Rachana Dubey (BOMBAY TIMES; March 3, 2020)

In her brief career so far, Radhika Madan has chosen roles that can’t be stereotyped, like the girl with stained teeth, excess weight and dyed hair in Pataakha or the quirky character who is a misfit in her circles, in Mard Ko Dard Nahi Hota. Ahead of the release of her third film, director Homi Adajania’s Angrezi Medium where she plays Irrfan’s daughter, she talks to BT about why this will be an unforgettable film for her and how actors need to break away from the mindset of looking conventionally good in every frame and every role. Excerpts:

The dad-daughter chemistry you share with Irrfan in Angrezi Medium is quite endearing. Given that this is only your third film, was it intimidating to share screen space with a globally-acclaimed actor like Irrfan?
I still can’t believe that it has happened. After seeing the trailer of the film, I had tears in my eyes. When Homi (Adjania) showed it to me at a party, nothing registered as much as the last 10 seconds, which shows my name appearing along with that of Irrfan sir, Kareena Kapoor Khan, Dimple Kapadia, Pankaj Tripathi and Deepak Dobriyal.

Those 10 seconds made me realise that I am indeed living my dream. When I was working on the film, I would hang out on the sets even when I was not needed, because I didn’t want to miss a chance to observe so many good actors in one frame and learn from them.

How was your bonding with Irrfan on the set? Did you find it easy to relate to him as a father?
Well, I became an actor by chance, after I was spotted on social media. When I got past the auditions, it was my father who helped me achieve what I set out to do. While my mother worried about me being a part of the industry, my father stood by me like Irrfan sir does in this film for his daughter. My dad booked us flight tickets to Mumbai. While I would attend narrations, he would wait outside. Till that point in my life, I had never thought that I would become an actor. And when I got the chance to be one, my father never questioned my decision. When I started shooting, he went house hunting to ensure that I have a roof over my head here. It’s surreal how life gave me a chance to experience those emotions again with Irrfan sir.

In comparison to your roles in Pataakha and Mard Ko Dard Nahi Hota, was Tarika in Angrezi Medium simpler for you to pull off?
On the contrary, it has been my toughest role so far because Tarika is totally unlike me. I’m sure when people see the film, they won’t know the effort it took for me to be that person. When we started the pre-production work, I just couldn’t crack the voice of my character. I wasn’t sounding like her. I went to Udaipur with Homi and there, I hung out with girls who were 16-17 years old. In fact, I told them to spread the word that I was seeking admission in one of their schools, just to know how the boys would react. I’ve studied at Delhi Public School and the students there have a different mindset from those in English medium schools in Udaipur. I wanted to understand what these kids think about studying abroad or about having relationships. I wanted to crack their demeanour and the way they speak to their elders and among themselves.

Over the last two-three years, newcomers in Bollywood have increasingly begun to take the experimental route. They seem to pick roles that break away from conventional characters. What do you think drives your peers and you to do that?
It’s got to do with the fact that we, as an audience, wouldn’t watch the same thing again and again. We no longer want to see an actor play the same role repeatedly. It doesn’t work. For example, when you talk about the girl next door, there are so many kinds of girls next door. I understand that filmmakers want young energy and a peppy vibe, but that’s not the only kind of young girl that exists. As an actor, I don’t want to be put in a box. We become actors because we want to live many lives, we’re not happy living just one. It doesn’t matter how tough it is. We have to let go of this mindset that we’re pretty, aur abhi toh mere paas age hai. So, let me do things that make me look nice and ek fan base banati hoon. Acting baad mein kar loongi, pehle national crush ban jaaoon. I want to become an actor first, star to desh bana hi dega. If I become a star eventually, I will know that it didn’t happen by fluke or by chance, and that I deserve it. I don’t want overnight success, because then, it will make me doubt if I deserve it. I have not given the audience enough yet.

