Jisshu Sengupta, who is set to star in Shakuntala Devi and Sadak 2, on making a career shift to Bollywood
Mohar Basu (MID-DAY; July 9, 2020)

Jisshu Sengupta, the blue-eyed boy of the Bengali film industry, has actively made a shift to Bollywood. With two films ready for release — Shakuntala Devi with Vidya Balan and Sadak 2 helmed by Mahesh Bhatt — the actor claims this is the rebirth of his career. "Though I have been doing Hindi films since Shyam Benegal's Bose: The Forgotten Hero [2004], I knew I had to move cities after Manikarnika [2019]. Coming to Mumbai was never on my mind [until then]. Two years ago, I decided to come out of my comfort zone. I am a Lokhandwala lad now!"

Sengupta seems to be at ease with the daunting new phase of his life. "It never came across as a step down. Screen space doesn't determine your merit; performance does. People are familiar with my work in the Bengali films, especially the ones with Rituparno Ghosh," says the actor, adding that his co-star Vidya Balan makes it delightful. "I am a huge fan of Vidya, the actor, but she is an even better human being and colleague on set. She has the knack to break the ice and crack these witty one-liners that put you right at ease. While she has worked with Srijit Mukherji in Begum Jaan [2017], Vidya said she loved me in the original version, Rajkahini [2015]."

Though tight-lipped about the film that premieres on Amazon Prime Video on July 31, Sengupta reveals his decision to come on board. He says, "I loved the character of Shakuntala's husband Paritosh Banerji, and how beautifully he understood his wife. The director [Anu Menon] did a thorough job with the character. I learnt everything about Paritosh from the literature she provided me on him."

But he credits Sadak 2 for helping him come on his own again. "There's something about Mahesh Bhatt that made me feel more myself than I have ever felt. After the death of my mentor-friend Ritu Da, I stopped working for eight months as a part of me had died with him. But when I was on set with Bhatt saab, I felt the actor in me came alive again."'

Rachana Dubey (BOMBAY TIMES; June 7, 2020)

In 2019, Kangana Ranaut helmed a feature film for the first time, as the co-director of Manikarnika - The Queen Of Jhansi, where she also played the titular role. Recently, in a conversation with BT, the actress spoke about the ambitious project that she is now backing titled, Aparajitha Ayodhya. The film, written by K V Vijayendra Prasad, who had scripted the Baahubali series and Manikarnika - The Queen Of Jhansi, revolves around the Ram Mandir case.

Now, it seems that the actress has decided to wear the director’s hat once again, for this project. Confirming the news, she says, “The plan wasn’t for me to direct the film. I started it as a project that I worked on from the concept level. I wanted to produce it and rope in another director for it. I was quite busy at that time to even think of direction. However, the script that K V Vijayendra Prasad shared was that of a film set on a large canvas, somewhat on the lines of the historical that I have directed before. My collaborating partners were also keen that I direct it. Eventually, even I felt that maybe it’s best if I helm this film. So, it all happened organically.”

The project will be produced by Kangana’s production house, which she set up earlier this year.

Aparajitha Ayodhya will be her first film as an independent director. Does that make her nervous? She says, “No, it does not make me nervous. It’s tougher when you have to carry forward someone else’s vision and find your own vision somewhere in it. In this case, I have worked on this film from scratch, and it’s gratifying and simple once you have the clarity of thought.”

For now, Kangana plans to stay behind the camera for this film. She shares, “I want to keep my focus on the film as a filmmaker, entirely. For me, it’s not a controversial subject. I see it as a story of love, faith and unity, and above everything, it’s a story of divinity.”

The actress talks to BT about the current content space, and how the dynamics could be different post lockdown
Rachana Dubey (BOMBAY TIMES; May 27, 2020)

Last week, Kangana Ranaut released a video, which showcased a poem penned by her called Aasmaan. The actress, who featured in the video and shot it herself, used sky as a metaphor for emotions and perceptions. Last year, Kangana, who made her foray into direction as the co-director of Manikarnika - The Queen Of Jhansi, announced that she would be backing an ambitious project titled Aparajitha Ayodhya as a producer. The film would have rolled out towards the end of 2020, if the ongoing Coronavirus pandemic hadn’t put a speed breaker in its path.

When we asked about her plans to direct a full-length feature film again, the actress told BT, “We will see how cinema and theatre business goes and where we stand post the lockdown. I got huge success as an artiste. I have established myself as a content creator and launched my production house this year. I understand that the digital space is becoming big. Do I have to now look at a future as a content creator because that medium is for actors, not superstars? I’d say that it’s a different medium, and these things will be evaluated in due course. I am comfortable being a big star who gets seetis, and a content creator who works behind the scenes. Right now, I am also not certain which medium I would make content for. Films were quite dramatic when they were meant for theatres alone, but with the changing dynamics, we can’t say how content will shape up. It’s early to decide which way to go.”

She added, “As a creative person, I feel there is still a lot for me to achieve and learn. Manikarnika - The Queen Of Jhansi gave me a different kind of success. If I was just an actor who came from a small town and became a star, I would be anxious with the theatrical business running into quandary at the moment. My stardom came at a high price and I have created all of this myself. I have my own company today, and I was on my way to make Aparajitha Ayodhya, and I am open to wherever life decides to take me from this point onwards.”

