In an era where men of power exercise restraint while expressing opinions to cater to a society that has arguably grown sensitive, Manoj Muntashir appears to be passionately unabashed. Using his social media platform to share snippets of India’s cultural and mythological history, along with his poetic work, Muntashir often sprinkles his feed with posts that, many cite, have rubbed the Muslim community the wrong way. It was in 2021 that he courted controversy for criticizing the fact that India had roads named after “glorified dacoits” like Akbar, Humayun and Jehangir, a statement that inspired harsh words from several Indian writers.

Four days ago, Muntashir weighed in on the restrictions on Muslims at the Mahakumbh, citing that for the community, the location would serve as nothing more than a picnic spot. The lyricist, however, impresses upon the need to lay out facts and raise the right questions when considering his statements. Vehemently denying accusations of being anti-Muslim, Muntashir says he “cannot imagine India without our Muslim brothers”.

“This is absolutely untrue. I challenge anyone who has followed my work to point out even a single statement that I made that could indicate that I am anti-Muslim. If they do so, I will remain quiet from that moment. For me, the community is an integral part of India. But if you, [as a Muslim], support those [emperors] who committed genocides, I cannot support that. I will urge my Muslim brothers to stand against those [who hurt us], because I am a man who places his country above his religion. If a Muslim brother can do that too, I will bow my head to him in respect,” says Muntashir, adding that his decision to be vocal about political and religious matters has cost him both work and peace of mind. 

“Many people whose thoughts do not align with mine choose to not work with me. I do get threats, and my family also asks me to [tone down]. But, I have also noticed that today, when something happens, people seek my reaction and opinion on it. We have to talk, to find a solution. There has been [a cold war] between the communities, and evidently that has not served as the solution. So, we should talk about matters. I find it to be my responsibility to use my platform to promote matters I believe in and those that are factually accurate,” says the lyricist, who has previously emphasized the need to pay heed to facts before levelling allegations when citing the hatred that Kangana Ranaut faced from the Sikh community over her film, Emergency. 

The Teri Mitti writer has penned the lyrics for the soundtrack of the January 17 release that promises to showcase what transpired during the 1975 Emergency that had come into effect in India. Considering the shared passion that both Muntashir and Ranaut have for the country, this film, we suggest, may have been right up his alley.

“I cannot think of any better cast or artiste for this film than those who are already working on it,” he agrees, adding, “When I was approached for it, I was apprehensive about how it would play out, and if it would rightly depict what transpired at the time. But, when Kangana spoke to me, I was convinced that she would do justice to this film. I often say, a lot of my work on this film was copied from Kangana. She knew precisely what she wanted from the film’s music. The way she spoke and the things she said directly inspired certain lines that I wrote for the song. Kangana has a grasp on her craft, and I don’t simply imply her craft as an actor. She has [a flair] for direction, and I also noticed this in Manikarnika [The Queen Of Jhansi, 2023].”  

Describing Emergency as a political musical, Muntashir says the five songs that add value to the film work in taking the narrative forward. “A film doesn’t simply become a musical because it has a certain number of songs. Here, the music is so integral to the narrative that if you eliminate even one song, you will feel that something is amiss.”

Released in August 2024, Singhasan Khali Karo revives legendary poet Ramdhari Singh Dinkar’s anthem that echoed through India’s darkest political hour. “It is an anthem that will be used [during protests] in the future too,” Muntashir is certain. Another track showcases what transpired when Indira Gandhi, played by Ranaut, realized that she had made a mistake. His favourite track, however, continues to be Ae Meri Jaan. “It’s the closest [work of mine] to Teri Mitti, so I am optimistic about it. It forms the crux of the film.” 

A week after the release of Emergency, Muntashir’s work will again be on display in Sky Force. A recently released track from the Akshay Kumar-fronted film has already been positively received by fans. “This time again, the Teri Mitti singer-writer duo, that is B Praak and I, will come together. Tanishk Bagchi has composed the track beautifully.”

Lyricist and screenwriter Manoj Muntashir has expressed his frustration with the team behind Sky Force after being left out of the credits for the upcoming track Maaye. On Tuesday, Manoj took to X to voice his anger, warning the makers of Sky Force — Jio Studios, Dinesh Vijan’s Maddock Films, and Saregama Global — of potential legal action.

The controversy began when Jio Studios shared a teaser for Maaye on X, with the song credited to singer B Praak and composer Tanishk Bagchi. While the brief clip acknowledged the duo’s contribution, Manoj’s name was conspicuously absent. The post did tag Manoj in the caption.

Feeling disrespected, Manoj immediately reacted, tweeting, “Please note @jiostudios, @MaddockFilms @saregamaglobal. This song is not just sung and composed but also written by someone who has given all his blood and sweat to it.”

He continued, “Removing the writer’s name from the opening credits shows utter disrespect for the craft and fraternity by the makers. If it’s not corrected immediately, including the main song releasing tomorrow, I am going to disown the song and make sure my voice is heard by the law of the land. Shame. @IPRSmusic.”

However, on Wednesday a source close to the situation told us that the issue has since been resolved, with everything being “well now” between Manoj and the Sky Force team. The lyricist was invited to the song’s launch event on Wednesday, suggesting a positive outcome after the initial dispute: “It was an honest mistake on the part of the filmmakers.”

Muntashir also confirmed to us, “Yes, things are fine (between us), but the fight for the lyricists’ rights will definitely go on.”