In an industry which is highly competitive, it is tough to find your ground, especially when you are not doing a few typical Bollywood movies or are focused on, like you said, “building a fan base” quickly.
In my case, the credit for that goes to Vishal Bhardwaj and Vasan Bala (the directors of Pataakha and Mard Ko Dard Nahi Hota, respectively). They laid the foundation for this thought process. As a girl born into a regular Delhi household, I grew up watching the usual commercial Hindi fare, where heroines shoot their debut scenes on hill tops and make an entry with their hair flying in the air. So, you have this fixation about playing a leading lady. Vishal sir and Vasan sir broke that image for me and shattered my inhibitions to pieces. The concern about looks stems from insecurity at some level. Art gives you the confidence to hold your own. That confidence and talent are not temporary, your looks are. I felt sexy and stunning even with stained teeth, excess weight and dyed hair in Pataakha, which is very close to my heart. Who looks like that in their debut film? People may wonder, but they don’t know what I learnt in the process. Vasan sir told me that I will learn action and do it without a body double in Mard Ko Dard Nahi Hota. He also said, ‘Tumhare baal udenge, lekin tab jab tum action kar rahi hongi, you won’t be the hero’s fantasy’. The directors that I worked with made me believe that I should focus on my art and craft, and not my looks.

Do you think youngsters today are caught in this web of looking a certain way or being a certain size?
It’s the era of social media and influencers. We need to be kind to ourselves and others around us. We need to tell youngsters that they don’t need to look a certain way and that it’s cool to be yourself because no one else can be you. We get influenced so much by personalities, especially actors’ personalities. If someone says that I want to be like you, I tell them to be themselves instead. You can be inspired by people’s ethics, their sense of dress or how they conduct themselves and adapt it to the environment. But you don’t have to become their clone. There’s no point in chasing a certain shape, size, hair colour or lip contour. This obsession with looking a certain way comes from what’s being fed to youngsters through different media. We need to tell our youngsters that it’s one thing to be inspired and another to be influenced. You don’t need superficial appendages to look beautiful. If you love yourself, you will stop feeling the need for approval from others around you.

Shreya Mukherjee (HINDUSTAN TIMES; February 18, 2020)

Every success story has its share of highs and lows. Radhika Madan’s story too, isn’t different. While at the outset it might look like she had a smooth ride with the successful TV show, Meri Aashiqui Tum Se Hi, and then getting to work in Pataakha (2018), Mard Ko Dard Nahi Hota (2019) and now Angrezi Medium and Shiddat, but the discouragement she faced while making the shift from TV to films gave her sleepless nights. She even went through a phase of self doubt.

“I was completely engrossed in Meri Aashiqui Tum Se Hi and enjoyed the process, but I felt somewhere something was missing. As a performer, I wanted to do something different and decided to give films a shot,” she says. And the moment people around her learned of her intentions, Radhika shares how many “discouraged” her decision. “They were like nobody from TV makes it to films easily. When I would give the examples of Shah Rukh Khan and Sushant Singh Rajput, they would tell me that there are exceptions. ‘When you are earning so well here [on TV], why do you want to let that comfort go and become a struggler in Bollywood? You might not make it, it’s not an easy space to survive’, they said. I got upset and started pondering about my decision but then thought of giving it a try and got Pataakha and Mard Ko Dard Nahi Hota after several auditions… Even then, I was told, ‘Yeh toh shuruat hai, aagey dekho kya hota hai,’ and the like,” adds the actor.

And she reveals it was a rather strange incident which drew her to cinema in the first place. While shooting a scene for her TV show, Radhika felt her character needed to do more and decided to discuss her ideas with the director. However, the latter did not encourage her much.

“I started discussing the scene, but he was really impatient, constantly looking at his watch. Finally he told me, ‘Radhika, jab hum movie karenge na to ek scene ke upar teen din tak discussion karenge, par abhi shoot kar sakte hain kya kyunki samay kam hai’. I understood that, given there’s much less time in hand on a daily show, and it’s all about telecast, but that thing actually stuck with me. And it also made me realise that either you earn money and enjoy your safety or you’ve to struggle because you get time to enjoy the process of creating a character, adapting a story... I had slogged really hard on TV and now wanted to do more. So I thought I would rather give up on my security if it makes me sleep peacefully at night,” she adds.

