Taapsee Pannu reveals she had wanted to address this very personal issue if ever she was in a position of power
Ankita Chaurasia (MUMBAI MIRROR; February 7, 2020)

For years now, Bollywood, along with the rest of Indian society, has been passing off misogyny as protectiveness, possessiveness and even an expression of love. Taapsee, in an interview to Mirror (July 22, 2019), had urged the need for a counter narrative, even if that meant doing a film that didn’t have the commercial viability of last year’s highest-grosser, Kabir Singh, which glorified a sozzled, slap-happy surgeon. “We are on the cusp of a change, I’m not going to give up now,” she had asserted. From its first trailer, Thappad seems to be delivering on that promise.

Amrita, who gives up on her dreams to help her husband build his, is jolted when he hits her at a house party. When she objects and files for divorce, those around her justify the slap, urge her to forgive, compromise and move on. “Women are compassionate by nature and Amrita does give Vikram a chance to make it up to her. When he fails again, she knows it’s an endless loop,” reasons the actress, saying the film with the explosive, self-explanatory title is a trigger to an unravelling wherein the woman, who’s been disrespected, gets to decide how much is enough.

So, Kabir Singh can’t hope for a happy ending with her Amrita? Taapsee admits that the Shahid Kapoor-starrer is on the other end of the spectrum. “But that’s not to say that Thappad is an answer to Kabir Singh. Only one line from its director Sandeep Reddy Vanga’s interview has been used. The general impression is that bad guys get violent, but seemingly good, loving men can also resort to violence because of conditioning,” she points out, and rattling off statistics, informs that three out of every five women are victims of domestic abuse. “If it’s not happening in your house, it’s happening in the house next door. Parents set the tone of relationships and normalise gender roles. No one questions the violence because it has become the norm. But that doesn’t make it right.”

For Taapsee, Thappad is the realisation of a long-time dream: “I’d told myself that if I’m ever in a position of power, I’ll address this very personal issue. Violence and molestation can change one completely, making you withdraw into a cocoon or emerge stronger. For me, thankfully the latter happened.” When she shared the trailer on her Instagram account, friend Mathias Boe quipped, “Too stressful for me.” Ask her what she thought he meant and she laughs, “It was difficult for him to see me like that.”

Amrita is out of her system and Taapsee is now Rani Kashyap, a new bride in Haridwar. With hennaed palms, rustling sarees and bangles jingling, she looks the part for the thriller, Haseen Dillruba. “People don’t associate sensuality with me, which is why playing Rani is so exciting. Rani is not coy, she’s feminine and has a weird quirk. She is mysterious; you don’t know what’s going on in her mind by the way she behaves. Sometimes she is funny, sometimes poetic, and sometimes a seductress. She has a lot adaayein,” reveals the actress, admitting that the biggest challenge is shooting in sexy sarees in the biting cold.

After bringing Rumi to life in Manmarziyaan, you’d think she was writer Kanika Dhillon’s muse for Rani. “I wish that were true, but despite my telling her I’d love to play the character, they approached other actresses and even told me someone else had been finalised. I had resigned it as fate but then they called me for a narration. I was the last choice for Haseen Dillruba,” Taapsee shares, refusing to name the actresses who didn’t want to do the film.

Meanwhile, she has been training hard for her upcoming turn of a sprinter in Rashmi Rocket, waking up at the crack of dawn and training for an hour and a half, alternating between the gym and the track, then, shooting for 12 hours straight. “It’s tough but after a month of rigorous training, I am seeing the difference,” says Taapsee, adding that her mother, who is present on the sets of the film, keeps track of her diet which requires her to eat every two hours.

And how’s that cover drive coming along for Mithali Raj’s biopic, Shabaash Mithu? “I hit a few shots for the poster and realised how difficult it’s going to be,” she laughs. Point out that several biopics in the past have been slammed for skirting the controversial aspects of their subject’s life and the actress cuts us short. “Mithali has been very vocal about her controversies, be it resigning or being thrown out, whatever you call it. And all that’s a part of the narrative,” she asserts.

Proud to bag Anurag Kasyap's film for Netflix, Saiyami Kher on surviving three-year lull after Rakeysh Mehra's Mirzya
Mohar Basu (MID-DAY; January 30, 2020)

"I have waited a long time to get here," says Saiyami Kher, as she adds an Anurag Kashyap film, Choked, to her résumé. While, for most, the statement would be laced with exhilaration, the actor's remark has a tinge of dismay — presumably a reflection of the three-year struggle since her debut with Rakeysh Omprakash Mehra's Mirzya (2016). "It was disheartening that Mirzya didn't work, but it got me noticed. I was offered a film with Mani Ratnam after that, which didn't take off. I could either get disillusioned or stay perseverant; I chose the latter."

The actor doesn't deny that bagging a Kashyap project is a validation of her craft. "Anurag sir is a child at work. Imagine the energy of a 15-year-old in the body of a movie genius," she laughs, as she recounts shooting for the Netflix film with him. "I was blown by his spontaneity. Rakeysh sir [believes in] extensive workshops and research. This set was a contrast to that; here, being raw and real was essential." Even in its premise of a thriller, Choked has a parallel romantic track. Kher vouches for Kashyap's brand of romance as she gushes, "I remember sitting in his office and watching Manmarziyaan [2018]. It was heart-wrenching. His understanding of romance is authentic and relatable."

As told to Ankita Chaurasia (MUMBAI MIRROR; September 16, 2019)

I was styling Angira Dhar who had featured opposite Vicky Kaushal in the 2018 romcom Love Per Square Foot and had met him a few times. Since he was looking for a new stylist and I was keen on increasing my clientele, I dressed him for the film’s premiere, giving him an ikat jacket in earthy tones because he always came across as down-to-earth and real. He liked the look and I jumped on board.

I like to play it elegant while still making a statement. For Vicky, too, fashion is more an extension of his personality. Since, he likes it subtle, I don’t go overboard on colours and overwhelm him. Instead I play with earthy tones like browns and yellows which resonate with his personality and add a personal touch with a little quirk. Like for Neha Dhupia’s chat show with Taapsee Pannu, I gave him a floral tee with a sporty jacket. The overall effect was playful.

Whenever I enter the menswear section, Vicky is on my mind because given his tall, toned frame, he can do justice to most clothes. It’s an altogether different issue that I have to sell them to him. Like recently I picked up these bracelets with chain detailing from an artisan bazaar and used them for a photoshoot. Since it was a more casual look, he didn’t mind and I notched up a small victory.