For singer, songwriter, music composer Arko Pravo Mukherjee, love songs are essentially feminine. “Nazm Nazm is very special to me. It is the only song with no changes – neither from the director nor the label. Wherever I go, especially women, love the song. Men, too but because women are softer and gentler...these love songs are essentially feminine, unless there are alpha sentiments like ‘Mujhe Tu Chahiye, Haq Hai Mera’,” says the Saathi Rey singer, who was recently in the city.

In Delhi for an album launch, Arko speaks to us about his faith in his art and how the number game doesn’t matter to him. Elaborating on the femininity of love songs, Arko adds, “Art itself is feminine. Science is masculine. Science is like yeh maine discover kiya. Art doesn’t have that. It is not something that belongs to the author or the singer completely,” he says.

“I’ve done many singles, but they haven’t done as well as my film songs like Nazm Nazm. If a layman knows a song, then you know that it has worked; I’ve been much luckier with film songs,” says Arko

Talking about the song Teri Mitti that has been added to the list of patriotic songs in many music charts, Arko, who composed the music for the hit, shares, “I keep telling MM (Manoj Muntashir) that it is very difficult to have this standard of poetry – so lucid and deep at the same time.”

He adds, “In my experience, if you fiddle with a song too much, it does not improve, but this song is an exception. I had about 30 verses and it was so difficult to pick what to keep and what not. MM and I have a great time together. He knows that I am non-diplomatic and I say wrong things to big shots and I fight. Agar kisi ne kuch kiya toh main usko suna deta hoon. I didn’t give up cardio surgery to be a chamcha. I have left so many films because of this,” says Arko, who holds an MBBS degree.

Talking about Teri Mitti, he shares, “Anurag Singh argued against keeping the line ‘O maayi, kya fikr tujhe’ because there is no mother character in the film, but despite its irrelevance to the script, it was kept to convey the essential emotional connection.”

Arko’s songs like Teri Mitti have 100 million views. Some would say it’s a success, but does the number game matter to him?

“I don’t think the number game bothers me. But there’s stuff to learn from it. It matters in the industry. Success matters because it gives you the freedom. Hats off to these boys (singers) like King and Anuv Jain, I really appreciate how they have come up without the support of a big producer. Bhatt sahab gave me my debut (Jism 2) but these boys have made it on their own and people have loved their music and it is good music. But it is now that I get more feedback about the song than I did when it was released. I really don’t think music has a time frame, we have to be honest about it but the freedom to be honest also has to be earned and I am thankful to Bollywood for that,” he replies.

I am not a big fan of the current music scene and it’s not just India but across the world. When I was in high school and college, we used to go and buy CDs. Paisa save karke and we used to buy that Bryan Adams album CD, Aaj ke Top 20s, 18 songs you will not like. Why is Lucky Ali sold out everywhere? Today’s kids are listening to old music. Kids are listening to Jagjit sahab because there is no such artiste. There’s a vacancy, there is nobody like that. Achcha, bura koi nahi hai. Jagjit sahab toh legend hain par koi toh ghazal gaaye. When you switch on the TV, all you see is old songs, remixes and Punjabi music.

After 46 films, Arko says that he does not want to be dishonest with his work. “Things like ghost writing are rampant. There were producers who asked me to do albums under someone else’s name early on... We do it sometimes in the beginning, but I’m past that now. I’m not greedy. I only want to do work that keeps my integrity intact,” says the singer.

Lucknow: The Lucknow bench of the Allahabad High Court on Tuesday slammed the makers of the film 'Adipurush' and asked how the Central Board of Film Certification cleared the film for public viewing. The court observed that such films were putting to test the tolerance of Hindus and added that thankfully the community did not create any law and order situation. The court's observations, however, were not part of the order.

The court also directed for notice to be issued to Manoj Muntashir, the dialogue writer of the film, and make him a party in the case. The court's observations came while hearing two PILs filed by Kuldeep Tiwari and Naveen Dhawan seeking restriction on screening of the film.

The vacation bench of Justices Rajesh Singh Chauhan and Shree Prakash Singh asked deputy solicitor general SB Pandey to seek instructions as to whether the central government was contemplating to review the certificate granted by the Censor Board.

The bench has posted the matter for the next hearing on Wednesday

The bench declined to accept the plea that the disclaimer of the movie said that the movie was not based on the Ramayana. "When the filmmaker has shown Lord Rama, Devi Sita, Laxman, Lord Hanuman, Ravana, Lanka etc., how the disclaimer of the film would convince the people at large that the story is not from Ramayana," the bench reacted strongly.

The bench was irked when it was apprised by the petitioner’s lawyer, Ranjana Agnihotri, that the movie may not only affect adversely the sentiments of the people at large, who worship Lord Rama, Sita, Hanuman etc., but the manner in which the characters of Ramayana have been depicted would create serious disharmony in the society also. It was further stated that the petitioner failed to understand from where the content of the film had been borrowed as nothing in that manner has been narrated in Valmiki’s Ramayana or Tulsi Das’ Ramcharitmanas.

The CBFC is an official body entrusted with the job of looking into issues such as public morality and collective sensitivity before issuing a certificate permitting any film’s exhibition. Any issue with the film being allowed to screen should be addressed to CBFC, not the film’s makers.