Radhika Madan says she’s living her dream and is overwhelmed to be able to work with ‘noted actors’
Shreya Mukherjee (HINDUSTAN TIMES; February 9, 2020)

She shot to fame instantly with her debut TV show Meri Aashiqui Tum Se Hi, and then had a fairly decent, but unconventional Bollywood debut with Pataakha (2018), followed by Mard Ko Dard Nahi Hota (2019). And now, with two interesting projects in the pipeline — Shiddat and a Homi Adajania directorial — actor Radhika Madan, it seems, is on a roll.

While the actor feels satisfied, she says she gets emotional on seeing her family’s reaction to her progress, and how watching her on screen has become a routine thing for them.

“I don’t know what the future holds for me, but no one thought I’d be able to reach wherever I am today. Meri family ke liye bahut badi baat hai ki mujhe TV aur films mein achha kaam mil raha hai. They’re overwhelmed and celebrate everyday, and keep reminding me to stay grounded. They can never go to bed without watching my film, song or trailer. Sometimes, they change their taste by reading published articles [about me],” she quips.

Radhika shares that she draws a lot of inspiration from such simple joys in life. She still can’t believe that she has survived six years in the industry and often pinches herself to get back to reality.

Recently, the actor was overwhelmed after watching the rough cut of her upcoming film Angrezi Medium’s trailer, starring Irrfan.

“In the end, when I saw my name after Kareena [Kapoor Khan] and before Irrfan, I couldn’t hold my tears and I was smiling at the same time. When Homi asked if I liked the trailer, I was like, ‘The last 10 seconds kind of made my life, I’m on a high’,” she gushes.

Admitting that she never imagined she’d get to work with such noted names from the industry so early in her career, Radhika says she’s living her dream.

“Homi is the coolest director I’ve ever worked with. Irrfan sir is magic. You can just look at him and learn everything. And what do I say about Kareena... Watching her films while growing up, I’ve been a huge fan… This is no less than a dream for me,” she adds.

Kavita Awaasthi (HINDUSTAN TIMES; February 1, 2020)

With the advent of OTT platforms, the design and nature of storytelling has transformed. Gone are the days when actors lived from Friday to Friday. And after a scene stealing act in director Vasan Bala’s critically-acclaimed film Mard Ko Dard Nahi Hota (2018; MKDNH), Gulshan Devaiah started this year with the horror anthology, Ghost Stories. He got a lot of love from audiences for his part in director Dibakar Banerjee’s short.

Gulshan admits that currently, it’s a “truly reinvigorating time” for him as an actor as he doesn’t feel the “pressure of delivering at the box office as much” as he feels the need to give a terrific performance. “The whole notion that box-office figures are the only yardstick for success is burdening on filmmakers and actors. One doesn’t consider the social, cultural and artistic impact a film has on society. But thanks to the streaming platforms, actors like me can finally find some balance. Finally, we can focus on the stories and characters and how good and enjoyable or entertaining they are rather than the business,” he says.

Not one to undermine numbers, he insists that an actor’s career is no longer about the numbers he clocks in just on that one Friday and its aftermath. With digital invasion, he realises that his works are discovered and loved over and beyond their run at the theatres. He adds, “Streaming platforms seem to have found a model that balances art with commerce and that’s fantastic. Actors such as me can now spread our wings and fly with freedom. I am overwhelmed by the love and appreciation I’ve received for MKDNH and even Ghost stories, both of which got their maximum reach on an OTT platform. It’s a great feeling for a craftsman or artist for his or her art and craft to be relevant and I feel very relevant right now. As the great singer Bob Dylan once said “The times, they are changing....”