Madhureeta Mukherjee (BOMBAY TIMES; January 21, 2020)

She took to the battlefield as the braveheart Queen of Jhansi, and now, with the slice-of-life sports drama, Panga, Kangana Ranaut is all set to up her game. And this time with jumps, dives, skill and tact on the playing field. In the film, she plays a 32-year-old mom, who chases her dream to be a kabaddi player. Much like the Kangana we know, who dares to dream big and fight every hurdle along the way. In a chat with BT, she talks about her real-life pangas, precious relationships and her idea of an ideal partner. Read on...

There is a song in Panga with inspiring lyrics, which says, Man ki jo sune, hai wohi changa. Lele, Lele Panga. Is that the mantra you live by?
I think so, and I would like to believe that I only listen to my heart and what I feel is right. I left home at an early age, so I didn’t have any overpowering figure in my life — a father figure or anyone else like that. I started working at 17, so I have taken panga since that age. Even back then, I did what my heart told me to. It could probably be the most immature thing to do, but I still did it. I thought, why should I pretend to be someone else? Why should my reactions be like my father’s or anyone else’s whose experiences are different from mine?

So, you have taken responsibility for all your choices and decisions, right or wrong...
Yes, always! When I left home, it was a very decisive moment in my life, because there was obviously a feeling like… what if it doesn’t work out. But then, I told myself…Whatever the consequences are, deal with it alone. Your parents didn’t sign up for this, so don’t turn around and go back to them’. It is not that my parents would object if I went back, but I knew that, hereon, I have to take 100% responsibility for whatever happens in my life. I have seen hard days; there were days when I slept hungry, and my parents could have easily afforded a meal for me, but I didn’t go back. I felt that it was unfair. I had chosen a path, so I had to figure it out and stick by it. Over the course of time, it becomes your second nature. You become that person.

When Ashwiny Iyer Tiwari (director) approached you with this film, you were going through a difficult time in your life. So, what convinced you to take on this role, knowing that the project will be very demanding?
Ashwiny met me during a dramatic phase of my life. In my mind, I had completed Manikarnika - The Queen Of Jhansi (2019), but I got to know that the studio was not okay with the film and wanted to bring another director on board. Eventually, I took over. I left a film called Imli and was also toying with the idea of not doing Panga. At that time, I thought I was not in the headspace to do this film, but Ashwiny told me that she would help me through it. I was shooting two units and would sometimes land on the Panga set, thinking, ‘Where am I?’ It was very unlike me. I was so lost, and she helped me through it. She is one of the most organised people I know, and her homework is on point. We both are very passionate about our work and operate from a place where we are on our own.

Panga focuses on how a supportive family can play a huge role in helping you achieve your dreams, however implausible they might seem. Your family is a big support in your life, likewise, you are like a rock-solid support system for them, too, right?
I have seen both the sides. I have also seen how miserable your life can be without your family. Initially, when I started out, my family did not support me and that was probably the worst phase of my life. Even though at that age I must have felt… to hell with them, over time, I realised that there are only those many people in the world who will be there with you all along. That’s when I decided to mend my relationship with them and be close to them, because the distance had become way too much. I wanted to nurture our relationship and have people around me, who I could share my life with. That’s precisely what we are talking about in Panga, too, that building a relationship with your close ones is everyday work and a process. Even now, while my family and I are there for each other, we can’t take it for granted. We have to work on it and invest in it emotionally, every day. I also think that I could go back and mend my relationship with them because of my success.

Could you explain that?
It would have been very unfortunate if I was not successful, because the kind of person that I am, it would have been difficult for me to mend the relationship. I am not someone who is good with failures, especially when I am dealing with people. When I fail, it does not change my perception of me, but when I look into people’s eyes and see their perception shift, I can’t take it. I completely block myself out and don’t meet anyone. I don’t think that it is anyone’s business to judge me like that. I am sure that I would not have gone back to my family if I had failed, because of my own ego, no matter how much they would have tried to help me. I am sure that I would have made a different life for myself. I am not here for people’s drama, with anyone throwing lines at me like, ‘Kaha tha humne tumhe (laughs!).’ I wouldn’t let anyone do that to me. Now, at least I can say, ‘Maine kaha tha tumko…’

You recently said that after seeing the relationship that Ashwiny and her filmmaker husband, Nitesh Tiwari share, you feel that marriage is not such a bad idea, after all? What are your reservations about marriage?
When you have so much going for yourself, you tend to get thoughts like… ‘The world needs me, why should I belong to one person (laughs!)?’ Also, with time, you can become compulsively independent in the way you live your life and operate, and the way you create your personal space. Then, marriage seems like a trap. When you are functioning better on your own, than with a partner, then, marriage doesn’t make sense, right? As partners, you should function doubly better. I see that Rangoli (sister) and her husband function well with each other. Emotionally, financially and spiritually, I should do better with my partner than I am doing on my own. If two people are doing doubly well together in these aspects, I am open to marriage. Even if it does not double up, it should not bring me down from where I am. I can see how Ashwiny and Nitesh function beautifully together and enhance each other. They are raising a lovely family together. When I see that, I think, ‘Okay, this works. This is how it should be.’

