”
Kareena debuted with a relatively broody/artsy, Refugee (2000), with Abhishek Bachchan, after dropping out of Hrithik Roshan’s debut, Kaho Naa Pyaar Hai (2000). K3G cemented her stardom of sorts. Refugee was a fair starting point for her displaying her chops as a sensitive/sensible lead.
What followed was a series of films that would baffle the moviegoer—take the forgettable Yaadein (2001), or Main Prem Ki Diwani Hoon (2003), among many that you rightly can’t recall.
Both the movies mentioned, she points out, were by the star-filmmakers of the time—Subhash Ghai, Sooraj Barjatya. Was she picking directors over scripts? “I was too young then. You can’t say no [to such big films]!”
An actor, of course, only acts. There is much else at play for her to take full responsibility for a role, let alone an entire film. At some point, given the offers, she had decided on a sabbatical, refusing to sign up any: “I was saying no to some of the biggest movies.” She’s quite well-known for that too. Take Queen (2014), I remember. She’d passed on that as well.
“Oh, no, that’s much later,” Kareena says, talking of the late noughties. How did she plan on reviving her career then? “With a ripped, six-pack, planning to blow up with the world, walking on high speed [shot], on to the big screen! I hadn’t worked for a year and half.”
The film? Tashan! The goal? Size zero! As goes the old John Lennon cliché (which like all clichés, being true)—life is what happens, when you’re busy making other plans.
Actor Shahid Kapoor sent over director Imtiaz Ali for a script narration. Imtiaz had only debuted with Socha Na Tha (2005). She hadn’t seen that film. Shahid had. She was happy with his script. Jab We Met was born. Rest is history, and chemistry, of course. But all through the making of Jab We Met, Kareena says, she wouldn’t stop talking about Tashan!
“Imtiaz just kept saying, ‘I don’t think you’re getting it!’” In terms of the impact her character is likely to have. It did. Kareena as Geeta remains her most prized picture yet.
Although my personal favourite, in terms of performance alone, is Kareena as Aaliya, in Govind Nihalani’s Dev, based on the 2002 Gujarat riots. It’s the role with immeasurable depth you wouldn’t expect Kareena (or any other commercial/mainstream star) to pull off, so effortlessly. That’s the visceral, surprise element she brings to the screen, that’s hard to decode about her, least of all in a press interview.
Beyond movies, her hugest production is obviously her son, Taimur, a media blockbuster ever since he was born. And which also explains nepotism more realistically—it starts with intense public interest in star-children, in general.
Something that social media and paparazzi feed on. Taimur’s been India’s most famous child, way before he’s likely to even contemplate his profession.
There’s little Kareena could do about it: “If he’s with me, he will be photographed.” I wonder how other celebrity couples manage their child’s privacy. Nobody, for instance, knows what Rani Mukerji and Aditya Chopra’s kid looks like. There must some method to it.
It can backfire too, Kareena reasons, “I could cover his face. That would be more scarring.” Infant Taimur even had a weekly column with his name for a pseudonym in a popular Mumbai daily. I wonder if he’s seen it?
“He hasn’t. But I’m sure he will, if he googles himself.” His growing up could be a curious case study on fame, while his mother claims he’s been totally unaffected by the unwanted attention: “He’s a smart boy. He knows that he has famous parents. And that’s what this is about.”
None of which Kareena had to face, through school/college (Jamnabai, Welhams, Mithibai), while being a celebrity child herself. And she’s been a Bollywood star since teenage. All through which she’s seen the media landscape evolve, equally. Back in the noughties, the reporting around film stars were inevitably about catfights in fanzines and gossip rags!
She was then in her 20s, a decade she regrets a little for “saying and doing foolish things, in order to prove oneself.” These would make it to the press, covering movies, that was still aimed at a niche readership—“Kareena, Priyanka in a catfight in Antwerp!” Okay, that’s not a true story, apparently.
The smart phone and social media turned everyone into a semi-paparazzi and gossip writer. It gets to Kareena, at times: “Everyone wants your time, and a piece of you, which wasn’t there before. It’s tough to balance this out—to not have a bad day, or be tired, being under the spotlight 36 out of the 24 hours of your day!”
An old, 2019 video, featuring N Narayanmurthy, for instance, randomly went viral recently. Wherein the Infosys founder talks about Kareena as his co-passenger on a flight once. And that he wasn’t pleased with her fobbing off unnecessary attention from the public around her. Narayanmurthy’s wife, Sudha Murthy, is a voice of reason in that video. She tries to explain Kareena’s POV. Something Kareena does well herself.