Dhaval Mehta (DNA; August 24, 2019)

Her first TV show Meri Aashiqui Tumse Hi was a hit, but once it was over, Radhika Madan decided to step into Bollywood. And it wasn’t a dreamy outing. For her debut, Vishal Bharadwaj’s Pataakha (2018), the actress had to gain 12 kg and was given a bedraggled look, complete with frizzy hair. For her second outing, Vasan Bala’s Mard Ko Dard Nahi Hota opposite newcomer Abhimanyu Dassani, she had to master action. About her not-so-glam entry, she says, “This made my base strong and I realised that looks are not important and just have to focus on my craft. The best thing Vishal and Vasan sir did was help me get rid of my inhibitions as an actor.”

As her third project, she has a big one in her kitty — Angrezi Medium with Kareena Kapoor Khan and Irrfan,  no less! Not surprisingly, Radhika calls it a dream team. “Kareena and Irrfan were a big help. Homi sir (Adajania) is the coolest director that I have ever worked with,” says the actress. She confesses that she was awestruck by Kareena. “I played it cool in front of her when I met her. However, on the other hand, I was ecstatic! But she made me so comfortable.” As for working with Irrfan, she states, “I got to learn the craft from the man himself. I couldn’t have asked for more. There was so much to learn every day.”

Radhika’s good run in the industry so far makes it seem like taking the risk of quitting TV at the peak of her career has paid off. “I was getting a lot of projects and producers were offering me a lot of money. But, I was adamant that I wanted to do films and they would say, nothing is going to happen,” Radhika recalls, adding, “I had to choose between getting comfortable, earning good money and chasing my dreams. And, I chose my dreams.” Though she bagged a project with one of the most renowned filmmakers Vishal, it wasn’t smooth sailing for her, as MKDNH was shelved for one-and-a-half years. “That was an extremely difficult period in my life. At the end of the day, everything worked out quite well,” she smiles.

It’s a given that star kids get a dream launch. Radhika believes that though they have access to a good debut, only someone who is talented can stay in the industry. “I am happy to be part of the era where characters are getting appreciated and talent is recognised,” says she. As for her take on the competition with other contemporaries, she says, “One person cannot do everything and there is space for everyone to co-exist. When Sanya bags a project, I get excited and celebrate for her. Everybody should get their due and it’s not like, I’ve to pull someone down to get ahead. I am only focussing on my work at the moment.”

Radhika’s next post Angrezi Medium is Sunny Kaushal starrer Shiddat “I’m really excited about that,” she signs off.

Bombay Times spoke to the producer after the Competition Commission of India ruled in favour of the multiplexes on the Virtual Print Fee (VPF) issue
Rachana Dubey (BOMBAY TIMES; July 26, 2019)

Back in March, producer Ronnie Screwvala had filed case with the government body Competition Commission of India, against four multiplex chains — PVR, Inox, Cinepolis and Carnival Cinemas — and the FICCI Multiplex Association of India, alleging undue imposition of Virtual Print Fee (VPF). In his petition, the filmmaker complained that the multiplexes make Indian film producers/distributors cough up Rs 20,000 for every film screened, per screen as VPF.

On Wednesday evening, the CCI ruled the matter favouring the multiplex chains and their association, citing that there wasn’t enough reason or material for them to initiate a probe in the matter as Ronnie had demanded in his petition. The Commission observed that the general allegations made in the case, including lack of transparency in exhibition of trailers and promotions, do not fall within the ambit of the provisions of the Competition Act, 2002. The Commission was of the opinion that there exists no prima facie case warranting investigation into the matter.

Talking to BT about this, Ronnie said, “I have read the ruling from the CCI on the cartelization by the multiplexes and they have dismissed the petition on the grounds that it lacked documented proof of such misuse of collective power. My complaint was not an anonymous one which is normally how it starts. It was based on asking the CCI to launch a formal probe and investigation and they would have got all the documentation and proof they needed. But they have ruled on it and I respect and abide by their final view. I am disappointed, though not surprised, at the complete lack of support from all colleagues, producers, distributors and the creative community who in private commended the action. But not one individual, company or association supported my complaint as that would have gone a long way to endorse with the CCI the apparent practices that is common knowledge to all. I am a firm believer that there is a circle of life and in the end, truth always catches up with reality. So, I am sure that at an appropriate time there will be justice to this. Meanwhile, it’s business as usual for the multiplexes while fair play takes a back seat.”