Vicky doesn’t like playing with colours. For an award ceremony, he’ll want a ‘nice black suit’ though I’ve already given him over 10. At the most, I’m allowed blue. Once I insisted on an all-green suit and he kept asking me if he was looking like a ‘pista’. When I give him yellow, he whines that he’s looking like a ‘Mango Duet’ and I have to constantly reassure him that he’s still Vicky. I’ve got him to wear a layer of pink and slept really well when he gave the nod to neon.

Our trial sessions are like battles. For every “no” I remind him that have a reputation to maintain. He’ll eventually growl, “Arre chal, give me a hoodie or something.” Aarrgghhh! But now we’ve reached a compromise. If I’m playing with colours, the silhouette will be classy and vice versa.

For Raazi, he wanted a little Indian, so I picked up some kurtas with draping that broke gender-specific silhouettes with asymmetrical cuts. He couldn’t stop laughing when he wore them. He is a manly man that way. We then went with a very basic shirt and trouser look, but we weren’t crazy about it. Finally, we chose some unconventional kurtas which weren’t wildly out of Vicky’s comfort zone.

For Manmarziyaan, he was more open, and we used a lot of hip-hop elements, long, over-sized tees, drop-crotch pants, hoodies and jackets with patchwork detailing. We also went with bold colours like red and green for the promotions.

The promotions of Uri: The Surgical Strike were a big win and right up Vicky’s alley. I used so much camouflage, I couldn’t stand the sight of it anymore, but he was completely at home.

Vicky Kaushal in conversation with Mayank Shekhar at the latest edition of Sit With Hitlist, at the mid-day office Pics/ Nimesh Dave

Vicky Kaushal reveals the story behind his evolution from indie cinema's poster boy to Bollywood's current heartthrob on a full-on dream run
Mayank Shekhar (MID-DAY; September 6, 2019)

Here's The One Question We Will Not Ask You: How's The Josh? How's The Josh… Aren't You Frickin' Tired Of Hearing It [My Ears Hurt]?
[Laughs] I don't think I'll ever be tired of this question. This line has given to me and my family something very special. Although, have to say, I had reached a point, where I could just get up in the middle of my sleep, hear it, and go, "High Sir!" [laughs]

In Box-Office Terms, Uri Really Made You A Superstar. And It Was Your First Action Film. This Is Not Ironic. Because Your Father, After All, Is An Action Director. And That Would've Shaped Your Relationship With Films Too, In The First Place; No?
To be honest, I was craving an action film. Which, as an audience, I really enjoy watching. And not in the sense over-the-top action. I wanted to do something realistic. For me, a good action film is what Aamir Khan did with Ghulam [1998]. Or, say, Black Friday [2007]. My favourite piece of my dad's work is his first film [as action director] Prahaar [1991]. That's my space, where action is a scene — part of the narrative.

How Did You Land Uri [Given The Unlikely CV]?
[Director] Aditya [Dhar] was going to make a film called Raat Baaki Hai, with [Pakistani star] Fawad [Khan], and Katrina [Kaif], where I had a character that I couldn't do, because of date-issues. That film itself got shelved 20 days before shoot, because of the [Pathankot] attacks. Now, I was shooting interior portions of Raazi in Mira Road. It was an emotional scene, when I learn of Alia's [Bhatt] truth. We canned good stuff, and it had been a hectic day.

Driving back, I got a call from Ronnie Screwvala's office that they had dropped off an action script [to be directed by Aditya, who I already knew]. I saw the title, Uri: The Surgical Strike. And now I wasn't the actor. I was actually curious to know what happened [in Uri]. It took me four-and-a-half hours to read the script, in one go, which is what I prefer — as if I'm watching a film. That's when I get a true sense of what I feel.

As An Audience?
Yes. So I started watching the film, and I just couldn't get it. There was just too much information, military-technical-logistical language. Also, I didn't feel anything. Because I hadn't taken four-and-a-half hours to read a script before. So I went off to shoot the next day. When I returned, my dad, who was equally curious about the Uri incident, and had read the script lying around, asked me what I thought of it. I said I'm not sure. He told me that if I miss this film, it'll be the biggest mistake of my life! He said that maybe I'm in a different space right now, in another kind of military film, and that's why unable to connect.

You Were Playing A Pak Military Officer, Shooting For Raazi. Of Course You're Not Going To Like Uri!
[Laughs] And then I don't know what happened. I got back to the script four days later, finished it in an hour-and-a-half, as if I was reading it for the first time. I called up Sonia [Screwvala's associate] at 3 am, and said, I will do the film.



You Essentially Have Your Dad To Thank For Uri. What I Find Most Fascinating Is Actually Your Dad [Sham Kaushal]! Tell Us His [Lesser Known] Story.
My dad and mom are from a small village in Punjab. He was good in studies, and started learning English in sixth grade. He went on to top BA, in English Literature; did his MA. And wanted to be an English professor in Punjab. But the family's financial situation was such that he could not pursue an M.Phil from Chandigarh.

At 23, he was frustrated, with no job, even after an MA degree. My dadaji [grandfather] had a very small kiraane ki dukaan [convenience store] in the village. My dad's friend Satpal was going to Bombay to become an actor. Since my dad was doing nothing at home, and frustrated, my grandfather asked him to tag along with the friend, for a few days, feel better, and come back.

In Bombay, my dad wanted to start a new life. He had a distant uncle in New Bombay, who got him a salesman's job in a plumbing-wall shop, behind RK Studios, in Chembur. He did that for Rs 350 a month, and really struggled. He's been on streets. Without letting anybody know, he used to live in the office, having done a 'setting' with the peon. He would sleep, leave early; and come back, when work started.

He Would Take A Shower In Office?
Yeah, everything. After a year, he knew he couldn't start a family with Rs 350 a month, even if he did the same thing for 15 to 30 years. So, without Plan B, he quits his job, and comes to a PG [paying-guest accommodation] in Santacruz. Here, he stays with 10 Punjabi guys, who're stuntmen. They leave for work in the morning, and come back with a tidy sum in the evening. That's when he discovers this [profession]. Purely for survival, he decides to become a stuntman, at 25. People start training at 13-15, when their body is flexible. He had never done any physical activity before. He used to sit in his father's shop, and do accounts.

So he is a stuntman for 10 years. He lands up his first film as action director with Mohanlal, because the Malayalam filmmakers were shooting in Bombay. They needed someone to handle the stunt sequences. They would've been okay with an experienced stuntman as well. So long as the person understood English, so they could communicate with him. My father was the only guy around who knew English. He got that job because of his degree in English Literature!