Only, that since everything becomes controversial for a day, online—I can see Kareena’s entourage dancing behind her to cut short the interview, while I wonder if she’s opened up enough?
They’re unhappy with the questions, they complain to my colleague, during the interview. Which is strange, and it’s never happened during our conversation series, Sit with Hitlist, over five years.
The same thing occurred during Kareena’s The Guardian profile, more recently (as noted in the piece). She is actually eloquent enough to take her questions, with absolute ease, and reasonable charm. It’s hard to figure why her own/personal team would unusually attempt bad press towards the employer/client!
Aamir Khan to star in Champions, not Rajkumar Santoshi’s film
9:14 AM
Monika Rawal Kukreja (HINDUSTAN TIMES; September 1, 2023)
A lot is being said and speculated about Aamir Khan’s next acting project, after Laal Singh Chaddha (2022). While the buzz is that he is going to star in a Rajkumar Santoshi film, we have exclusively learnt that’s not true. Instead, the actor will headline a film called Champions — a story about human spirit, in which he plays the role of a mentor. It is being directed by R S Prasanna.
“The prep is on right now and the film will go on floors in January 2024. It is expected to release on December 20 next year. It’s going to be a story of a teacher or a coach. Champions is currently the placeholder title, which will be changed once some part of the film has been shot,” informs a source close to the development, adding, “Right now, casting is underway. Within a month or so, more names would be finalised.”
It all started in November last year when Khan had confirmed in a statement that he will be stepping down from a film called Champions and will co-produce the film under Aamir Khan Productions in collaboration with Sony Pictures. In March this year, reports surfaced that actors Salman Khan and Farhan Akhtar were in talks to star in the film and in May, reports surfaced that actor Ranbir Kapoor was reading the script. However, all that turns out to be untrue, as Khan himself is doing the film now.
“Aamir wanted to only produce this film and spend time with his family, but when he worked on the script for four to five months, it shaped up so beautifully that he decided he is going to star in it, too. Since he was already looking to go back to acting, he felt Champions would be the perfect project to make a comeback after the debacle of his much-anticipated film, Laal Singh Chaddha,” adds the source.
When we reached out to Khan’s spokesperson, they chose not to comment on the matter.
Aamir Khan will return to acting with Christmas 2024 release
8:40 AM
HINDUSTAN TIMES (August 30, 2023)
Aamir Khan is all set to return to the acting world. After a self-imposed sabbatical following his last big-screen outing Laal Singh Chaddha (2022), which didn’t fare well at the box office, the actor had announced his decision to take a short break. Now, Khan has finalised his next project, which will be backed by his production house.
As per trade expert Taran Adarsh, Khan’s yet-untitled next is likely to be a Christmas release next year. It is believed that the project is in its pre-production stage and is likely to go on floors by January near year.
Sharing the news on X, Adarsh wrote, “Aamir Khan locks Christmas for the next film… It will star Aamir in the lead role, to release on 20 Dec 2024. Pre-production of the film is ongoing and the film goes on floors on January 20, 2024 (sic).”
While Adarsh didn’t share any details about the project, there are rumours that Khan might be reuniting with filmmaker Rajkumar Santoshi for an entertainer, 30 years after they worked together on the 1994 film Andaz Apna Apna.
Fenil's Bollywood Talk # 790
2:24 PM
GADAR 2 GOES BEYOND EXPECTATIONS; OMG 2 EXPECTED TO JUMP FROM SATURDAY
Last year, Bollywood had a poor Independence Day week as both Laal Singh Chaddha and Raksha Bandhan failed and how. It was the lowest point of the industry after which slowly, things got better. Now 365 days later, the mood is euphoric. Gadar 2 is all set for a smashing opening while OMG 2 might also surprise.
Gadar, as we all know, is one of the greatest hits of Indian cinema. During its release, it broke all records. Yet, there were apprehensions that the sequel might not get a huge response as Sunny Deol and Ameesha Patel are not that big anymore. Hence, the sceptics got the shock of their lives as the tickets started selling like hot cakes as soon as the advance booking opened. In smaller towns, moviegoers don’t book in advance. But for this film, many preferred to buy tickets days before release. As days passed, the ticket sales increased. 2 days back, it seemed like the film would open at Rs. 20-25 crores. Now, there’s a possibility that Gadar 2 can open at Rs. 35 crores or even Rs. 40 crores!