Talking about the ruling, Kamal Gianchandani, the head honcho of PVR Cinemas, told BT, “I think the CCI’s decision validates what we have believed and said from the time this one particular matter came to the fore. I am thankful to them for viewing it objectively.”

To jog your memory, as a result of Ronnie’s petition, Inox Leisure had boycotted the film Mard Ko Dard Nahi Hota and refused to screen it (which was produced by Ronnie’s company). Reportedly, he was asked to withdraw his complaint, if he wanted the multiplex chain to screen his film. The producer, it’s learnt, had paid VPF to other multiplexes, albeit under protest, for his film to be screened. His petition described VPF as a draconian, discriminatory charge that the multiplex chains are forcibly imposing.

In 2010, following a discussion among producers, distributors and exhibitors, the process of transformation from physical prints to digital had started. Back then, it was agreed upon that VPF will be levied to support the transition for five years, which ended in December 2015. According to Ronnie’s complaint, the period was extended twice, following a verbal agreement between producers and distributors with the sunset clause till December 2017.

What is Virtual Print Fee?
Earlier, when films were developed from negatives, the distributors and producers had to pay a Print Fee to develop the print of their films. And the exhibitors used to bear the projector costs. VPF was first introduced to help make multiplexes compliant with Digital Cinema Initiaties (DCI), a technology that helps reduce cost, curbs piracy and enhances the movie-viewing experience. Since the technology was costly, it was agreed that the multiplex chains will charge Rs 20,000 per screen for each movie for five years to recover that cost, beginning 2010.
---------------------------
Ronnie Screwvala reacts to the CCI’s order against his allegation of undue imposition of Virtual Print Fee by national multiplex chains; Kamal Gianchandani of PVR says it was not an industry issue
Himesh Mankad (MUMBAI MIRROR; July 26, 2019)

On March 19, Mirror had reported that Ronnie Screwvala had filed a case with the Competition Commission of India (CCI) against four multiplex chains—PVR, Inox, Cinepolis and Carnival Cinemas—and the FCCI Multiplex Association of India after the release of Sushant Singh Rajput’s dacoit-drama, Sonchiriya, for “anti-competitive collusion with respect to undue imposition of Virtual Print Fee (VPF)”. In his petition, the filmmaker had alleged that the multiplexes make Indian film producers/distributors pay Rs 20,000 for every film screened in their theatres as VPF. He described it as a “draconian discriminatory charge that the multiplex chains are forcibly imposing”.

We have now learnt that in its judgment passed on Wednesday, the CCI has given a clean chit to the multiplexes. “The informant (Ronnie) did not allege that VPF is anti-competitive per-se, rather, the allegation of informant pertains to its undue imposition after a certain period,” read the judgment. It observed that there is no formal/written agreement pertaining to imposition of VPF between producers and national multiplex chains, hence a ‘Sun-set clause’ doesn’t exist. The case was filed under section 3 of the Competition Act, 2002, which prohibits an association or enterprise from entering into anti-competitive agreement.

Ronnie, in his petition, had stated that following a discussion between producers, distributors and exhibitors in 2010, the transition from physical prints to digital started and a fee was agreed upon to support the evolution for five years till December 2015. It was extended twice, following a verbal agreement with producers/ distributors till December 2017. “But they have continued collecting VPF directly from distributors of Hindi and regional films,” he groused. Apart from VPF, Ronnie also raised concern over delay in release of payment by the multiplexes, lack of transparency over screening advertisements and inserting interval in films which don’t call for a break. These grouses didn’t fall within ambit of the Competition Act, 2002. The concluding lines of the CCI’s order read, “The commission does not find alleged contravention of the provision of Section 3 of the Act against opposite parties being made out.”