Amazing!
That was his lesson to me. That it doesn't matter what you're learning. I've done engineering. He said, "It doesn't matter if the circuits you're working on is going to help you in acting, or not. But your hard work, and giving your best to your 'now', will help you eventually!" But, yeah. It's been his, and my mom's journey.

You've Also Been Part Of The Journey. Did You Get To Observe Showbiz Closely As A Result?
No. Well, my brother Sunny and I knew that the good things we were getting in life was because of a lot of dad's hardships, and my mom's support to him. But it was never a house, where we wanted to meet our favourite stars, go on sets, parties, etc. We had friends line up outside our house, for an autograph of an actor who was visiting. For us, that actor was my dad's friend.

For example, Anurag [Kashyap] sir and I always have a laugh about this. He knows me since Black Friday [in which my dad was action director]. I was probably in my eighth grade. So when he used to come over for meetings, I used to call him uncle, serve him parathas, and go out to play cricket. So it was that.

But As An Aspiring Actor Later, Did You Observe Or Notice How Deeply Hierarchical Showbiz Is. It Is Perhaps The Most Capitalistic Of All Arts.
Well, it is changing now.



Of Course, But Did It Bother You, As In A System Where A Star Takes All, Or That You Would Have To Become One [In Order To Succeed]?
Not at all. To be honest, I don't know why, but I never had a sense [of entitlement] that I should be launched as a star. I knew I could make a mark by knowing my job — just going through the drill, and getting opportunities on the basis of what I know. Also, my father had made it clear that he would back my decision to be an actor, as a father alone. And not as an action director.

So I had that reality-check — that nobody is going to spend crores, because I'm Sham Kaushal's son. And he's not going to do it either. Besides, for whatever reasons, whether some sort of complex, or plain under-confidence, my dream wasn't so big — that I want to be a hero. I was just on auto-pilot — that I'll give auditions, learn the craft through theatre, be an AD [assistant director]...

You Did A Lot Of Theatre?
I did. But I started off as an intern to Anurag Kashyap on Gangs Of Wasseypur [Gangs]. I also started reading scripts that my dad would get, to match with the final film, and see changes that an actor brought in. I could visit sets with him. But realised I'd then just be a visitor. My knowledge of engineering is so bookish that I can't even repair a TV. I wanted to be an engineer, who has been at the garage for four years. So I decided to dive into acting, with on-field learning.

Was It Paid Internship?
No. Unpaid.

I Just Don't Understand Why Are So Many Movie Internships Unpaid?
[Laughs] But the payment I wanted, I got. It was not for the money, it was for the learning, and I really got paid well. Through actors on set, I got to know the importance of theatre. I'd been active on stage since school, but feared it professionally. I started doing theatre with Manav Kaul, Kumud Mishra, Naseer saab [Naseeruddin Shah], Thespo Festival, and Rage Productions — my first pay-cheque. I joined Kishore Namit Kapoor's acting academy. I also had to clean my slate, after being an assistant-director, because I wasn't looking at that profession. I completely cut off from Anurag sir.

But He Made You Act In Gangs, Though!
It's the scene where Nagma Khatoon [Richa Chadha] goes to a brothel. Last minute, everyone [junior artistes] that we'd rounded up in Benares refused to participate in that scene, once they realised it's a brothel. The entire direction team stood-in for them. I'm that silhouette you see behind the window-grille, overacting karte hue, when Naghma Khatoon is cursing Sardar Khan [Manoj Bajpayee]! That was the first time I faced a camera.



Oh, I'm Told Your First Time Before Camera Was For [Director] Michael Winterbottom?
Yes, that was the first time I faced the camera, and you could see my face! Michael Winterbottom was making a film called Trishna, with Freida Pinto. We'd just finished shooting Gangs in March, 2011, and I had these braces, and was an AD. I had gone to my native place in Punjab with family, when I got a call from Anurag Kashyap, and he said, "Item number karega (Will you do an item number)?" I was like, what? He said, it's a Michael Winterbottom film, and Huma [Qureshi] and I will dance, and that he's acting in it as well, it'll be fun.

So, Trishna, that's Freida's character in the film, comes to Bombay from Rajasthan, and a friend of hers takes her to a film-set. There's a song being shot with choreographer Ganesh Acharya, which is being picturised between and Huma and I [in the film, within the film]. That song was also supposed to be the promotional track for the film, like [Slumdog Millionaire's] Jai Ho! But the film never released [in India].

So It Was Supposed To Be Taken Seriously.
Yeah. It was a proper song. But in the film, it's a scene. I was wearing this shimmery black, typically item-number costume, which I was very conscious of. I had no idea how it feels to be before a camera, with 50 back-up dancers, and 200 people around. So, my body is dancing, but my face is like this [frozen]. Ganesh Acharya sir, who was very sweet, came up to me and said, "You're dancing well. Now just dance from your face!" Of course, with several retakes, we got it right.

This Is Before You Began Your Daily Grind Of Auditioning For Parts. Was There Any Role That You Made It To The Top Three Or Four Of, And That We May Remember From Screen?
Not lead parts. But my first audition, in fact, was for the friend's role in Bhaag Milkha Bhaag [2013], which got heavily edited out eventually. In that audition, I realised that I don't know anything about acting. Then there was a part in the film Ghanchakkar [2013]. Namit Das did that role, finally. I still remember, the character's name was Idris. That was a great role.

Masaan Was Your First Release. But Zubaan, Which Picked Up Top Festival Awards, Was Actually Your First Film. Honestly, Couldn't Understand That Movie. Should One Go Back And Watch It Again?
I don't feel an audience should change the way they should watch a film. If you can't connect, you can't. It really resonated with me — a Punjabi from Gurdaspur, going to a big city, living that life, eventually realising it's not him; and now he has to connect back to his roots, and music becomes his medium. There was a lot for me to do as an actor — the journey, plus that stammering, plus music… If I feel connected to a material, for any reason, I just plunge into it. I don't think if it's going to do any good. I went through several rounds of auditions, from a short-list of around 200-300 actors, for that role.



Even Masaan, For That Matter, I'm Told, You'd Seen The Pilot Promo Of That Film With Other Actors Already. Who Were The Other People Doing That Film Then?
I remember [director] Neeraj [Ghaywan] and I, with the entire AD team of Gangs of Wasseypur, were going to Pune. Because a friend had lost someone in her family. We were in the same car, catching up after long. He was telling me about a film he was trying to make, with a very complex title, Raand Saandh Seedhi Sanyaasi.