The advance booking for Saturday and Sunday is also strong. And then there’s the Independence Day holiday on Tuesday, August 15 which can also be huge. Hence, if the reports are positive, Gadar 2 can enter the Rs. 200 crore or even Rs. 300 crore club! And if the film is bad, the buzz is so much that it can still do business of a minimum Rs. 150 crores!
OMG 2, meanwhile, stars Pankaj Tripathi in the lead and has Akshay Kumar in a supporting part. The film faced negativity due to the issues it faced at the Censor Board. A lot of cuts have been imposed on the film. This has made viewers apprehensive as they fear that the film might be recklessly cut. The ‘A’ rating has also added to the challenge. At the same time, a certain curiosity has been built around the film due to the controversy. The Gadar 2 wave will definitely affect the opening. Yet, it can open at Rs. 7-8 crores. If the word of mouth is positive, it can emerge as Akshay Kumar’s first hit in almost two years.
Last year, Bollywood had a poor Independence Day week as both Laal Singh Chaddha and Raksha Bandhan failed and how. It was the lowest point of the industry after which slowly, things got better. Now 365 days later, the mood is euphoric. Gadar 2 is all set for a smashing opening while OMG 2 might also surprise.
Gadar, as we all know, is one of the greatest hits of Indian cinema. During its release, it broke all records. Yet, there were apprehensions that the sequel might not get a huge response as Sunny Deol and Ameesha Patel are not that big anymore. Hence, the sceptics got the shock of their lives as the tickets started selling like hot cakes as soon as the advance booking opened. In smaller towns, moviegoers don’t book in advance. But for this film, many preferred to buy tickets days before release. As days passed, the ticket sales increased. 2 days back, it seemed like the film would open at Rs. 20-25 crores. Now, there’s a possibility that Gadar 2 can open at Rs. 35 crores or even Rs. 40 crores!
The advance booking for Saturday and Sunday is also strong. And then there’s the Independence Day holiday on Tuesday, August 15 which can also be huge. Hence, if the reports are positive, Gadar 2 can enter the Rs. 200 crore or even Rs. 300 crore club! And if the film is bad, the buzz is so much that it can still do business of a minimum Rs. 150 crores!
OMG 2, meanwhile, stars Pankaj Tripathi in the lead and has Akshay Kumar in a supporting part. The film faced negativity due to the issues it faced at the Censor Board. A lot of cuts have been imposed on the film. This has made viewers apprehensive as they fear that the film might be recklessly cut. The ‘A’ rating has also added to the challenge. At the same time, a certain curiosity has been built around the film due to the controversy. The Gadar 2 wave will definitely affect the opening. Yet, it can open at Rs. 7-8 crores. If the word of mouth is positive, it can emerge as Akshay Kumar’s first hit in almost two years.
People said they shouldn’t have listened to banning rumours and should have watched Laal Singh Chaddha in cinemas-Mona Singh
9:29 AM
Actor Mona Singh says viewers appreciated Laal Singh Chaddha, her last outing, after it arrived on OTT — and that for her is a ‘win’
Ruchi Kaushal (HINDUSTAN TIMES; June 27, 2023)
Mona Singh is always on the lookout for challenging roles — and one look at the actor’s filmography would reflect just that. Last seen on the big screen in Laal Singh Chaddha (2022), where she played actor Aamir Khan’s mother, Singh feels such roles “rarely happen in a lifetime”.
“In the film, I aged from 18 to 60 and this [range] was the reason I agreed to do it,” she says, adding that she wasn’t worried about being typecast as a mother.
Singh elaborates, “I am never scared of things like, ‘Acha ab ise maa ke roles ke liye hi lenge’. I have been very choosy and particular about the roles I say yes to. My first show, Jassi Jaissi Koi Nahin, was the most challenging project as I didn’t look the way I acted... I have been spoiled rotten for choices in this industry, to only do my best.”
Ask the 41-year-old how she dealt with the setback of Laal Singh Chaddha not getting the desired response at the box office, and Singh says she prefers to look at the bright side of things. “Yes, the movie didn’t do well at the box office at all. But when it came on an OTT platform, people started appreciating it and said they shouldn’t have listened to all the banning rumours and should have gone to the theatres to watch it. For me, that in itself is quite a win,” says Singh, who plays actor Sharman Joshi’s onscreen wife in her latest web outing Kafas.