Panga also highlights an important thought in the context of our society — that a woman has no reason to stop dreaming and pursuing her dreams irrespective of her stage (marriage, motherhood) in life. While there has been a huge change in urban India, do you think films like these will bring such conversations into focus in smaller towns of our country?
A mother is the person who is most taken for granted in the family. When we were growing up, we didn’t know where the food came from, when the utensils were cleaned and how we got freshly laundered clothes every day. Everything was functional because of my mom. When I started running my own house, I had a team of four people doing all the work, and yet, it seemed a lot. My mom would do so much more for us, all by herself. We start believing that our mothers don’t have emotional needs or dreams of her own. Now, my when my mom opens to me, I can see that she is so vulnerable, and she has always been this way, but we didn’t see it. That is what should change with the film — we need to humanise our mothers; we most often don’t do that. Jaya (my character) is so much my mother, I dedicate this film to her.

How was your equation with your on-screen husband, Jassie Gill? While talking to BT, he said, ‘Mujhe bada dara ke bheja tha set pe, lekin jaisa suna tha waisa kuch hua nahi’. The film also boasts of some fabulous actors like Richa Chadha and Neena Gupta. How was the energy on the set with so many fabulous actors?
Even Ashwiny would get calls where someone would tell her, ‘She (Kangana) will destroy your film’. Jassie would get calls saying, ‘Tumhe toh bhagwan bachaye’. I think these are petty games that people play. It’s a bubble that bursts, because within 12 months, I am releasing two-three films. So, I don’t think that too many people believe in this narrative. Jassie is multi-talented, he is a fabulous singer, too. A director’s energy translates on to the entire set. Ashwiny was so homely and positive that it rubbed off on all of us. Even with someone like Richa, we may have different political beliefs, but that does not come in the way while working. The realm of art is such that it rises above political beliefs. I was the happiest to know that Javed Akhtar sir is writing the lyrics. For me, it is an honour to be working with him, even though our political ideologies are different. When I become a producer, I will pledge to never be coloured by any prejudices or people’s personal choices. Whether it is your belief, sexuality, colour or caste…how does it matter and why should it matter when you are working on a film? That is the kind of standard and behaviour I stand up for.

Initially, there were stories about Ashwiny and you not getting along, but she cleared those rumours and even says that today, you both are close friends and there are no pretenses whatsoever…
Personally, I feel that most people I work with and have an equation with, are 100% sweet on my face, but then they talk differently when they go into the media space. I never expected Ashwiny to speak so highly of me, because I have learnt this lesson in the industry that if you are an outsider, it suits their narrative to talk about you in a certain way. Even Ashwiny was surprised to see how some people met me so warmly, but behind my back they were different people. She comes from such a positive place that there were never any insecurities with her.

Panga director Ashwiny Iyer Tiwari rubbishes rumours of ego clash with leading lady Kangana Ranaut, insists the film is entirely her 'vision'
Sonil Dedhia (MID-DAY; January 20, 2020)

If there were murmurs of Kangana Ranaut sharing a less-than-cordial professional relationship with some of her directors, they only got louder when the actor took over the reins of Manikarnika - The Queen Of Jhansi (2019) from Krish. Soon after, reports suggested that Ranaut was having creative disagreements with director Ashwiny Iyer Tiwari and interfering in the making of her next, Panga.

"Before we started shooting, Kangana had told me that such rumours would surface, and they did," laughs Iyer, who, rubbishing the reports, states that she found the perfect creative partner in the leading lady of the sports drama. The director adds that Ranaut was a thorough professional who did not get into the filmmaker's domain. "Certain circumstances [compel] a person to put on a mask so that they can deal with them. But if one takes off the mask, every person is human. Kangana has a pure heart. She is an intelligent actor. She had her inputs and we all were open to feedback; there was never an ego clash. In fact, she never came near the monitor, except when she was shooting for the kabbadi scenes. Panga is my vision, and the entire team has sailed along with me."

Iyer says that she had developed the story with Ranaut in mind. "I was 100 per cent sure about Kangana as she is like a chameleon. [There are two different personalities] on and off-screen. She imbibes the character so deeply that after a point of time, you forget it's Kangana in front of the camera."

The upcoming release has all the ingredients of an Iyer film — read slice-of-life movie with a strong woman protagonist. The director, who has previously helmed Nil Battey Sannata (2016) and Bareilly Ki Barfi (2017), explains that she gravitates towards simple, heartfelt stories as they stem from her personal experiences. "At home, we maintain a simple lifestyle and that reflects in my films. I like filtering things and saying the bare minimum; you don't have to complicate something to make your point."

Kangana Ranaut on why marriage is not a compulsion right now, the struggle to rehabilitate sister Rangoli Chandel after an acid attack and how nepotism can only end with action, not empathy
Roshmila Bhattacharya (MUMBAI MIRROR; January 20, 2020)

Your upcoming film, Panga, is about surmounting hurdles and pursuing dreams. For a small-town girl with no godfather in the film industry, how difficult was it for you to chase after a Bollywood dream?
It wasn’t all that difficult for me because I left home when I was only 15. And the minute I broke away, I could breathe freely and operate like a single, independent entity. There was no explaining to parents, no listening to the bitter city experiences of family elders and no societal pressures tying me down. I could take risks, telling myself that the worst thing that could happen was failure and I was ready for the consequences. It was harder for my character, Jaya Nigam, because as a mother she couldn’t abandon her child or walk away from her marriage. But at 30, she wants to chase her dream of being a kabaddi player because dreams are not limited by age. For me, it was an insight into a life very different from mine, where it was important for the family to understand that this woman, till now, has only given, and expected nothing in return. Jaya doesn’t have a choice. She has to raise a family but is unwilling to compromise on this dream. She has to strike a balance between the two, and that’s how it should be. Today, fortunately for me, I’ve got my family back. But I know that somewhere success had a huge role to play in the reconciliation. Had I not made it in films, I might have lost out on both my family and my dream, and that would have been devastating.