The controversy surrounding Om Raut’s Adipurush, which is a retelling of the Ramayana, refuses to die down. Not only are clarion calls for a blanket ban on the film growing louder, but the backlash has also translated to a dip in box-office collections, despite a positive opening weekend. Here’s a roundup of all that ensued.

All India Cine Workers Association president Suresh Shyam Lal Gupta has written a letter to Prime Minister Narendra Modi, calling for an immediate ban on the film for “hurting religious sentiments”. He has also urged an FIR against director Om Raut, co-writer Manoj Muntashir and the producers. 

“The screenplay and dialogues are clearly defaming the image of Lord Ram and Lord Hanuman,” read the letter written on Tuesday, adding, “The movie depicts Lord Ram and even Raavan like characters from a video game. We request Modi ji to ban screening Adipurush in theatres and OTT platforms immediately.”

In response to the backlash, the makers of Adipurush said recently that they would omit the dialogues found objectionable and release a fresh cut. Actor Prem Sagar, whose father, late Ramanand Sagar, helmed the iconic 1987 television serial Ramayan, wonders how writer Manoj Muntashir “conceived the dialogues”. “It might be a misjudgment that the younger generation would like it. Don’t say it is based on Valmiki Ramayan; give it any other name. Call it a fantasy film. But, if you’re making Ramayan, you can’t hurt sentiments,” he told ANI, adding that he “doesn’t even want to watch the film”.

The box-office collection of the Prabhas-starrer fell drastically during the week. From a Friday figure of Rs. 87 crores (nett), the India collection across languages dipped to Rs. 67 crores (approx) over the weekend. On Monday, it further dipped to Rs. 19.5 crores while on Tuesday, it fell to Rs. 13 crores.

Actor Kriti Sanon held a screening of her film for the students of her alma mater, Delhi Public School, RK Puram, on Wednesday. Sanon booked a show at PVR Sangam in RK Puram. “Since the film is based on the Ramayana, children would enjoy it,” says a source.

Actor Dipika Chikhlia Topiwala, who played Sita in the iconic TV show Ramayan, feels it’s high time an epic like the Ramayana stops being remade. Taking to Instagram, she shared a video clip, saying: “We often see the Ramayana being recreated after every few years, be it for a film or a TV show. Ramayana is our epic. We should not recreate it. Whenever it is made, there is some or the other controversy around it. It is a subject we should worship. We should [instead] teach it in educational institutions.”

Kathmandu: All Hindi films, including ‘Adipurush’, were banned in Nepal on Monday following a controversy over its dialogues, including the mention of Sita as “India’s daughter”.

According to reports, the screening of Om Raut-directed ‘Adipurush’ has been halted nationwide, after the movie, a retelling of epic Ramayana, was banned in Kathmandu and Pokhara. Police personnel were deployed across 17 halls in Kathmandu to ensure that no Hindi film was screened.

Kathmandu mayor Balen Shah on Sunday said that no Hindi film will be allowed to run in Kathmandu Metropolitan City (KMC) until the dialogue “Janaki is a daughter of India” is removed, not just in Nepal, but also in India. Sita, also referred to as Janaki, is believed by many to have been born in Janakpur in southeast Nepal.

According to Shah, screening ‘Adipurush’ without getting the dialogue removed will cause “irreparable damage”. Pokhara metropolis mayor Dhanaraj Acharya said ‘Adipurush, starring Prabhas and Kriti Sanon, would be barred from screening from Monday onwards.

“Screening of all the Hindi films will be barred within the KMC from Monday as the objectionable words in the dialogue of the film ‘Adipurush’ has not yet been removed,” the mayor said in a Facebook post on Sunday.

Meanwhile, Raju Pandey, KMC police chief, said that the police inspected cinema halls within the city on Sunday in accordance with the mayor’s instructions.

“We got a positive response during inspection on Sunday,” Pandey said. A security guard at Q’s Cinema situated at the Rising Mall in Kamaladi said that the theatre stopped screening ‘Adipurush’ after showing the movie once on Friday evening.

“Now, we are screening Nepali film ‘Neer Phool’ from Monday,” he said.

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“Jo hamari beheno ko haath lagayenge unki lanka laga denge”

“Teri bua ka bageecha hai kya jo hawa khane chala aaya?”

“Kapda tere baap ka, tel tere baap ka, aag bhi tere baap ki toh jalegi bhi tere baap ki”

“Aap apne kaal ke liye kaaleen bichha rahe hain”

“Mere ek sapole ne tumhare sheshnaag ko lamba kar diya, abhi toh pura pitara bhara para hai”

I wrote more than 4,000 lines as dialogues in Adipurush, some sentiments got hurt on five of those lines. In those hundreds of lines, where Shri Ram was glorified, Maa Sita’s chastity was described, I was hoping to receive praise for them, which I don’t know why I did not get. For me, there is nothing greater than your feelings. I can give countless arguments in favour of my dialogues, but this will not lessen your pain. I and the producer-director of the film have decided that we will revise some of the dialogues which are hurting you and they will be added to the film this week

– Manoj Muntashir Shukla, dialogue writer of Adipurush, on social media

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"Meghnad is reduced to look like a cheap WWE wrestler with tattoos all over his body and made to mouth chindi dialogues. 'Beta teri jali', how can these words ever fit Ramayan? Was he a tapori character?"