Given that her latest show touches upon the existence of casting couch in the film industry, the actor considers herself fortunate to have never been at the receiving end of the practice. “I have always worked with good, simple people... If one ever finds themselves in such a situation (facing casting couch), there is always the choice to say no. There’s always the choice to back off,” she asserts.
Peace prevails: Bhushan Kumar, Sonu Nigam patch up
8:10 AM
The soured relations between Bhushan Kumar and Sonu Nigam are now amicable after a three-year bitter feud
Rishabh Suri (HINDUSTAN TIMES; June 24, 2023)
Singer Sonu Nigam and T-Series’ head Bhushan Kumar have buried the hatchet. Things between the two had turned sour in 2020.
A source says, “Aamir Khan (actor) wanted only Sonu to sing a song (Main Ki Karaan?) in Laal Singh Chaddha (2022), whose music was owned by T-Series. Bhushan extended an olive branch. They met and talked things out. They decided to let bygones be bygones. Sonu sang the title track for Shehzada (co-produced by Bhushan) and two songs in Adipurush. Things are fine now.”
Sonu says, “Let’s not make a big deal out of it. Peace and love should prevail eventually.”
Bhushan chose not to respond.
WHAT HAPPENED?
In 2020, when Sonu spoke about the music “mafia” on social media, people assumed it was Bhushan, though the former didn’t take names. Then an article appeared, where some singers reacted to Sonu’s nepotism claims. In another video, Sonu called it a “press release” and said, “You have messed with the wrong person.”
He made digs at Bhushan, asking if he remembers “Abu Salem (gangster)” and model Anupama Kuwar aka “Marina Kuwar”, who accused Bhushan of sexual misconduct. In retaliation, Bhushan’s wife, actor Divya Khosla Kumar, shared a video implying Sonu was connected to the underworld and said he owed his career to her father-in-law, late Gulshan Kumar.
Anupam Kher on Laal Singh Chaddha boycott: "It wasn’t a great film"
8:30 AM
HINDUSTAN TIMES (May 2, 2023)
Calls for boycotting Laal Singh Chaddha grew louder closer to its release in August 2022. Despite all the anticipation around the Kareena Kapoor Khan and Aamir Khan-starrer, the film tanked at the box office.
But, actor Anupam Kher feels that nothing could have stopped Laal Singh Chaddha from working “if it were a great film”.
Kher, during a recent podcast, told ANI, “Laal Singh Chaddha was not a great film. If it was a great film, then no power would’ve stopped it. Aamir Khan’s PK (2014) worked really well. The point is, you need to accept the truth.”
The Uunchai (2022) actor added, “I am not for boycott trends, not at all. But, you can’t stop somebody from doing what they want to do. If your product is good, it will find its audience. In fact, they (those calling for boycott) will go with a vengeance. The only way to kill this trend is to make brilliant work.”
A number of other films, including Akshay Kumar-starrer Raksha Bandhan (2022), also faced such ‘boycott’ calls prior to release. But, Kher feels this ‘boycott’ trend will not affect a film. “If a film is good, it will work. If a film is bad, it will not [work], but not because of the boycott trend,” he reasoned.
The actor went on to mention that everybody is entitled to expressing their views and if an actor has the right to say something about a situation, they should also be brave enough to go through the consequences.
The boycott call against Laal Singh Chaddha began after Khan’s 2015 interview — where he said his then-wife Kiran Rao suggested they move out of India because of “growing intolerance” — resurfaced on social media.
Shehzada's title song has turned out to be one of my all time favourites-Sonu Nigam
8:16 AM
Debarati S Sen (BOMBAY TIMES; February 19, 2023)
Sonu Nigam has been an integral part of the music industry for the last three decades. Despite the influx of new talent in the world of music, he is on the top of everyone’s minds when it comes to pure melodies like Main Ki Karaan and Kahani (Laal Singh Chaddha) or foot-tapping numbers like the Shehzada title track. In an exclusive interview, he talks about singing for Pritam again, being active in the Indie music scene and missing his family and more. Excerpts:
You have recently worked a lot with composer Pritam. Tell us about your association with him.
There’s been a renewed association with Pritam lately and after Laal Singh Chaddha and Dunki, and I truly love it. Apparently, director Rohit Dhawan and Pritam decided to approach me for the title track of Shehzada as they needed a blend of vigour and expression conveyed with innocence in that song. And the song has turned out to be one of my all-time favourites.