Alone, in a big, heartless city with no family support; how terrifying was it for the teenager Kangana?
Well, I fell into bad company straightaway. Some people took advantage of the fact that I was alone and couldn’t confide in my parents, and I’ve experienced the worst a person can go through. It toughened me up and made me the person I am. But I wouldn’t want my children to go through such extremes. I would want to be there for them.

Marriage and children, is that a dream now?
When I was in my 20s, I was desperate for a family. I felt incomplete and thought my own people would make me feel complete. With time, I have come to realise that this is not true. So, right now there’s no compulsion to be a wife and a mother. I’m at a phase when I’m just beginning to enjoy my life. If someone can add to it, I’m fine, but if, as a woman, I am expected to ensure he’s emotionally stable, enhance his spiritual growth, be lucky and bring him financial windfalls and take on the responsibility of a home, children and family, then, I’m not up for that. At the moment, I have no time for people who come with any kind of baggage.

Why not?
Well, for the longest time, we’ve been emotionally scarred by what happened to my sister Rangoli (Chandel) after the acid attack. It took a long time, but finally, she is happy, with a child all of us dote on. Her husband’s business is doing well and my mamma, who was grappling with some health issues, is fully recovered. Also, the half-a-dozen cases filed against me have been dismissed as the allegations couldn’t be proved. My brother Akshit and I have just launched a production house and we’re starting from scratch, we aim to do some good work. This is a wonderful time for all of us; I’ve never felt so good. The world is respectful; there’s a lot to do and give. And for the first time, I can think about myself. Let me be a little self-centered and enjoy what I have earned. I don’t have the time and energy to invest in another family. That can come later.

Have you seen Chhapaak, in which Deepika Padukone played an acid attack survivor?
No, with my own film, Panga, coming up, I haven’t had the time but I will watch it for sure.

How difficult was it to deal with the acid attack on Rangoli?
It was horrific! You are hurt if your loved one gets even a scratch or a pimple, so, you can imagine the kind of pain one would feel to see their face melt. Outward appearance is far more important to a woman than a man, and taking that away from her is a fool-proof way of isolating her from the world. I was just 19, on the threshold of a bright career, when the attack happened and it was a long, hard struggle to deal with this kind of perverse, sexist cruelty. Financially too, I was not strong back then. Girls around me would feel depressed by a bad hair day or because a meal was not to their liking. I was grappling with something far more real and yet had no time to sit and cry. I did tacky films, took on roles I did not deserve, accepted guest appearances, so my sister could be treated by the best surgeon in India. It took 54 surgeries.

Your mentor, Anurag Basu, recently described you as a strong, ambitious girl and says he’s proud of where you have reached.
Anurag is my godfather. He just picked me, auditioned me and gave me a break. There were people around, like Gangster producer Mahesh Bhatt, who wanted Chitrangda Singh, because he thought I was too young to play the mother of a five-year-old kid. He was right, too, because I was still a minor then. But Anurag believed in me and fought for me.

He also worked a lot on me. I was a theatre actor, but Anurag didn’t want me to act. He wanted me to surrender myself to the camera. The foundation of my acting, which is strong, subtle, natural and universally appealing, comes from him. I will always be building on that. He’s one of the best directors we have and I have only taken from him, not added anything to his life. I hope someday I get the chance to give something back, too. I feel a karmic connection with Anurag and I’m sure we are going to collaborate again and create some great work.

Pooja Bedi’s daughter Alaya F, who debuts as Saif Ali Khan’s daughter in Jawaani Jaaneman, recently said that being a star kid “we are privileged even in our struggles”. As someone who brought the term nepotism to the fore, what do you feel about this disparity in the industry?
One day I was thinking that as a star kid, what would it take to empathise with an outsider and say we understand the exploitations they go through. The important thing is not just to imagine but also empathize and work towards ending the culture of exploitation of outsiders from a position of power.

You’ve started your own company and you are in a position of power today. Will you put an end to this nepotism culture?
I think nepotism is completely based on the fact that people, who are not as deserving, get a chance, as opposed to those who deserve it. Because of such practices, most people are lagging behind. I will always go for the person who is best suited for the job, that’s the basis of my work ethics. I want the best for my project, without personal gains or emotional pressures. I’ll be doing myself a favour working with deserving people.

Panga will be your second Republic Day release after Manikarnika last year...
Yes, Republic Day has been lucky for me and I hope that continues. The ability to keep the family together while retaining her individuality is something a mother does so wonderfully. And I’m grateful to Ashwiny (Iyer Tiwari, Panga director) for giving me the opportunity to live this role and experience.

The actor talks about her second film, co-starring Riteish Deshmukh and why she doesn’t address controversies
Titas Chowdhury (HINDUSTAN TIMES; October 28, 2019)

Earlier this year, Ankita Lokhande started her tryst with the big screen with Manikarnika – The Queen Of Jhansi. Ask her if the magnum opus opened doors for her and she says, “As an actor, it’s important to play characters that stand out. Jhalkaribai was one character that I never would’ve imagined coming my way. I don’t know if Manikarnika opened doors for me but I’m glad to play the parts that are coming my way. In the entertainment industry, you need to prove yourself in terms of your talent and looks. I’m quite capable of doing that and have proved myself in Manikarnika.”