-Mukesh Khanna, who played Bhishma Pitamah in B R Chopra's Mahabharat

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"In my understanding, the issue is not of VFX, but of characters'' representation. Mool bhawna ko barkarar rakhna chahiye tha"

- Arun Govil, who played the role of Ram in Ramanand Sagar's Ramayan

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The uproar surrounding Adipurush shows no signs of abating. From objectionable dialogue to problematic scenes and inappropriate character representations, audiences remain dissatisfied with the movie’s content. In a shocking turn of events, on Monday, the Kshatriya Karni Sena, during a press conference in Madhya Pradesh, gave death threats to writer Manoj Muntashir and director Om Raut. Amid outrage, Nepal banned all Hindi films in its capital Kathmandu and the tourist town of Pokhara.

The producer and former chairman, CBFC, slams the censor board saying, “It’s filled with random officers, clearing movies without objections; chairman is not available to look after the operation. In the absence of a proper system, a film like this getting a certificate is obvious.”

The trade expert calls it a “grave error” on the part of the writers, and he agrees that the censor also seems to have overlooked it. “Revising them now won’t change the fate of the film because there are more issues than just these few lines.”

The trade analyst says that while watching the film, he wondered how the censor could clear the movie considering the makers had made a clear mockery of religion. “However, CBFC comes into the picture much later. The onus is on the director and writer, and for me, they are to blame,” he adds.

The filmmaker says, “If you don’t like a film, don’t recommend it. If you don’t like its message, counter it with another story. But there are people keen to watch Adipurush. Also, if the makers are being threatened or pressured, we should stand by them in the name of free speech.”

The actor, who is famous for playing Lord Ram in TV show Ramayan, says, “Makers are revising the dialogue because they don’t want people to react further. Par jin logon ne film already dekh li hai, woh dobara dekhne toh jayenge nahin.”

“The damage is already done. How such a film was cleared by the censor board is surely something to think about,” says Chikhlia, who played Sita, in the same iconic TV show.

“The problem is not only those five lines... What will you do about costumes, like Raavan made into Khilji or Hanuman made to look like a cartoon? Aur censor ko kya knowledge nahi hai hamare dharam ki?” questions Khanna, who shot to fame as Bhishma in the TV show, Mahabharat.

The makers of Adipurush, on Sunday, decided to change a few controversial dialogues (see box). Dialogue writer Manoj Muntashir said, “I can give countless arguments in favour of my dialogues, but this will not reduce [anyone’s] pain. I and the producer-director have decided that some of the dialogues which are hurting you, we’ll revise them. They’ll be added to the film this week.”

As the controversy continues to gain steam, Muntashir has sought protection from Mumbai Police. Meanwhile, in an interview with Zee News, he said that he trusted director Om Raut during the making of the film, and requested that any questions pertaining to the story and screenplay be directed to Raut. 

“We have not shown the entire Ramayana; it is extracted from one corner of the epic, Yuddha Kand. The only questions that remain are about the dialogues. The producers and I have announced that those dialogues would be changed.”

Moti Sagar, one of the makers of the 1987 iconic TV series, Ramayan, starring Arun Govil as Lord Ram, isn’t impressed with Adipurush. “After learning about certain dialogues from the film via news or on Twitter, I can say that they could have been careful. He (writer) must have thought of making the film more attractive for the common man,” Sagar told PTI.

He also felt that the makers of the Prabhas-starrer approached the subject like a superhero film. “They would have thought that today’s generation will accept something that is like a Marvel comic, something that will connect more with them. Perhaps, they thought they can tell the same story of the Ramayana, but in their language, so that people understand it better. This is a totally different genre. I would not compare our Ramayan with this film. I’ve heard that a lot of effort has gone into making it. Even the big stars, they all worked hard,” Sagar said.

The dialogues of Adipurush have been under the scanner ever since the film was released. In fact, a line mouthed by Lord Hanuman’s character in the film, ‘Kapda tere baap ka, aag tere baap ki, tel tere baap ka, jalegi bhi teri baap ki’, has invited furore. Writer Manoj Muntashir took to social media to share that the makers have decided to make changes to some lines and include them in the theatrical versions this week. “The film’s director-producer and I have taken a decision. The dialogues which have hurt you, we will make changes to them and from this week itself, they will be included in the film.”

Earlier, he told Republic TV, “It (the dialogues) is not an error. A meticulous thought process has gone into writing the dialogues for Bajrang Bali and all the characters. We have made it simple because we have to understand one thing — if there are multiple characters in a film, all cannot speak the same language.”

Last week, the Adipurush team unveiled the first song, Jai Shri Ram, from Om Raut’s directorial venture. Lyricist Manoj Muntashir says that while the track serves as the theme of the Prabhas and Kriti Sanon-starrer, Ram Siya Ram — that releases today — is designed as an ode to the lead couple’s love.

“Jai Shri Ram was composed by Ajay-Atul first, and then the lyrics were written. When Om and I heard it, we instantly knew we had something divine on our hands. Through it, we wanted to convey the magnificence of Lord Ram. Ram Siya Ram is about the equation and love between Lord Ram and Sita Devi, and also addresses how the Ramayana is an integral part of our lives,” says Muntashir, who has also written the movie’s dialogues.

Also starring Saif Ali Khan, Adipurush is based on the epic Ramayana and is one of the most ambitious films of 2023. Muntashir says that given the movie’s subject, he turned to poet Tulsidas for inspiration. 