Are You Serious?
Yeah, I had the same reaction. He showed me the pilot-promo. It looked very interesting, and he gave me the gist. The cast was Rajkummar Rao for the part I [eventually] played, when the film became Masaan. There was Manoj Bajpayee for the part played by Sanjay Mishra ji, and Richa [Chadha], and Shweta [Tripathi]. That was the promo.

The film had to be shot in October during Durga Puja [for the song Tu Kisi Rail Si]. If they missed the deadline, they'd have to shoot the following year, which they couldn't afford. Raj couldn't make it during the time, so that slot became open. They were looking for new actors. So they auditioned me, and I passed!

That Was A Breakout Role. You Owe Your Career To Rajkummar Rao!
[Laughs] Yes. In fact, my first few films, even Zubaan or Raman Raghav [2015], had gone to somebody else, and then they started auditioning again. And let's just look at the continuing dream-run since — Love Per Square Foot, Lust Stories, Raazi, Sanju, Uri… That's crazy! It is a very surreal kind of a run that I've had, especially over the past year-and-a-half... It really does feel special, that it happened. People recognise you. Doors started opening in the industry. And I can meet the directors I want to.

Speaking Of Directors, You've Worked With Anurag Kashyap As An Intern [Gangs], Then Actor [Raman Raghav, Manmarziyaan], He Also Produced Masaan. He's Notorious For Throwing Actors Into The Deep-End, No Script, Etc. How Did That Work For You, Starting Off?
He's a very impromptu kind of a creative force, relying on impulse. If you give him everything ready on paper, then he might not know what to do on a set. He does give you the lines. He just doesn't want actors to be rigid, when it comes to them. So he wants you to enter knowing what your character is. And then allow him, the geography, and the costumes to mould you.

Give An Example?
Sometimes, we may not have the lines beforehand. For example, my last scene in Manmarziyaan. It's the separation scene between Taapsee and I, in her room. We were ready in costume. He had told the DOP [cinematographer] to keep the tracking-shot ready. And he is with his pen and paper, writing the scene, while we're in costume. He gives us the lines, and we have five to ten minutes to prepare.
I had to hug Taapsee. It is an emotional moment. My character has accepted the fact that he's not the guy in her life. He hugs her. And once a scene is over, as per the script, for the next ten to fifteen seconds, Anurag sir has a tendency to not say cut.



He Will Just Keep The Camera Rolling?
Yeah, while the actors are thinking, what do I do next? I still remember, it was my OS [over-the-shoulder] shot. I have hugged Taapsee. The moment is done. And done. And done... But I still can't hear, cut! Then I see Anurag Kashyap sitting right next to that camera, looking at me, going, "Alag ho jaa, alag ho jaa [separate]." So in that emotional, teared-up state, I don't know what to do. She [Taapsee] doesn't know what to do either. And then, I just start beat boxing. That makes Taapsee smile. And that makes me smile. And then, he says cut. That is the moment, and the scene in the film. Not the one he had written.

Is Rajkumar Hirani The Methodically Prepared, Polar-Opposite?
He is as organic. The difference between them lies in the writing, and structuring of the film. And their ways of presenting a story. As directors, they are both fine editors. They can see the film while shooting it, and so they are super-fast — no safety-shots, no safety-cuts.

I've seen on Sanju, Raju sir has called for a steady-cam operator on set for a specific shot and moment. It's a full night's shoot anyway. While shooting the scene, he captured that moment on a static camera. He was so sure that he had got the shot, that he just told the steady-cam operator to pack-up.

And Sanju Was A Huge Film For You, Too. Incredible Love And Fame. What About The Flip Side Of It — Public Scrutiny? That You Could Be At A House-Party Chilling, And Some Politician In Punjab Could Say That You're Drugged Out, When You're Having Warm Water, Recovering From Dengue? How Do You Respond To That? I'm Talking About The Karan Johar House-Party Video, Of Course.
It was a very chilled-out party. That video is put out. And right after, I am in the hills in Arunachal Pradesh, with the Army, for three-four days, where there is no network. Obviously I don't know. And I have no clue that I've become the 'charsi of the country'! I come back to Bombay, and my mom and dad know everything. They have been watching the news. They didn't tell me before, because I would get affected, sitting there [in Arunachal]. So I head to my room. Before going off to sleep, I get on Twitter, and then I'm like, "Hain? FIR! Yeh kya hua?" I'm looking at those videos circling, white thing, and light falling on the floor...

They Assumed It Was Cocaine!
So I rushed out of my room to check if my mom and dad knew about this. And then they just gave a smile, and said, don't worry. I was, like, okay, as long as they know, I'm sorted. Then the next day it started affecting me again, with TV channels circling my face in red!

I thought I should come out and speak, but realised that would be an impulsive response. That is as impulsive as them factualising an assumption, which doesn't make sense. Also, what happens on a social-media trial is this: It starts from, 'They look drunk!' Then it becomes, 'Oh, they do look drunk.' And then it becomes, 'These are actors, they are drunk!' Then it's, 'How dare they?' 'Shame on them, they're drunk!' You don't know who to answer. But there are also 10 people asking others, "Kuch toh dimaag lagao, kya bole jaa rahe ho! [What're you saying?]" So I had a choice to listen. Or react to much bigger things happening in the country than this.

Let's Look At The Brighter Side Of Fame Though. You Went To An Engineering College, Where There Are Hardly Any Females, Let Alone Female-Attention. Do Your Classmates Hate Your Guts Now That You're The Heartthrob, As It Were?
In an engineering college, whatever number of girls that there are; by the fourth year, even they become like boys!

Think You're Now Going To Be Trolled By Engineering Students.
I'm sure engineering students listening to us would completely agree with me [laughs]. But, yeah, the heartthrob element also takes me by surprise a bit. I think it is a very pleasant feeling. It's got a lot to do with the characters I've played, and that they've resonated.

It's not like I'm the handsomest man ever. There are much sexier men, with better physique and charisma. The difference is that my work has resonated with the audience, so there's relatability with this guy, on screen — that's the edge. Tomorrow there'll be another one, whose works will resonate, and he'll become the heartthrob. I'm not the first or last such. It is part and parcel.



And Of Course, Then The Question [The 'Resonated Female Audience'] Wants To Ask Then Is: Are You Single?
I am.

(Audience) Can You Tell Us About The Craziest Fan-Experience You've Had So Far?
[Long pause] Someone just landed up in my house, straight up to my apartment. There were mom and dad at home; I wasn't. The girl just rang the bell. There is building-intercom, and watchman. But my mom somehow thought, maybe some friend of mine was expected, and I may have forgotten to tell her about it. So the girl comes in. She is like, "Vicky had called me to his house. We chatted on Facebook."