Ankita has also been exposed to drama owing to her breakup with former beau, Sushant Singh Rajput. “I’ve been in the limelight for one controversy or the other. But I really want people to talk about my acting,” says the 35-year-old actor. She candidly shares that she won’t push herself to do ‘anything stupid’ to be in the limelight. “For me, what’s important is to do good work and be part of movies that perform well at the box office. Even if they aren’t faring well, I want to make sure that I’m lauded for my performance. My job is to be a good actor and dancer, and I’m confident about my talents,” she elaborates.

Her next project is the third instalment of the Baaghi franchise. Spilling the beans on the movie, she says, “Baaghi 3 is such a big project and I’m glad that I’m a part of it. I’m playing the part opposite Riteish Deshmukh. He’s a superb actor and to be working with him is making me very happy. The most exciting thing is that Baaghi 3 is not a love story. It’s got more to do with family bonding and sibling relationships, and that fascinated me.”

Is there a dream role in her mind? “I really want to become Sanjay Leela Bhansali’s heroine one day. That is my biggest dream. I’m waiting for it to happen. It’s almost the only thing I want to do in life,” she signs off with a smile. 

Ready to launch her studio in January, Kangana Ranaut shares blueprint of her filmmaking dreams
Upala KBR (MID-DAY; October 16, 2019)

In 2017, Kangana Ranaut had expressed her wish to foray into production and had subsequently bought property in Pali Hill for her studio, Manikarnika Films. However, she appeared to have hit the pause button on the plan thereafter. Now, Ranaut — more experienced after her successful foray into direction with Manikarnika - The Queen Of Jhansi — has fast-tracked her production dreams. The new year will start with the actor-director throwing open the doors of her studio in Khar.

"My office will be ready by January. Simultaneously, we are readying our projects. There are so many good scripts that come my way and the [makers] want me to feature in them. But there is so much new talent that needs to be given a platform. It’s important that these powerful scripts don’t get lost and make it to the big screen," says Ranaut.

Her business acumen comes to the fore as she quickly does a round of number-crunching and explains why she will test the waters with small-budget films. "If Judgementall Hai Kya was made without me on a budget of Rs 10 crore, it would have been a blockbuster at Rs 40 crore. However, because it was made at nearly Rs 30 crore, it just about broke even. I want to [back] a few small films and see how that goes. Eventually, I may do something on a bigger level. We will also venture into digital entertainment."

It is not surprising that the actor, who made nepotism the buzzword in Bollywood, is working towards making the industry more inclusive. "I won't be acting in the films that I produce. There is a lot of talent around and I will hire actors who are perfect for the scripts. I will take new talent under my wing and guide them."

So, where does direction fit in the scheme of things? "We will announce my next directorial vehicle soon. I may begin working on it after Dhaakad," she signs off.

Bringing her Rani Lakshmibai biopic months after Kangana Ranaut's Manikarnika, actor Devika Bhise argues her film is markedly different from Bollywood offering
Mohar Basu (MID-DAY; October 15, 2019)

When Kangana Ranaut was giving shape to Manikarnika - The Queen Of Jhansi last year, international actor Devika Bhise was simultaneously shooting for her Hollywood project, The Warrior Queen Of Jhansi. Nearly 10 months after Ranaut's period drama took the box office by storm, Bhise is now gearing up for the release of her rendition of Rani Lakshmibai, which has been directed by mother Swati Bhise. She emphasises that despite sharing the protagonist, the two movies have different plot points. "My film is about the East India Company and the politics around the Sepoy Mutiny of 1857. It gives the audience a feel of the many factors that come into play during times of chaos and war," explains Bhise, who was previously seen in The Man Who Knew Infinity (2016).

In 2014, Ketan Mehta had announced his passion project on the warrior queen with Ranaut in the lead. The actor, in 2017, exited the project and chose to front the K V Vijayendra Prasad-written Manikarnika instead, eventually co-directing the historical drama. Ask Bhise if she is anxious about presenting a story that has already been seen on the big screen, and she retorts, "There are many topics that can be revisited, time and again. Be it Steve Jobs or Bhagat Singh, they have had multiple movies made on them. Till last year, people would ask us which film is coming first. I hate the fact that women are constantly pitted against each other. This is why women can't rise in a male-dominated world. Why can't there be many portrayals of the same story? I haven't watched Manikarnika, but I am told it's a different rendition."

Neha Maheshwri (BOMBAY TIMES; September 24, 2019)

After making her big screen debut with the Kangana Ranaut-starrer Manikarnika: The Queen of Jhansi earlier this year, Ankita Lokhande has bagged a new project. The actress has been signed on to play Shraddha Kapoor’s sister in the third instalment of Sajid Nadiadwala’s Baaghi.

The film, directed by Ahmed Khan, will see Tiger Shroff reuniting on screen with Shraddha, after their outing in the first instalment. Riteish Deshmukh plays Tiger’s brother in the action thriller.

Ankita says, “After Manikarnika, I wanted to do an out-and-out commercial film. Baaghi is a successful franchise, and working with Ahmed (Khan) sir, Tiger, Shraddha and Riteish has been an enriching experience.”