“I’ve been heavily inspired by him in the entire album. I’ve tried to mix his thoughts with colloquial words, as the film is releasing in 2023. So, I blended today’s language and culture with the piety of Baba Tulsidas.” He found a perfect collaborator in Raut. The director, he says, is well-versed with the scriptures. “Om has studied the different versions of the Ramayana.”

With great expectations comes great responsibility. Om Raut’s Adipurush has been one of the most anticipated films, as the director offers a retelling of the Ramayana. All eyes were on Prabhas and Raut as they unveiled the teaser earlier this month. However, it received mixed to negative reactions, with netizens trolling its visual effects. Social media users also claimed that the movie borrowed heavily from international offerings — be it Aquaman (2018), Rise Of The Planet Of The Apes (2011) or Game Of Thrones.

Raut had earlier stated that the idea of retelling the epic struck him while watching Japanese director Yugo Sako’s anime film, Ramayana: The Legend Of Prince Rama. Manoj Muntashir, who has served as the lyricist and dialogue writer, says that Adipurush is designed in keeping with current technology.

He begins, “In every age, you have to retell the story with whatever creative tools are at your disposal. In 1987, when Ramanand Sagar ji made Ramayan, he made a series ahead of its time, with VFX that depicted 10 arrows being shot from one bow. When we made Adipurush, we too tried to experiment with the available VFX. In the 90-second teaser, we have conveyed that Ravana has abducted Maa Sita, and Lord Ram, with the help of Hanuman ji and others, attacks Lanka, wins the battle and brings her back. Is this narrative wrong?”

Muntashir says that the movie — also starring Saif Ali Khan and Kriti Sanon — was born out of the team’s “reverence for and faith” in the epic. The idea was to present the traditional narrative in such a way that it appeals to today’s generation.

“Adipurush was never just a project for us. It was always a responsibility. We needed to tell the story in a way that it’s understood by today’s kids, who have not been exposed to the story of mighty Rama. How do you reach out to the kids who are watching movies like Batman, Thor, and Dr Strange? You cannot show them the Ramayan of 1987.”

Another point of contention has been Khan’s look as the demon Ravana. The dialogue writer-lyricist agrees that it is a far cry from actor Arvind Trivedi’s look in Ramanand Sagar’s television offering. 

“Giving Arvind ji [the thick, handlebar moustache] was their creative visualisation. His performance impacted us. We wanted our Ravana to look evil and menacing.”

Insisting that they don’t want to hurt people’s sentiments, Muntashir appeals to the audience not to jump the gun. “We will soon come out with a song and trailer. I hope people will change their mind after seeing them. As makers, we are listening to people’s suggestions, and seeing what it teaches us. Every voice matters.”

Penning songs for dramas inspired by real-life events or personalities can be tricky, says Manoj Muntashir. The lyricist would know — he has, after all, written songs for Kesari (2019), Shershaah (2021) and Saina (2021). Ajay Devgn’s Maidaan, a biopic on Syed Abdul Rahim, the late coach and manager of the Indian football team who led the country to victory at the 1951 and 1962 Asian Games, is the latest addition to his list. What makes the project all the more special is that it unites the lyricist with composer A R Rahman.

Muntashir reveals that Rahman requested producer Boney Kapoor and director Amit R Sharma to bring him on board as the lyricist. The songwriter shares, “I always dreamt of writing for him. It was nothing less than a moment of ecstasy when Boney ji called me and said, ‘A R sir wants you to write songs for Maidaan.’”

So, how was the experience of joining forces with the Mozart of Madras? “Divine,” beams Muntashir. “If anything matches his aura, it’s his simplicity. He is a true son of Saraswati, and has brought our country such glory. I remember, during a session at Rahman sir’s studio in Chennai, he was trying to inspire me to write some magnificent lines. He said, ‘Give it your best shot, aim for the prestigious National Film Awards.’ Soon after I returned to Mumbai, the National Awards were announced, and I had won it for the Sania song, Parinda,” he marvels.

Maidaan’s album will be a mix of romantic and inspirational songs. He adds, “We are working on the title track. Sports dramas revolve around real-life people. The challenge then is to make it entertaining, inspiring and real at the same time.”

Manoj Muntashir appears to make a reference to his own life when he says, “If you’re a pure artiste, it may take 10 years for you to find fame in Bollywood, par, phir, aapke din nahin, aapka daur aayega.” Having come into the spotlight after his work on Ek Villian in 2014, the Teri Mitti writer has grown from strength to strength, establishing his foothold in Bollywood. He connects with mid-day for a conversation after his recent National Award win for Saina.

Edited excerpts from the interview. 

The music took five years to make. I have to thank Amaal Malik, who was determined to make this his [most defining work]. Also, you would imagine that a man like Bhushan Kumar, who produces 50 films [at a time] would possibly not be able to invest his time in small things, but he will sit in on meetings of each song, and will pin point every word [if needed]. Finally, Amole Gupte gave me such a brief of Saina’s [Nehwal] life, that it helped me in my process. If you hear the track, Parinda, it doesn’t have details of her life; it is a portrayal of her attitude towards life, and reflects that she didn’t want to be part of one small page in history [books], but wanted to make history. I thought about how I would feel if I was Saina. And that’s how all great artistes work. They either live [like] the character, or create one. I have been lucky to have worked on stories of real-life people in a major chunk of my projects, and they give me an idea of how I should approach the music. [At the onset of my career], when I’d write for Kaun Banega Crorepati, both for Mr Amitabh Bachchan and Shah Rukh Khan, I would think about how they would speak in those situations.