Now, at least, my mom and dad know that I don't use Facebook. They figured there's something fishy. What had happened was that there was a fake-profile of mine on Facebook, with whom the girl had been chatting. And that's a bit scary. So I had to really look into my social media accounts, pull down all [fake] pages, and do one verified account. She found it very difficult to believe that it wasn't me that she had been talking to, all along. Apart from that incident, the experiences have all been sweet.

Ahead of Thappad rolling, Taapsee Pannu makes a case for the importance of fronting stories told from the female gaze
Mohar Basu (MID-DAY; August 21, 2019)

With Mission Mangal behind her, Taapsee Pannu is now readying for the shoot of the tentatively titled Thappad, which has her reuniting with director Anubhav Sinha after Mulk (2018). It is easy to gauge that the duo — known to unflinchingly take on hard-hitting subjects, in their individual capacities — will bring another relevant subject to the fore.

"I play a married woman and the movie will showcase several woes that she goes through. It's not a troubled marriage per se; the film instead offers a woman's point of view in a marriage," informs Pannu, happy that filmmakers are increasingly looking at subjects through a woman's gaze. "People are ready for new content. So, I hope that we are willing to give woman's perspective a chance. If you talk numbers, the ratio of men walking into a theatre versus women is lopsided, which affects collections. If women start claiming better stories, there's hope."

The actor is aware that the audience response is heavily skewed towards films with a male gaze — a prime example being the recent release, Kabir Singh. "Manmarziyaan (2018) was also a love story of a flawed lover but told from a woman's perspective. In this society, we are conditioned to buy into a man's woes more easily. Kabir Singh has pushed back whatever good work we had done since Pink (2016) till now. But the success doesn't surprise me. Manmarziyaan wasn't accepted because it was a woman's story. Does that deter me? Not at all."

Madhureeta Mukherjee (BOMBAY TIMES; August 18, 2019)

Remember the classic Aesop’s fable of the Hare and the Tortoise? Where the overconfident and speedy Hare is assured about beating the slow and steady Tortoise in the race. That lesson is more about life, than a race. Actor Vicky Kaushal’s career is a page out of that story. One step at a time. Speed in check. Focus sharp. All engines fired and enough fuel saved to keep pace in the game. And there, seven films and four years later, this powerhouse of talent proudly walks away with the National Award. With his josh at an all-time high, the actor talks to us about his challenging journey, what drives him and how he plans to keep himself charged for the long race ahead. Read on…

Over the past two years, your career has witnessed several landmark achievements — successful films (Raazi and Sanju in 2018), critical acclaim and to top it all, a National Award (Best Actor) for Uri: The Surgical Strike (2019). Has it sunk in, yet?
Sometimes I feel that it has, but then, I get that rush all over again. Kabhi aisa hota hai ki you realise the intensity of a certain happiness after seeing the reaction of others. Just when I think that it has sunk in, I go home and see my parents so full of joy and pride, and it’s a rush all over again. It feels like abhi announcement hua hai. I feel blessed that I got this opportunity to give immense happiness to my parents (action director Sham Kaushal and Veena Kaushal). They came to Mumbai from a small village in Punjab, and they have seen real struggles in life. Sunny (brother) and I were lucky to enjoy the luxuries that they provided us with. Hence, I know how they are feeling right now. I guess, at some point, everyone who is part of films thinks kaash kabhi aisa kuch ho jaaye (like winning a National Award), and for that to happen to me within four years of my career in movies, is too much to fathom.

Your climb was slow, but steady. It wasn’t overnight success or stardom. So, when so much happened suddenly in the last one year, was it overwhelming?
I feel like I have climbed every step of the ladder. I started from scratch, from not knowing how to go about auditions, to getting smaller opportunities, doing theatre, landing my first film, and now this recognition — it was a tough, but interesting journey. After I got my engineering degree in 2009, I was sure that I wanted to be an actor.

However, I was in no hurry because I was clear that I wanted to understand filmmaking and know about all that unfolds behind the camera. The one thing I knew was that this wasn’t a trial and error process for me. Initially, even figuring out where auditions (for ads) were happening was tough, and when I reached there, I would find 400-500 people ahead of me. The first battle was how to be among the first ten, at least. As far as film auditions are concerned, by the time you come to know of them, the casting is mostly done.

Finally, in 2015, Zubaan (directed by Mozez Singh) came my way, and it was the first film I cracked as a protagonist at the audition level. Then Masaan happened the same year (but it released before Zubaan). At that point in my life, when I was struggling to crack it, I would wonder what’s lacking in me, little did I know that God has better plans for me.

Will winning the National Award change the way you view your career, choice of films and your overall perspective on how you see yourself steering the way ahead?
I think this is not the time for me to look around and see whether I am standing at the top, bottom or in the middle of the ladder. Instead, what I need to do is remember why I started this journey in the first place, and keep going on. I can’t take anything for granted. Now, I have to be more grounded and focused than ever before.

What would you say was the turning point for you?
Well, so many moments felt like a turning point. Starting from the point when I went to a multinational company (as part of an industrial visit while studying engineering) and realising that the corporate world is not for me. I knew for sure that I wouldn’t fit in there and I didn’t contemplate it for a single day. Bagging Zubaan, my first film, was a turning point. The kind of appreciation Masaan got, gave me tremendous confidence. Last year, Raazi, Manmarziyaan and Sanju collectively helped me reach out to a wider audience. Uri is certainly a defining film of my career. It gave me a hero-wala image in the eyes of the people, in the sense that, I was the solo lead. People knew that I was an actor, but that film gave people a perception that I can be a hero. Also, I always say that a star never makes a film, a film makes an actor a star. Uri did that for me. I will always say that what the Indian Army has given my family and me, I can’t express it in words. My father’s first film was Prahaar (1991, which was set against an army backdrop), and it was life-changing for him. Likewise, Uri won me a National Award, and that is indeed life-changing.

You just mentioned that you are an engineer by qualification. Why did you pursue it when you knew that your heart was in the movies? Was it a safety net or Plan B?
One thing was clear in our family — irrespective of what we wanted to pursue, we had to first complete our education. Tenth mein acche number aa gaye; so, I went with the flow. I am someone who believes that if I put my best foot forward, achcha hi hoga. At one point, as I mentioned earlier, I realised that this is not for me. Then I thought, I could pursue acting, possibly? I knew that I did not look like an actor, you know what I mean? I am talking about how it was 10-12 years ago, at a time when cinema was also different. It was not as evolved. There was this perception, that actor toh aise dikhte hai, aise hote hai. In 2009, I got my engineering degree and I also had a job offer letter in hand, which I tore into pieces, in full-on Bollywood style.