Kamal Gianchandani, CEO, PVR, reacted to the CCI’s order, saying, “It is a validation of the position we had taken all along.” He added that partners often have disagreements and he’s looking forward to the future because content producers and suppliers are integral to the business. “We are committed to working in a constructive fashion. I’m glad that the debate at the CCI forum is out of the way, this wasn’t an industry issue, but rather a disagreement with one producer,” he insisted.

Ronnie is disappointed that colleagues from Bollywood didn’t come forward to support him. He believes that CCI’s verdict would have been different had the film industry shown some unity. “Have read the ruling from the CCI on the cartelization by the ’plexes and they have dismissed the petition on the grounds that it lacked documented proof of such misuse of collective power. My complaint was not an anonymous one which is normally how it starts and was based on asking the CCI to launch a formal probe and investigation to all the practices and they would have got all the documentation and proof they needed. But they have ruled on it and I respect and abide by their final view. Am disappointed though not surprised at the lack of support from colleagues, producers, distributors and creative community who, in private, commended the action but not one individual, company or association supported my complaint as that would have gone a long way to endorse with the CCI the apparent practices that is common knowledge to all.”

He ended saying, “But I am a firm believer that there is a Circle of Life and in the end truth always catches up with reality so am sure at an appropriate time there will be justice. In the meantime, it’s business as usual for the ’plexes while fair play takes a back seat.”

After Ronnie Screwvala poured his heart out to BT about his fight against the Virtual Print Fee (VPF) charged by multiplexes for screening films, producers and distributors have begun to echo his sentiments. Here’s what some of them had to say...
Rachana Dubey (BOMBAY TIMES; March 27, 2019)

A few days ago, Ronnie Screwvala filed a case with the Competition Commission of India against four multiplex chains — PVR, Inox, Cinepolis and Carnival Cinemas — and the FICCI Multiplex Association of India, alleging undue imposition of Virtual Print Fee (VPF). In his petition, the filmmaker complained that the multiplexes make Indian film producers/distributors cough up Rs 20,000 for every film screened per screen as VPF.

As a result, Inox Leisure boycotted Mard Ko Dard Nahi Hota and refused to screen it in their properties. Prior to that, the scale of Sonchiriya’s release was impacted and looking at the cost involved, the filmmaker was forced to release Love Per Square Foot digitally. In his interview to Bombay Times, Ronnie told us, “The five charges I have brought about are very serious and need a final solution, even if that means a face-off. The matter is now sub-judice and so, I cannot comment more on it. But it would be a cop-out to not take full accountability for what you think needs to change.”

We also reached out to several top bosses in Bollywood’s production and distribution stream. A few of them told us what they think:

HANSAL MEHTA, PRODUCER-DIRECTOR
The matter is sub judice, but Ronnie has taken a huge initiative. He brought this before the CCI. With them, you can even file your complaints anonymously, but Ronnie didn’t do that. Now, we have to wait and watch what happens.

DINESH VIJAN, PRODUCER
There is merit in Ronnie’s stand against the system. Our initial gesture was meant to support each other and grow better and stronger as a fraternity. We have continuously extended our support to the exhibitors, and paid our dues. However, our agreement was for a five-year term and since we have upheld our end of the deal, they should, too. We should stand together and support each other in creating a fair and ethical working environment.

JAYANTILAL GADA, PRODUCER
I thank Ronnie for taking a huge step ahead. VPF is an expense that hurts producers. It’s been waived off in so many progressive countries. It affects the success ratio of films in a big way, and has to be brought down considerably if it can’t be fully eliminated. At some point soon, it has to be eradicated for more films to reach theatres and increase the ratio of hits that we produce. In fact, if you look at the South industry, everything is controlled, including the VPF expense. The industry must support Ronnie’s move.