The actress admits that it’s a daunting task to make a place for herself in a franchise, which is synonymous with Tiger. “It is very challenging, but I am confident that my character will strike a chord with the audience. The third instalment is different from the previous two, as Baaghi 3 is more about family bonding. I play a fun-loving girl, who shares a great bond with her sister (Shraddha). I haven’t played anything like this on TV or in Bollywood and the audience will see me in a never-before-seen avatar in my next outing,” she signs off.

How Bollywood has re-invented films on desh bhakti over the years and made it more diverse — from war films to sports and now, social issues
BOMBAY TIMES (August 17, 2019)

The Hindi film industry has always managed to touch the hearts of cinephiles with films having a dash of patriotism and love for “desh ki mitti”. Over the years Bollywood has managed to invent and re-invent movies based on nationalism and patriotism, leading to a high success rate at the Indian box-office.

Down the decades, films like Kismet, Purab Aur Paschim, Shaheed, Upkar, Border, Ab Tumhare Hawale Watan Saathiyo, Kesari, Baby, Uri: The Surgical Strike and Lagaan have been but a few among many films that celebrated the essence of desh bhakti, evoking the love for the country among cinegoers.

Currently, Indian filmmakers are flipping through real stories to explore the genre. Apart from obvious instances such as recent war films (Uri: The Surgical Strike and Paltan come to mind) that let filmmakers tap the patriotism genre, stories of sportspersons (Dangal, Mary Kom, Bhaag Milkha Bhaag, Gold to name a few) and real incidents, where commoners played the hero (Airlift, Raazi, Pad Man, India's Most Wanted) have come to be ready formula.


‘EVERYONE FEELS PATRIOTIC’
Actor Arjun Kapoor, who starred in India's Most Wanted, says patriotism in films should not be used to further personal agenda but to encourage love for the nation. “Everyone feels patriotic. To be able to speak about it without being jingoistic is great. Sometimes you have to be jingoistic to motivate and encourage, which is also great as long as it is not used for personal agenda. You should not exploit people’s patriotic notions for personal gains,” he said.

Actress Yami Gautam, who is on roll with the success of Uri — based on the 2016 surgical strikes that India conducted following a terrorist attack in Uri in Jammu and Kashmir — said that “gone are the days of chest-thumping patriotism”. New-age Bollywood films such as Uri seem to thrive on a maxim Yami herself endorses: “Apne desh se behad mohabbat karo, jee tod mehnat karo and desh ka naam roshan karo (love your nation immensely, work hard and make your nation proud).” She added that the success of Uri underlines the nation’s sentiment towards its soldiers.

Producer Sandip Ssingh, who has bank-rolled movies like Mary Kom, Sarbjit and PM Narendra Modi, believes that it’s the love for matrubhoomi that makes the movies strike a chord with the people. “Whether it was Manoj Kumar, who was known as ‘Mr. Bharat’, he made those films and people got emotionally connected to him.. These films will work as it already has an emotional chord attached to it, which is the nation,” he said.


WAR FILMS AND BEYOND
The war film in Bollywood really came of age with Chetan Anand’s 1964 classic, Haqeeqat, based on the 1962 Indo-China war, and probably the most accomplished war drama Hindi mainstream has ever made. The decades that followed saw Border, LOC Kargil, Lakshya, 1971 and Paltan explore various military themes, mostly highlighting patriotism.

Actor Harshvardhan Rane, who starred in Paltan, says cinema with a patriotic vibe involves the audience. This is perhaps the only aspect about the genre that has not changed over the generations. “Love for your motherland is a very strong emotion and motivation for a story to be told. Films made with a patriotic backdrop tends to involve the audience into the plot immediately,” he said. But with changing time, filmmakers realised that there is more to explore.

In 2001, director Ashutosh Gowariker made Aamir Khan-starrer Lagaan, in which a group of villagers fight the Britishers for tax reduction via a cricket match. The film set a trend of blending desh bhakti with the sports genre in new-age Bollywood. Then there was Rang De Basanti, which, beyond being a blockbuster, also drew a connect between today’s youth and their need to find a purpose and the freedom struggle of Shahid Bhagat Singh, Rajguru, Sukhdev and Chandrashekhar Azad. Bhagat Singh, in fact, has been a subject of numerous biopics.

Actor Sonu Sood, who has essayed Bhagat Singh in 2002’s Shaheed-e-Azam, said, “There is a lot of change in films that are being made on patriotism, because people are expecting it. People have got certain thinking issues towards patriotic films and the type of content provided to the actor and audience, is something which was needed for very long.”

It was just soon after that stories revolving around women made it through — Shah Rukh Khan’s Chak De! India, Alia Bhatt’s Raazi and Kangana Ranaut's Manikarnika - The Queen of Jhansibeing some examples.

— IANS

Bengali actor Jisshu Sengupta is back in Bollywood after his last outing, as Gangadhar Rao, Kangana Ranaut’s husband in her Rani Laxmibai period drama
Hiren Kotwani (MUMBAI MIRROR; August 9, 2019)

Bengali actor Jisshu Sengupta will be seen as Alia Bhatt’s father in her upcoming film Sadak 2, which also features Sanjay Dutt, Aditya Roy Kapur and Pooja Bhatt. He is currently shooting for the film in Ooty with Alia and is all praise for his on-screen daughter. “Alia’s passion for her craft is commendable. Her heart is in her work and she is amongst the finest actors we have in Indian cinema today.”