I was heavily inspired by Sahir Ludhianvi, among others. Having a role model can set you off in the right direction. I have seen youngsters saying that they don’t wish to follow [writers] or practices in films, but if you do not have a hero, a certain frame, you can’t fill a picture in it. If you don’t study the basics, you can’t sit for the medical examination, and these role models help you easily learn the basics. As soon as we stop getting influenced by the works of the greats, we will start digging our own grave. I also think there was a seed of writing in me. If you’re not a born writer, nothing in this world can make you one. Do something else, and you can still succeed. After a lot of introspection, I knew that words support me, and I can articulate subjects. Finally, I think it’s important to reiterate the importance of reading. Bank mein agar paise nahin daloge, toh nikaloge kya? Aur yeh roz ki sadhana hai. You have to wake up each day with the aim of creating something that outlives you. I am glad that with Saina being awarded, it is good music that has been recognised. 

I don’t think one song can define you. Often, you may write something that you think may be great, but it may elicit no response. But, you need to keep writing well. If I still have to point a few out, I’d say Galliyan was a defining one. After that song, people [appreciated] the fact that there was someone in the industry who was writing in that way. From there, I got a lot of work. Rustom's Tere Sang Yaara was another important song, in which Akshay Kumar and [producer] Neeraj Pandey allowed me to use lyrics that were poetic, even though they were using the song in a commercial film and needed the track to be a defining one. I’m fortunate that they gave me that chance. For a while, our industry has harboured the notion that female-led songs don’t do well, even though we have legendary female singers in India. At such a time, the fact that I got to use the female-led track Kaun Tujhe as the crux of M S Dhoni: The Untold Story, was special. Phir Bhi Tumko Chaahunga was a track that had been [penned] 15 years ago. People rejected it, until it was finally accepted. But, finally, it is Kesari's Teri Mitti that really revolutionized my life. People saw me as someone who was more than just a writer. After it did well, people would touch my feet, and I would feel ashamed and ask them to not do that. They’d say that they weren’t bowing down to me but to the talent that wrote it. 

Everyone loves poetry, even if they don’t know it. It is in the DNA of this soil. People are mistaken to assume that the young generation doesn’t enjoy poetry. Look at my followers – I have 5.5 million followers on the internet. Who uses the internet? The young generation does. Poets like to ignore this huge audience because they think kids don’t like poetry. But that’s wrong. I realised that poets have just not delivered to them something that’s of their interest. 

I’ll talk about three of them. The first is Vikram Vedha. I’ve penned the dialogues and the songs, and it has Vishal-Shekhar’s music. Then there’s Maidaan, which has been beautifully made. It marks my first collaboration with A R Rahman, and I am so excited about it. I am also very excited about Adipurush, which is the story of Ram; it has been narrated several times in India, and there is always an audience for it. With Prabhas as Ram, Kriti Sanon as Sita, and the music of Ajay Atul, this is something to look forward to.

Honouring the best of 2020’s cinematic excellence, the 68th National Film Awards were announced on Friday in the Capital. The report related to the awards was submitted to the Information and Broadcasting Minister, Anurag Thakur, and 10 jury members, headed by filmmaker Vipul Shah, took the final call.

Ajay Devgn and Suriya shared the Best Actor award. Devgn won it for the period drama Tanhaji: The Unsung Warrior and Suriya for Soorarai Pottru. His co-star in the movie, Aparna Balamurali, won the Best Actress award.

Devgn on receiving his third National Award said, “I’m elated to win the Best Actor Award along with Suriya. I thank everyone, most of all my creative team, the audience and my fans. I also express my gratitude to my parents and the Almighty for their blessings.”

Soorarai Pottru won the Best Feature Film, while Tanhaji... was declared the Best Popular Film Providing Wholesome Entertainment. Nachiket Barve and Mahesh Sherla won the Best Costume Designer award for the same movie.

Child actor Varun Buddhadev got a special jury mention for the Sanjay Dutt and Rajiv Kapoor-starrer Toolsidas Junior, which also won the Best Feature Film, Hindi. It was also Kapoor’s last film before he died in Feb 2021.

Lyricist Manoj Muntashir won the National Award for Best Lyrics for Saina. Filmmaker Vishal Bhardwaj bagged the award for Best Music Direction (non-feature films section) for 1232 Kms: Marenge Toh Wahin Jaakar. HTC

Anurag Thakur, Union Minister for I&B, told ANI, “I want to congratulate all the jury members and all those people whose work was reviewed and would like to congratulate the recipients. A word of appreciation for everyone who has done an outstanding job.”

Best Feature Film: Soorarai Pottru; Tamil

Best Actress: Aparna Balamurali (Soorarai Pottru)

Best Actor: Suriya (Soorarai Pottru) & Ajay Devgn (Tanhaji: The Unsung Warrior; Hindi)

Best Lyrics: Manoj Muntashir (Saina; Hindi)

Best Costume Designer: Nachiket Barve & Mahesh Sherla (Tanhaji: The Unsung Warrior)

Best Music Direction in Non-Feature Films: Vishal Bhardwaj (1232 Kms: Marenge Toh Wahin Jaakar; Hindi)

Bollywood’s love for mythology dates back to several decades. But soon, actioners and love stories took precedence. But the next few years will witness a plethora of mythology features such as Ram Setu, Adipurush, Ramayana, Brahmastra, Chanakya, Mahaveer Karna, Sita: The Incarnation and Draupadi.