Honestly, I don’t believe in safety nets at all. Or making a Plan B. I believe that the extra one per cent that we all give, comes from our fear of survival and our fear of falling, when we have nothing to back us up. That’s where that added fire comes in and if you create a safety net, it could become the reason for complacency, and you could say, ‘So, if Plan A works, then good, or else, I have Plan B’. So, you are already thinking of your plans not working. I didn’t want to give myself that option. I told myself that this has to work, and I will make it work.

So, you were single-mindedly focused on being an actor. Whether you were a supporting actor, lead actor, or playing a small role, did not matter back then? Does it now?
Acting gives me the kind of joy that I can’t explain. Having said that, every actor in this country wants to be a hero. That’s one of the best things about being an actor. However, that was never the approach with which I came into the industry, ki hero banoonga, warna nahin. For me, being on a film set is like being in paradise. I don’t mind if you make me wait for two-three hours. If I am on the set, I am in a happy space. No matter how chaotic a film set is, it gives me peace. My focus was always on honing my skills as an actor, as I knew that my journey would not start off with a big launch. I had to prove my ability as an actor, and then, once I got my first break, it was about showing a certain kind of range with my roles.

Your father Sham Kaushal, has been an action director for years. Yet, your upbringing was far away from the world of movie sets and starry parties. So, when stardom happened, how did you react to it? And how did your family and friends react to how life has changed around you?
It is a beautiful feeling to receive so much love and affection from people. It’s humbling, and it took me time to get used to it. In the earlier years, whenever anyone requested for a photograph with me, I would ask them, ‘You know me? Have you seen my work?’ I started off with being called the Masaan guy. I don’t know how to react to stardom, I just feel humbled and grateful. My family is undoubtedly thrilled. Whenever we step out for dinner together and people ask me for pictures, they feel really happy. It is like their moment of pride. Sometimes, they even take ownership and tell the fans, ‘Haan, haan photo khichwao’. It is really funny. It is like they are watching some entertainment unfold. Of course, my friends are like all friends, they pull my leg about it. When they see people clicking selfies with me, they shoot videos of that, so that they can share it on our friends’ chat group and pull my leg further. These are the people who will always keep me grounded.

Now that you are considered a bankable hero, have the dynamics in the industry changed for you? I mean, the way producers and directors approach you and look at you as an actor who can bring in the numbers? It matters, right?
Of course, it matters. The kind of investment people would make in a Vicky Kaushal film has changed. It has gone up, and that happens when your film fares well at the box office. It also comes with a huge responsibility.

And it also adds immense pressure. In the beginning, it was more about proving that you are a stock of talent, and now, it is about picking great films that have the potential to bring in the moolah…
Yes, and that’s a good pressure. I have worked really hard so that I can feel this pressure on my shoulders. I have earned this pressure and I am cherishing it (laughs!). I want to put my best foot forward. I want to be as honest as I have always been, and not let all the attention (stardom) disturb that process, as everything that comes along is because of my honesty between action and cut. If I am honest in front of the camera, the rest of it will happen in the periphery. Like I said earlier, I can’t afford to lose focus or take anything for granted.

Renuka Vyavahare (BOMBAY TIMES; August 12, 2019)

Taapsee Pannu’s film choices have been unconventional and courageous, just like outspoken demeanour in real life. Not the one to dodge the controversial questions, exuding her trademark bindaas attitude, the actress talks about her upcoming film Mission Mangal, why Akshay Kumar has a bigger presence in the movie poster vis-à-vis the actresses, being called a ‘sasti copy of Kangana’ by her sister, Rangoli Chandel, and why she would never want to go back to her 20s. Read on…

You just celebrated your 32nd birthday. While the 20s is more about self-doubt, 30s brings a certain sense of confidence, doesn’t it?
When you cross your 30s, people tend to say you are ageing, but I say that I am only getting better. 20s is about wanting validation. ‘Sabko main acchi lagni chahiye’ mentality. The need for validation ends when you are in your 30s, so it’s much better. You go from ‘I want to look or be like someone’ to ‘I want to make my own way’. Also, by the time you enter your 30s, you have already gone through enough shit in your life, so you accept that this is how it is - take it or leave it. I started acting around eight years ago and if you see my pictures when I was a decade younger, you’ll say it’s good that you don’t look like that anymore (laughs!). I don’t want to be the clumsy, weird 22-year-old again. I don’t want to go back to that age. I am happy to be 32. Ageing has worked in my favour and how!

There was a time when some actresses would rather not talk about their age and prefer not revealing the real number. That seems to have changed today...
Some of them still do that and I have come across people like that. They fear that people might say buddhi ho gayi hai. As long as you can do your job convincingly, age doesn’t matter. As an actor, I don’t care if I am 32 or 42, as long as I am able to pull off a 25-year-old character or vice versa. That’s where being an actress comes into play, as you are portraying something you are not. Also, the average age of getting married or having kids has gone up, so our society has also become more accepting of women over 30s. It’s okay if you are not being married at 30 or not having a child by 33. The society has changed a bit in that sense, so there has been a change in our mindset as well.

Akshay Kumar has become the torchbearer of cinema based on social issues, given the kind of subjects that he has been consistently choosing. For this same reason, various memes on him are often doing the rounds lately. Have you ever chatted with him about it?
I want to be in his position. I want these memes to be made on me. Who wouldn’t? I even show him these memes sometimes, and he jokes, ‘Woh dusrawala zyada funny hai’. He takes it in his stride. In fact, that man doesn’t take anything the wrong way. It’s even more surprising as he has this khiladi action star image. I have never seen him angry or upset. As far as his patriotic films are concerned, somewhere, we all are patriotic, just that our way of showing it is different.

When the poster of Mission Mangal was released, people spoke about how Akshay’s face was more prominent on the poster than all the actresses put together. Of course, Balki maintained that it’s not a women-centric film. What’s your take on it?
I followed this debate and I think it’s nice that people noticed this. I want to know what you as an audience, are doing about it. Will you walk in to watch our films and pay as much for us as you would for an Akshay Kumar film, or will you wait for our films to release on web streaming channels and then watch it? Is the audience giving actresses the opening numbers that are equal to an Akshay Kumar film? I am not ashamed to admit that even if you add up the opening figures of our movies (five actresses of Mission Mangal put together), our collective figure won’t match up to Akshay sir’s. Agar hum paanch picture mein nahi bhi hotey, toh film ko thoda farak padta shayad, but koi significant farak nahi padta. It would have still been an Akshay Kumar-film, and people would still be excited to watch it. That’s the reality. You (the audience) can bring upon the change. You pay for our films, too, and make that change happen. Make us feel as valued and at par with a hero. When that happens, then, you can question the poster. For now, it’s a perfect poster. Akshay sir on one side and all of us on the other, because hum milaakey bhi unki star value nahi achieve kar sakte. That is the brutal reality.