Prod him on his last screen outing, with Kangana Ranaut in Manikarnika - The Queen of Jhansi, and he describes her as a “wonderful actress and a great director” with a “vision which she follows”. Does he think she should continue to dabble in filmmaking, considering her last stint was mired in controversy, and Jisshu says, “As a creative person, I think one should follow one’s heart. If she feels direction is her calling, she should go for it. But Kangana is also a phenomenal actor and she should keep acting too.”

Besides the Alia-starrer, Jisshu is also doing a Telugu film titled Ashwathama. Later this month, he begins work on a new Bengali film. What kind of films does he see himself doing in Hindi cinema in the coming years? “Content-driven, with challenging roles and subjects that excite me as an actor,” he keeps it short and succinct

Kangana Ranaut - controversy's favourite child - on tussles with the media, social media wars courted by sister, calling out wrongdoers and mixing nationalism in arguments
Sonil Dedhia (MID-DAY; July 28, 2019)

Not one to suffer silently, Kangana Ranaut believes in facing things head-on. After an ugly public spat with a scribe, she sits down with mid-day to explain explain why a personal squabble became a public brawl. The actor, who just released Judgementall Hai Kya, talks about the controversies she courts, mixing personal issues with nationalism and trying to not succumb to public pressure.

Edited excerpts from the interview.

You have, in the past, brazenly called out your colleagues from the industry. Why did you feel the need to pick on a journalist?
People believe money is equivalent to power but I don't think so. If you can influence hundreds, that gives you power. Media is not interested in reporting real issues about environment, water harvesting or social issues. Media refuses to cover events when it is about planting trees or social work because according to them, 'Isme masala nahi hai. Yeh nahi bikta hai. [There is no meat in the news and it won't sell]'. That hurts.

You could have called the journalist and had a private discussion, like you've done in the past. How did this tussle escalate so much?
I am thick-skinned enough to take a joke on myself. I never felt bad when I was being trolled for my English or criticised for a bad performance. Recently, Shobhaa De wrote something about my film, I messaged and asked her when she was going to watch it. I don't voluntarily get into fights, that's not who I am. After the success of Manikarnika - The Queen Of Jhansi, we invited the media home for an interaction and the journalist in question [reporter from PTI] was also present. He created a scene because according to him I was late. I asked my manager if I was tardy and was informed that the journalist had just arrived. He refused to talk when I reached out to him. There has been a furore over this one event, which was designed to be candid. Journalists asked me questions like 'Tum mental ho kya? [Are you mental?]' and 'Ye mental wala role would come naturally to you. [Does the role in the film come naturally to you?]' When you remove one clip from an hour long discussion, it would seem like I am at fault. I told the journalist, 'Tum toh dushman ban gaye humare and so on'. I haven't crossed any line and my intention was never to shame him or make him a national villain. I am aware of the consequences my actions can have and hence, I am responsible. At the same time, I don't want him to pin me down on a stage.

You referred to his comments on social media. Isn't an individual entitled to his or her opinion?
It is not a criminal offence to have an opinion, to make fun or mock someone on social media, but then, do not expect respect. If I was a lousy actor, do you think anyone would have given heed to my issues?

It is often observed that you mix personal issues with nationalism.
I don't think so. It didn't bother me when he trolled me on a personal level, but when you mock a martyr [Rani Lakshmibai] it becomes a matter of national concern. Everyone has the right to criticise, but there is decorum to do it. You cannot make a joke about national heroes. How am I living up to my reputation, if despite being a public figure I don't call out people when they do something wrong? Actors have guidelines and are crucified for saying the wrong thing, then why are journalists exempt from it.

Saying 'no comments' is always an option, don't you think you could have avoided this controversy/person if you had not engaged in it?
I could have said, 'I won't answer your question', but that would involve explaining to everyone, 'why'. And when I tried to explain, he started an argument. You have to shake people, up who've lost perspective, especially when you've had a personal rapport with them. I won't feel the need to call out a person, who is incapable of their work. It only comes for a person who I feel has the potential. The media has always been supportive and I know they don't dislike me. However, you cannot deny that there are journalists working under the diktat of other celebrities and public relations agency to tarnish my image. I don't think I have done anything wrong by calling them out. In fact, I am standing up for things that could be a detriment to my career, but I will always do so when I know I am right. Personally, I wear my individuality with a lot of ease but I know several actors have a manufactured image.

There is a perception that you dictate your sister Rangoli Chandel on what to tweet. Is there any truth to it?
No, she does it on her own. She is into social media and keeps track of news and what other celebrities have said. She does consult me when she writes about my colleagues and the industry, and at times I censor them (laughs).

During every film release, the topic of discussion revolves more around the controversy rather than your work. Do you feel people no longer wish to talk about your work?
It is a deliberate strategy, which also happened during Tanu Weds Manu Returns (2015). I had planned preview shows for my friends and colleagues in the industry but no one showed up. Isn't that insulting? Back then I had said, 'these young actors feel threatened to come and watch my film'. People said my performance was the best double role but no one from the industry appreciated it. We all know who won the Best Actress award that year [Deepika Padukone for Piku]. These things don't happen organically and that is precisely what I am fighting for. Is it uncommon for a filmmaker to leave a film mid-way for other commitments? Manikarnika is the third highest grossing women-centric film that has garnered over Rs 150 crore worldwide, but it was beautifully concealed by a section of the media.