However, these films often come under scrutiny for deviating from the original idea. Kriti Sanon, who will be essaying the role of Janaki in Adipurush believes that playing such a part “comes with a certain responsibility”. “I’ve to keep a check on how much you can play as an actor as there’s a certain boundary that you cannot cross. We’ve to adhere to facts and not end up hurting sentiments,” she says.

Manoj Muntashir, who has penned the dialogues for Sita: The Reincarnation, Adipurush and Chanakya, asserts that filmmakers “need to capitalise on our epics”. Ask him about what kept them away from this genre over the past few years and he explains, “All of a sudden, India has woken up to its legacy. Baahubali broke many grounds.”

In 2019, Arati Kadav wrote and directed Cargo, a science-fiction rooted in Indian mythology. Agreeing with Muntashir, she says, “Mythologies are a goldmine we’re sitting on and we’ve to just tap into them.” So, is the trend here to stay? “Mythology films can give even the top sci-fi films a run for their money. If we rehash what the millennial generation has seen and already dismissed, we won’t be able to win them. Also mythology films involve high-grade VFX and massive production scale.”

Trade analyst, Taran Adarsh resonates with her thoughts, but he believes A-list actors headlining these projects “is a positive sign”. “If big stars are cast, that will take care of the budget aspect, too. But if you make a good mythological film, there’s a huge audience wanting to watch it. Jai Santoshi Maa (1975) didn’t have stars and it was low-cost film but it became huge,” he says.

Having crafted his name as a lyricist who excels at penning patriotic tracks after Teri Mitti, Manoj Muntashir has written two similar numbers for Bhuj: The Pride Of India (O Des Mere), and Shershaah (Jai Hind). Muntashir is certain that the track for Ajay Devgn’s film is a suitable one to follow his successful Kesari song. “After Teri Mitti, this is a song that will make me proud. It has been sung by Arijit Singh, and features the entire cast, including Ajay Devgn, Sanjay Dutt, Sonakshi Sinha, Nora Fatehi, Sharad Kelkar, Ammy Virk, Pranitha Subhash, Ihana Dhillon, and Mahesh Shetty, among others.”

Jai Hind, in Sidharth Malhotra’s Shershaah, has been composed and sung by Vikram Montrose. “It celebrates the valour and spirit of the Indian Army, which delivers  against all odds, and never tolerates the enemy on our land,  keeping our Indian flag hoisted at all cost.” 

Ask him if he’s nervous about two similar songs releasing in the same week and he says, “Both the songs are lyrical, and charged with emotions. They are different, in terms of the treatment. They are not jingoistic but rooted in patriotism and such realistic situations which our soldiers endured. The songs may release together, but it will appear that they have been written by two different people. I am thankful to music supervisor Azeem Dayani for incorporating my work in this kind of patriotic song.”

It was a chance trip to Maheshwar, Madhya Pradesh, 20 years ago that introduced lyricist-writer Manoj Muntashir to the tales of the 18th-century queen, Ahilyabai Holkar, who ruled over the Malwa kingdom. The story of her courage and compassion left such an indelible imprint on him that as he turns producer, he has decided to bring the life of the Maratha queen to the big screen.

Titled Punyshlok Ahilyaadevi, the movie is expected to go on floors later this year. “When we talk of women rulers, we stop at Rani Lakshmibai. While her contribution to India can never be denied, neither can Ahilyabai ji’s,” begins Muntashir, who will serve as the co-writer and dialogue writer. Dilip Bhosale has taken on the double duty of direction and screenplay. During her reign, Holkar took Indore to new heights, proving herself as an able and erudite administrator. “At a time when Aurangzeb was destroying temples, she was constructing new ones. But we won’t approach the story from that angle; instead, we’ll focus on her legacy,” he adds.

As he develops the script of the multilingual — Hindi, Marathi, Tamil and Telugu, Muntashir has envisioned Priyanka Chopra Jonas in the part. “Priyanka has the fire, passion and conviction to play such a role. Her performance in Bajirao Mastani [2015] was flawless. We haven’t spoken to her as the script is at a nascent stage, but I would love to approach her eventually,” says Muntashir, who has started a video podcast on the Battle Of Haldighati.

K V Vijayendra Prasad and Manoj Muntashir

Often explored on television, mythology is now piquing the interest of filmmakers. Joining the bandwagon with Omi Raut’s Aadipurush and Madhu Mantena’s rumoured Ramayana is Alaukik Desai’s Sita: The Incarnation. While all three films explore the life of Sita, writer-director K V Vijayendra Prasad, and dialogue writer-lyricist, Manoj Muntashir claim that their project focuses on Sita’s life before marriage.

Muntashir weighs in that the movie cannot be compared with other films on the same subject. “I don’t think one can draw parallels between Sita: The Incarnation and any other film. The time frames [of Sita’s life] showcased are different. Our film is female-centric and about a young Sita,” he says, adding that the language used will reflect the period while still catering to the masses. “While the film will reflect the language and divinity of that period, it will be easier to understand. [Have written the dialogues] keeping the beauty of the Hindi language in mind.”