ISRO (Indian Space Research Organisation) tweeted about the film congratulating Akshay. Many thought that India’s premier space research organisation shouldn’t have promoted a film on Twitter, as they have bigger things to do.
Twitter is like a messy, over-judgmental school, where no one is a student and everyone’s a teacher. ISRO tweeted about it and why not? We have dedicated the film to all the scientists at ISRO. They are entitled to say what they want to and it’s natural for them to acknowledge it. People just wait to find faults these days. Even if I write, ‘Aaj mausam kitna accha hai’, there will be those who will write, ‘We are stranded here, farmers are dying there.’ Kuch na kuch kharabi dhund lenge. There’s no point. Random people’s opinions don’t matter to me anymore.

Pink, Mulk, Manmarziyaan, Badla, Game Over and now Mission Mangal. Is this the best phase of your career?
It is, and I hope that it only gets better. I have no complaints about the roles or the money I am getting. The only complaint I have is the lack of pay parity. A hero’s salary is equal to an entire budget of a female-driven film. Usme bhi mujhe bola jata hai, aap thoda kam charge kar lona. Cost-cutting karenge kyunki yeh female-centric film hai, mainstream nahin. These things hurt a bit. If you are cast in a film where a woman has an equal part as the man, if not more, you don’t get a male A-lister who will be okay to share screen space with you. If women are cast as the protagonists in a film, the male actors who play their partners are never A-listers. On the contrary, girls are ready to play smaller parts opposite top male actors. These things bother me. Other than that, I am in a brilliant phase where I can pick and choose. I am so greedy that I don’t want to let go of any good script that comes my way.

As an outsider, who has made a mark for herself on her own, were you hurt to be called ‘Kangana Ranaut’s sasti copy’ by her sister Rangoli Chandel?
I am not hurt. That’s too strong a word to be used for someone who doesn’t feature in my scheme of things. I don’t get hurt by random people; I get hurt by people who matter to me. I don’t waste my time and effort to indulge in a verbal battle with someone who doesn’t matter to me. I don’t seek validation from them. I think Kangana and I are very different, as people and actors. What’s strange is that I didn’t know there was a patent on curly hair and honest opinions. My fault! I can’t apologise for curly hair as my parents gifted that to me and I will not apologise for voicing honest opinions, but if that makes me Kangana’s copy in any way, I still take it as a compliment because she is a good actress. To be looked upon as any version of her or a copy, is fine by me. When I was in school, 8th or 9th standard, people would say, ‘Tu Preity Zinta jaise lagti hai.’ I took it as a compliment as Preity is a pretty girl. As far as the ‘sasti copy’ (cheap copy) remark, is concerned, Kangana says she is the highest-paid actress and I don’t get paid that much, so technically it’s fine. Why should I be offended? Also, I don’t have that kind of vocabulary to get back at her (Rangoli).

Rumi Bagga in Manmarziyaan vs Kabir Singh… both are headstrong, passionate lovers, who make the first move and proclaim their love unabashedly. Both faced their share of criticism. Kabir for his alleged toxic masculinity and entitled behaviour, while Rumi for not being apologetic about her choices. It is still hard for the audience to accept deeply flawed characters, more in case of women than men. Would you agree?
That’s a clear depiction of where our society stands. We are on the cusp of change, but we haven’t changed. The visuals of a woman making the first move, or proclaiming what she wants in a relationship, are still not perceived as a regular phenomenon. A man doing that is considered ‘manly’. A woman doing the same is not considered as a ‘womanly’ thing to do. For years, we have been told how women should behave and when you don’t see that on screen, you find it difficult to accept. Any change faces a certain resistance. It takes time to seep in as we have been trained to look at a Kabir Singh and appreciate his heroism. Rumi is, however, not heroic as that’s not how a woman is supposed to be. A man can do anything to get what he wants, as that’s supposedly manly. A female protagonist has to be shown as someone who is sacrificing. She needs to put everyone’s needs before her own. What she wants should not feature in her scheme of things, but a man should be so passionate ke woh koi haddein nahi chodega. The definitions of what’s manly and womanly have been rigid for so many years that we can’t expect it to change overnight. It will take persistent efforts. I am aware that Manmarziyaan collected nothing in comparison to a Kabir Singh, but I won’t give up on this battle. I won’t stop playing characters like Rumi.

Taapsee Pannu gets ready for Anurag Kashyap’s next, a ‘ghost-less’ supernatural-thriller which rolls towards the year-end in a ‘gloomy’ setting abroad
Ankita Chaurasia (MUMBAI MIRROR; August 8, 2019)

After Manmarziyaan, which Anurag Kashyap directed, and Saand Ki Aankh, which he has produced, Taapsee Pannu, the leading lady of both, is looking to reinvent herself with the filmmaker’s next directorial. This one is a yet-untitled supernatural thriller which, she promises, will “present something Indian cinema has never witnessed before”.

Point out that that’s a tall order, especially when one is trying to do away with ghosts in a genre that has thrived on them, the actress reasons that what’s not a part of the real world, becomes supernatural, like Christopher Nolan’s Inception. “My last thriller, Game Over, had some scenes that made you sit up and ask, ‘What just happened?’ This one won’t be spooky in that sense,” she asserts.

Prod her more and she adds that she doesn’t want to reveal too much because it’s a new concept but admits that there are no jumpscares, gore or dark visuals. “It’s the supernatural element that affects the lives of all those involved and also my appearance,” she adds.

Taapsee will be sporting more than one look in the film but informs that she will not have to go through a physical metamorphosis as she did to play ‘Revolver Daadi’ Prakashi Tomar in her upcoming sports biopic. “In this film you will be able to recognise me easily, but it will be a different Taapsee from the one you know,” she says enigmatically.

Anurag made her dye her hair red in Manmarziyaan. What does he have in mind for her this time around? “Knowing him, he’s probably going to throw a bomb at me. I’m mentally prepared that two days before we roll, he will expect something drastic. Apart from going bald, I’m ready for anything,” she chuckles, hoping she gets this script well in advance and not two days before they start shooting, so she has some more clarity on her character and her confrontation with the supernatural.