You sang two melodious songs — Kahani and Main Ki Karaan — in Laal Singh Chaddha. Do you feel that they had the potential to catch on and become far more popular?
The credit for Laal Singh Chaddha goes to both Aamir (Khan) and Pritam. The movie, unfortunately, was plagued by negativity. Otherwise, the songs I sang would have reached the level of Kal Ho Naa Ho. But I always say that every piece of art comes with its own destiny. Today, Kahani and Main Ki Karaan are a staple at my concerts.
You have recently sung for an OTT release, worked on many singles and also lent your voice to spiritual songs in the last year. Professionally, how has the last year been?
The last year-and-a-half has been unbelievable in terms of quality of work. The Mission Majnu song Maati Ko Maa Kehte Hain is a beautiful track, which was released around Republic Day this year. The Indie music scene that I’ve been a part of is so diverse — be it Rangrezwa and Yaad for Jam8 or Ruk Ja for Salim Sulaiman’s Bhoomi 3, I have received so much love for them. Then there are two tracks, Hanuman Chalisa and now Mahamrityunjaya Mantra, releasing under my label. These have been very exciting times. And then there are also my regional songs and concerts!
On the work front, you seem to be on a roll.
Honestly, I am overwhelmed with the volume and quality of work. The aggressive Sonu of the 1990s and 2000s is long dead; so this new calm and satisfied version is unable to relate to all this, although I have seen all this before too. But internally, I’m thankful to the universe; after all, good work comes from good karma. It’s a blessing to have worked with so many geniuses in the last 31 years in Mumbai, who have enriched my life. God definitely loves me.
Your family is in Dubai, while your work keeps you in Mumbai and also takes you across the world for your concerts. Do you miss your family?
I miss spending time with my family in Dubai as work commitments need me to be in Mumbai and the rest of India. Sometimes, I don’t get to meet my father for weeks despite being in India, but they know that I’m fulfilling my destiny.
Stage par gaatein huye mujhe 45 years ho gaye hain-Sonu Nigam
8:24 AM
Debarati S Sen (BOMBAY TIMES; February 7, 2023)
Cheers erupted inside Mumbai’s Shanmukhananda Hall as Sonu Nigam walked on the stage to perform last weekend. The singer began his concert with an intricate aalaap and then went on to sing Kahani from Laal Singh Chaddha. Among the thousands of songs to his credit, Sonu picked few of the most popular ones for the concert.
On an emotional note, the singer told the audience that 2023 is a special year as it marks his fourdecades long journey as a performer. “Stage par professionally gaatein huye 45 saal ho gayein iss saal!” He adds, “It has been more than 31 years since I came to Mumbai to become a singer. Ekaatiss saal se main iss industry ko enjoy kar raha hoon. It has been a beautiful journey.”
His performance included not just hismelodious slow tracks, but some of his peppy foot-tapping numbers too. From Aisa Pehli Baar Hua Hai, Maria Maria, Tumse Milke Dil Ka to unforgettable melodies like Suraj Hua Maddham, Mere Haath Mein, Shukran Allah, Ab Mujhe Raat Din and many others. The show concluded on a high with some of the audience’s top favourites like Abhi Mujh Mein Kahin and Kal Ho Naa Ho. Throughout the concert, he kept interacting with the audience and shared notes from his musical journey.
The singer said, “Main bhagwan ko hamesha thank you bolta hoon ki itne acche acche gaane diye, itna accha career diya. Mujhe lagta hai ki jitna maine apne art ko enjoy kiya hai, kisi ne nahi kiya hoga. Maine filmon mein gaane gayein hain, independent gaane gayein hain, television mein bhi. I have judged music programs, hosted music shows, acted in films, written lyrics for songs and composed music.”
Sonu, who was close to the legendary Lata Mangeshkar, also paid a tribute to the late singer on her first death anniversary (February 6). “She was my mother. When she would text me, she would sign off as Ma. It has been a year since she left us,” said the emotional singer who shared with the audience the last text exchange that he had with her, on the LCD on the stage.
Drishyam 2, Pathaan: Who said the era of superstars is over?