Rumours suggested that Kareena Kapoor Khan and Alia Bhatt have been approached for the multilingual magnum opus. Refuting the claims, Prasad insists the search for a young actor is still underway. “I don’t think any actor has been approached for Sita’s role, to my knowledge. We have just started writing the script. Once done, we will search for a young actor to play the title role.” Penning the story of Sita, he adds, “The film will have considerable footage of a young Sita, showcasing her life before marriage to Ram.”

Writing the story from a female perspective comes easy to the Baahubali fame writer and he credits the achievement to Desai. “My job was made easier because of my director Alaukik, who has been researching the subject and has gathered abundant material in the last few years.”

From finding a suitable training academy for her, to cheering her on from the sidelines, mother Usha Rani Nehwal played a significant role in the success of former World No 1 badminton champion Saina Nehwal. Saina, the Amole Gupte-directed biopic, focuses as much on the mother-daughter bond as it does on the sports icon’s journey. So much so that the makers have created the song, Chal Wahin Chalein, inspired by a lullaby that Usha would sing to the young Saina. It features Parineeti Chopra and her on-screen mother, played by Meghna Malik.   

“Usha Rani, who was a badminton player, discovered that Saina had a knack for the sport. When she would put her daughter to sleep, she used to sing a lori to encourage her. Inspired by that, we have made the motivational song, Chal Wahin Chalein. It takes us through their hard times as well as good times,” says Manoj Muntashir, who has penned the song. The number has been sung by Shreya Ghoshal and Amaal Mallik, with the latter doubling up as the composer. 

The lyricist believes the song is along the lines of Kishore Kumar’s classic Aa Chal Ke Tujhe from Door Gagan Ki Chhaon Mein (1964). “Like the soothing song, our number talks about a beautiful world, and encourages us to reach for it. With Parineeti’s expressions, the lori has come alive.” Producer Bhushan Kumar adds, “The song beautifully captures Saina’s ups and downs, and how her family always supported her.”

A fair share of forthcoming movies became casualties of the lockdown lull, which afforded filmmakers the time to analyse if they were worth creating in the first place. Writer-lyricist Manoj Muntashir assures us that his next with Ajay Devgn isn’t one of them.

“Chanakya has been delayed due to the pandemic. Ajay only resumed filming in November and will wrap up his prior commitments before working on this. We should roll in the last quarter of 2021,” Muntashir tells mid-day of Neeraj Panday’s directorial venture, based on the ancient Indian philosopher. 

That the film requires Devgn to sport a bald look implies that he cannot juggle its shoot with another offering, says the writer. “Ajay has to go bald for the film. There are several dramatic points relating to his character. When I write the script, I make notes about his hair, clothes and accessories.” He alludes that the film, which seems worthy of being an “Oscar-entry”, is too precious to be put on the back-burner.

“Neeraj and I travelled across India, including Bihar, where Pataliputra [now, Patna] is situated, as part of research. For a year-and-a-half, we focused on travelling and reading Chanakya’s books, including Kautilya, before putting pen to paper. Neeraj is so brilliant that the process was a cakewalk.”

Recreating a different era for a film, and making it appealing for the current generation while at it, is a tall order. Muntashir says the ideal way to bridge the gap is by highlighting those aspects that can weave the two eras together. "You must note that even a film set in the ancient times must resonate with today’s youth. The dialogues have to point to the goings-on. Chanakya includes at least 15 such moments where parallels can be drawn between the eras. We've used different languages, but the film will be comprehensible. While replicating an era on screen, doing justice to the period’s languages is like balancing the double-edged sword – it cannot be entirely true to the era, and must still not be distanced from it."

Adapting the Indian epic, Ramayana, for the big screen is no mean feat. Aware of the responsibility that rests on their shoulders, Prabhas, Saif Ali Khan and Kriti Sanon have begun workshops before Adipurush rolls on January 19 at a Mumbai studio. If Prabhas will essay the role of Lord Ram, he will find a worthy opponent in Khan's Lankesh in director Om Raut's magnum opus.

Considering tales of Ravana's might and supernatural powers precede him, Khan's character has been developed as intimidating and fearsome. "In Adipurush, Lankesh — another name for Ravana — will be seen as a towering personality. Saif's height will be enhanced to eight or nine feet, using special effects, to depict his larger-than-life persona. The actor will sport a thick moustache, long hair and a muscular build," says a source. His physical prowess aside, Ravana was known to be a scholar, sharp statesman and a devout follower of Lord Shiva.

Manoj Muntashir, who has penned the dialogues and lyrics, says that the film will focus on the Ram-Ravana conflict, thus highlighting the triumph of good over evil. "Saif was recently trolled for his remarks about [humanising] Lankesh, but there is nothing offensive in the film. Saif was misunderstood. Ravana is perceived as an all-black figure, but in our film, he will be seen in all his shades. He will be shown as a flamboyant king, who was also cruel and sadistic," says Muntashir, adding that the outfits and get-up will only enhance the "colourful" character.

The 3D multi-lingual will also touch on the antagonist's love for Sita. "Ravana believed that he was more powerful than Ram, and could never fathom why Sita couldn't fall in love with him," says the writer-lyricist, who is excited to see Khan bring his own interpretation to the layered role. "Saif is a thinking actor and asks questions to understand his role better. He gets into the skin of the character."