After Effects Of The Media Fight
When asked if the tussle with media out her in an odd spot with producer Ekta Kapoor and co-star Rajkummar Rao, she said, she doesn't talk on their behalf. "I am sure it's a little unsettling for everyone as they don't know my history with the journalist. They have been co-operative and noticed that it was a deliberate attempt to create a stir."

Dhaval Mehta (DNA; July 12, 2019)

The first half of 2019 has been quite productive as far as Bollywood BO numbers go. While films like URI: The Surgical Strike, Gully Boy, Bharat and Kabir Singh have done exceedingly well, many big-budget projects didn’t click with the audiences. Trade analyst Taran Adarsh observes, “The first half of 2019 has been quite good. We’ve had many successes and if we compare it with the previous years, the ratio of hits have gone up.” And content has been king in masala as well as off-beat outings. Taran corroborates, “The films that have clicked are all content-driven, entertaining and within commercial parameters. Films like Luka Chuppi, PM Narendra Modi, Bharat and Kabir Singh, for instance.”

Here’s a low-down on what was hot and what was not.

1. TOP GROSSERS

Vicky Kaushal’s Uri: The Surgical Strike became one of the biggest hits of 2019 and marked a positive beginning of the year. The Aditya Dhar-directorial was based on India’s surgical strikes on Pakistan in 2016. Vicky also proved that he can carry the film on his shoulders and he is in it for the long haul. The patriotic project raked in a mind-boggling Rs 244.50 crore.

Ranveer Singh’s successful streak continues. If it was Padmaavat and Simmba last year, this year the 34-year-old actor won hearts as rapper Murad in Zoya Akhtar’s Gully Boy, which also featured Alia Bhatt in a leading role and set the ticket windows on fire with a collection of Rs 134.21 crore.

That Akshay Kumar is one of the most consistent actors when it comes to delivering hits goes without saying. Khiladi Kumar’s war drama Kesari wowed the audiences and proved why he is one of the most bankable names in the industry. The movie made Rs 151 crore.

Salman Khan’s annual Eid release, Bharat, was one of the most-anticipated projects and it did not disappoint fans one bit. Dabangg Khan’s portrayal as Bharat was the soul of the film and yet again showed his prowess. The larger-than-life extravaganza earned Rs 197.26 crore.

Ajay Devgn and Madhuri Dixit’s ensemble comedy Total Dhamaal once again proved that comedy always works. The third part in the Dhamaal franchise did superbly at the box-office and collected a whopping approx Rs 150 crore.

However, the biggest surprise yet this year has been Shahid Kapoor-starrer, Kabir Singh. The official remake of Telugu blockbuster Arjun Reddy has had polarised reviews but it is emerging as one of the highest-grossing films of 2019. It has already minted Rs 240 crore and shows no signs of slowing down.


2. BIG ONES

Kartik Aaryan and Kriti Sanon’s Luka Chuppi, which revolved around live-in relationships, collected Rs 88.50 crore at the BO.

Ajay Devgn has got a unique connection with comedies and even those outside of the Golmaal franchise work for him. De De Pyaar De was one such film this year with Rs 94 crore collections.

Amitabh Bachchan and Taapsee Pannu’s Badla turned out to be a hit as well as the actors recreated the magic of Pink (2016). The mystery thriller generated a big buzz and filled the coffers with Rs 87.56 crore.

If it was AndhaDhun for Ayushmann Khurrana last year, this time Article 15 became the talk of the town as it focussed on caste conflict. It was off to a good start and has collected nearly Rs 50 crore.

Manikarnika - The Queen Of Jhansi almost touched the Rs 100-crore mark.

3. THE BUMMERS

Sonam K Ahuja’s same-sex relationship drama Ek Ladki Ko Dekha Toh Aisa Laga (ELKDTAL) was appreciated for its bold and progressive content. She shared the screen space with her dad Anil Kapoor for the first time, too. Despite this, ELKDTAL tanked and could only collect Rs 19.31 crore.

Arjun Kapoor’s latest release, India’s Most Wanted, was panned by critics and viewers alike. The drama barely reached double figures with Rs 10.62 crore.

Karan Johar’s magnum opus Kalank featured a heavyweight line-up of Varun Dhawan, Alia Bhatt, Sonakshi Sinha, Madhuri Dixit, Sanjay Dutt and Aditya Roy Kapur. Despite a good opening, it soon fizzled out and earned Rs 80 crore at the cash registers.

Ananya Panday and Tara Sutaria’s Bollywood launchpad, Student Of The Year 2, also starring Tiger Shroff, was criticised for its content. It could not capitalise on the buzz and did a business of Rs 65 crore.

Sushant Singh Rajput's dacoit drama Sonchiriya was a shocker at the box-office and didn’t even cross Rs 6 crore.

John Abraham is trying to create a niche for himself by doing content-driven cinema. The handsome hunk’s Romeo Akbar Walter did an average business of close to Rs 39 crore.

Taran points out, “Films like Kalank and Student Of The Year 2 did badly at the box-office. Only big names won’t succeed and it boils down to powerful content. Total Dhamaal, Kesari and Gully Boy had big stars as well as content, that’s why they worked well.”

The year also had Hollywood biggies such as Avengers: Endgame and Spider-Man: Far From Home that bolstered the footfalls. Taran states, “Both these movies have done really well, too. So, it has been a landmark year for the industry. If we compare it to 2018, the number of hits has been higher.”

DISCLAIMER: Approximate India Nett Box Office figures from Box Office India, till the time of going to press.