8:33 AM
Industry experts are of the opinion that superstars of the ’90s can never be written off
Rishabh Suri (HINDUSTAN TIMES; January 29, 2023)
“Lekin hamari jagah lega kaun? Humein hi karna padega bhai, bachhon pe nahin chhod sakte!” This banter between actors Shah Rukh Khan and Salman Khan in the post-credits scene of the record-breaking movie Pathaan has made fans go gaga. But, what may seem like an innocent conversation between two seasoned spies, Pathaan and Tiger, may actually be hinting at the larger picture — the future of Bollywood and the era of superstardom.
The answer, in some ways, lies in what Pathaan has done. Apart from breaking records and setting some, the major reason cited everywhere is that people thronged theatres to witness their King of Romance, Shah Rukh, turn into an action hero. Compare this to the chatter about how his career was deemed to be over up until now.
STARS ENHANCE CONTENT
Ever since a few films starring these biggies didn’t work, people started saying their time is over. Content became the hot word, especially with OTT coming in.
However, Abhishek Pathak, who co-produced and directed Ajay Devgn’s hit, Drishyam 2 (2022) says, “Content and superstars together can fly so high. Obviously, content will only take you so far. Eventually, the star makes everything work. No one could have imagined Pathaan or Drishyam 2 without them (Shah Rukh and Ajay). Stars will never go away.”
SO, IS THE STAR POWER DEBATE INVALID NOW?
“Superstars of the 90s can never be written off. Unfortunately, people are quick to write their obituaries after a film flops. They are a part of every star’s life. Ditto for SRK. Look how he bounced back. I can say that his name alone can sell tickets,” says trade analyst Taran Adarsh.
Aamir Khan’s last film, Laal Singh Chaddha (2022), may not have worked, but his previous hits such as Dangal (2016) and 3 Idiots (2009) are proof of his fan base. According to filmmaker R Balki, SRK’s example is an exception. “A star like SRK is very rare. When he goes away for four years, people want to see him. I don’t know the broad classification of superstars, this is the case of one person here,” he says.
CAN NEW GEN REPLICATE THIS SUCCESS?
Adarsh says there are very few who have it in them, such as actor Ranbir Kapoor, but it will take them time. Whereas, trade expert Atul Mohan points out how some actors start calling themselves “superstars” after one or two hits.
WHO IS A SUPERSTAR?
The definition of a superstar isn’t just limited to box-office numbers; it has to do with impact they create on the audience. Manoj Desai, executive director, G7 multiplex and Maratha Mandir cinema, says, “Public ke dil mein jagah honi chahiye. Jo aam aadmi pe beet rahi hai, agar usse woh star connect kar paaye, toh log kehte hain, ‘Arre yeh toh meri kahaani hai’.”
R Balki, who has worked with the likes of Amitabh Bachchan, Akshay Kumar and Shah Rukh Khan, among others, says, “It is a person whom you are willing to pay money to watch; it is that simple!”
Anurag Thakur hits out at calls to boycott films
8:28 AM
THE TIMES OF INDIA (January 28, 2023)
Mumbai: Union information and broadcasting minister Anurag Thakur on Friday deplored the “boycott culture” targeting certain films and said such instances vitiate the atmosphere at a time when India is keen to enhance its influence as a soft power.
In case someone has a problem with a movie, he should talk to the government department concerned, which can then take up the issue with the filmmaker, he said.
“But sometimes, just to vitiate the atmosphere, some people comment on something even before knowing about it fully. That causes problems. This should not happen,” he said.
“At a time when India is keen to enhance its influence as a soft power, at a time when Indian films are making waves in every corner of the world, such talk vitiates the atmosphere,” Thakur told reporters here responding to questions on boycott of films by various interest groups.
The minister’s remarks come at a time when Shah Rukh Khan-starrer Pathaan, which released on Wednesday, is facing boycott callsover one of its songs.
In the past, Akshay Kumar’s Samrat Prithviraj, Aamir Khan’s Laal Singh Chaddha and Deepika Padukone’s Padmaavat had faced boycott calls.
Thakur is in Mumbai to inaugurate the Shanghai Cooperation Organization (SCO) film festival that will showcase 58 movies.
The minister also made a strong pitch for creative autonomy and said there were adequate safeguards in place for monitoring content on over-the-top (OTT) platforms. “There should be no restrictions on creativity,” Thakur said.
He said the ministry of information and broadcasting does receive complaints about content on OTT platforms, but almost 95 per cent of grievances are settled at the level of producers and the some get resolved at the second stage of the association of publishers of content.
The minister said only one per cent of complaints reach the inter-departmental committee and it is ensured that strict action is taken in such cases.
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