The film will be shot outside India since it requires a particular setting. “The houses need to be a certain kind. We will be shooting the film towards the year-end and many countries at that time are freezing. Our film isn’t set during winter, so we don’t need to go anywhere chilly. We are looking for a place that is gloomy,” she explains.

The story has many characters but there won’t be a male protagonist. Taapsee will lead from the front again. “I don’t have a choice,” she laughs. “I hope I don’t let anyone down.”

Taapsee Pannu opens up on being called a ‘sasti’ copy of Kangana Ranaut by her sister Rangoli Chandel; also the misogyny rampant in our films
Ankita Chaurasia (MUMBAI MIRROR; July 22, 2019)

From a scheming murderess to a 82-year-old sharpshooter and now a scientist—Taapsee Pannu can’t complain about the lack of diverse roles coming her way. The trailer of her upcoming film, Mission Mangal, shows her character, Kritika Aggarwal, tending to her ailing husband before heading to ISRO to help navigate India’s first and the world’s cheapest Mars orbiter in space. She reveals that director Jagan Shakti’s only brief was to keep it real. “Our film should be a true depiction of today’s woman who has perfected the balancing act,” she reminisces. Being a qualified engineer, certain terms sparked off memories of college. “Everyone else had their lines by heart,” she laughs.

Was doing a film with an ensemble cast, which includes Akshay Kumar, Vidya Balan, Sonakshi Sinha, Sharman Joshi and Kriti Kulhari, a deliberate choice after Badla in which she was pitted against only Amitah Bachchan for the most part of the film? She agrees, saying when she walked on to the set, it looked like a mela. “I was scared for Jagan, a first-time director,” she chuckles. “But every day thereafter was a party.”

Taapsee adds that another reason for accepting Misson Mangal was the opportunity to work with Vidya Balan, who she has been a fan of since The Dirty Picture and Kahaani. “She made me believe that you can be the hero of your own film. Her energy is infectious. I’ve told Sujoy (Badla director Sujoy Ghosh) and Vidya that I want to work with them, again and again,” she smiles.

And what about her Baby and Naam Shabana mentor, Akshay Kumar? “I know what to except when we’re shooting with Akshay sir. We’re both morning people—though he is a 4 am person and I am a 6 am one—and like to be on time. This time he had a rule that we should all have lunch together so every day, tiffin boxes from everyone’s homes were laid out on the table at exactly 12:30 pm and we would gather for a picnic,” she recalls, adding that since she couldn’t bring her own dabba, Akshay would get her food from his home.

The two actors will be splitting the box-office pie when Housefull 4 and Saand Ki Aankh clash at the ticket windows this Diwali. Taapsee is unfazed. “The franchise has its loyalists, ours is a smaller film in comparison, but since it’s a family entertainer, Diwali is a good date. One of the benefits of a festive release is that people will give both films a chance as they are in a celebratory mood,” she avers, adding, “You’d think our film about two old ladies would be boring, but it’s a fun ride with two badass gun-toting daadis.”

With two critically-acclaimed films out and two more to release in the coming months, the actress has her hands full. “I’ll have four releases next year too. I’m doing a Tamil film now, then, I’ll start Anubhav Sinha’s next, followed by Anurag Kashyap’s,” she rattles off. Quiz her on the Mithali Raj biopic and she reveals that though she’s yet to sign on, she’s excited about it. “I’ve never played cricket and am looking forward to the challenge. I’ve been following Mithali since she asked why women cricketers are always asked about their favourite male cricketers and not vice versa. That remark has stayed with me, as actresses, even we are first asked who our co-star is when we sign a film,” she reasons.

Last year’s Manmarziyaan (right) was directed by Anurag, now Saand Ki Aankh is co-produced by him, and Taapsee has found a friend in the filmmaker. And like a true friend, he jumped to her defence when Kangana Ranaut’s sister Rangoli Chandel lashed out at her on Twitter. “Not just Anurag, a few other close friends from the industry also wanted to retort, but I stopped them because I don’t want to give her any mileage on my behalf. She can’t play the nepotism card with me because I’ve also struggled to reach where I am today,” she argues, adding, “I didn’t want to engage in a word battle because I would not be able to match their language.”

Taapsee goes on to explain that in an interview, she’d said that Kangana needs a “double filter” but in the same copy, she had also admitted that she herself needs a “brain-to-mouth filter”. “We are both opinionated and speak our mind which is a good thing except that sometimes it lands us in trouble. I had said it in a positive manner and not meant for it to be derogatory. In fact, I have often said Kangana’s an actor I look up to, my conscience is clear. It was weird to target me, that’s why it backfired,” she maintains.

She has an interesting reply to Rangoli’s jibe in the post that she is a “sasti copy” of Kangana. “I didn’t know there was a copyright on curly hair, which I was born with, and honest opinions. I’m not going to apologise for it. As far as being 'sasti' is concerned, Kangana claims to be the highest-paid actress, so I guess I am the 'sasti' version,” Taapsee quips.

While on the subject of opinions, Taapsee recently took a sly dig at Shahid Kapoor’s last release on the social media. “Kabir Singh (left) and Arjun Reddy are not the only films glorifying misogyny, there are several others too but not to this extent. That is one of the reasons why I do the kind of films I do, there should be a counter narrative too. I know I’ll never be able to match up to the numbers of this film but that won’t deter me. We are on the cusp of a change and I am not going to give up now,” she asserts.

There have been debates about how Kabir Singh is only a “flawed character” but the actress doesn’t buy it. “The problem is not showing flawed characters… The problem is when you glorify them and make what they are doing seem heroic. This character is so revered that whatever he does is not just accepted, it is celebrated,” she fumes.

Does she think the audience would be just as accepting of a female Kabir Singh? With a smirk, the actress retorts, “She was probably not a female Kabir Singh but Manmarziyaan’s Rumi Bagga was a flawed character too and ended up losing her love and getting divorced. The same misogynist people who didn’t see a problem with Kabir, booed Rumi. We aren’t oblivious to the double standards of our society,”

she sums up. However, the actress is quick to say that she doesn’t do films only to propagate a message. “Badla didn’t have one. I want the audience to get their time and money’s worth when they come to watch my film,” she asserts. On the personal front, she has recently purchased another three-bedroom apartment in Mumbai. “It has been a slow and steady growth. Coming from a middle class background, I have always been taught to be careful about money. My father still handles my investments so luckily that is being taken care of,” she signs off.