AMOD MEHRA, INDEPENDENT DISTRIBUTOR
Ronnie was brave enough to take these cinema chains head on. The VPF cost was meant to recover the cost of transition to digital projection; it’s not anyone’s right to collect that money from distributors and producers for eternity. That’s like highway robbery. It’s become a given that all the multiplex chains, including the new ones that are starting with digital projection, will charge that VPF to producers and distributors. They arm-twist us and make sure that no one raises the issue, let alone fight it. And we are helpless as an industry because we need these cinema chains to screen films.

RAJESH THADANI, INDEPENDENT DISTRIBUTOR
As an industry, we should feel inspired by the South. They stood firmly together against the imposition of a hefty VPF amount. There is not much unity here and Ronnie is the lone warrior. I hope more producers join forces with him, because it’s not his problem alone.

ANAND PANDIT, PRODUCER (His film PM Narendra Modi releases in two weeks)
Business thrives on business and the fundamentals of demand and supply. What was started to aid a change has now become a habit. While everyone has the right to run their business and make profits, it’s important for multiplexes to understand that a big number of smaller, and great contentbacked films will not be able to release or sustain if this fee is continued.”

RAMESH TAURANI, PRODUCER
Ronnie has made a huge point in his interview with BT. VPF was meant to ensure that we all evolve together but now, it’s really hurting the producers. It’s a massive cost, which also has to be recovered for a film to be called a hit in the book of accounts. It’s a lot of pressure. Also, I agree with Ronnie’s point of view about spending excessive amount of time in a theatre watching ads in the middle or the beginning of a film. A two-and-a-half hour film takes over three hours and fifteen minutes to get over. It’s fatiguing for the audience to go through this and this needs to be looked into, immediately.
-----------------------------------
INOX DENIES ACCUSATIONS

Here’s the statement issued by the multiplex chain:

According to certain media reports that have appeared in recent days, INOX Leisure Ltd (INOX), has reportedly been named in a complaint made to Competition Commission Of India (CCI). INOX would like to clarify that we do not possess any specific knowledge of the complaint, and this statement is based solely on what has been reported by the media.

INOX strongly denies and vehemently rejects the defamatory accusations of unfair and discriminatory practices, made in the media reports and the interviews by the said complainant. INOX emphatically denies the slanderous and malicious allegations regarding conduct which amounts to cartelization, and states that all these allegations are false, fabricated and madeup to negatively impact our image.

INOX will pursue its legal options as advised by its counsel from time to time, and will respond to all queries received from, or processes initiated by, any regulatory authority as and when asked to do so. Since the matter appears to be subjudice, as indicated by the aforesaid media reports, INOX refrains from making any specific comments at this stage, or answering any specific allegations. INOX would, however, like to reiterate that it has full faith in due legal process.

INOX is India’s second largest, and fastest growing multiplex chain. As a responsible corporate entity, it is driven by the highest standards of corporate governance and legal compliance. INOX respects and adheres to all regulatory guidelines, in letter and in spirit, in all its business practices.

Maine Pyar Kiya girl Bhagyashree and son Abhimanyu Dassani talk about the pain and pleasures of showbiz
Roshmila Bhattacharya (MUMBAI MIRROR; March 18, 2019)

Mard Ko Dard Nahi Hota, that’s a corny title for debut and Abhimanyu Dassani admits that for a year he didn’t tell anyone about the film. When he did, well, people laughed although the action-comedy enlightens one about a rare medical condition, Congenital Insensitivity to Pain, whereby the patient is immune to pain. “Like a girl in San Francisco I read about during research, who’d been walking around with a fracture till she tried to slip on a pair of heels and discovered her ankle was swollen,” says Abhimanyu. And since his character, Surya, binges on martial arts films which leads to an epic duel with his mentor’s evil twin, he had his share of pain too, through nine months of three-hour training and a shoot replete with stunts and injuries. “I dislocated my right shoulder, got a scar on my left, broke my middle finger, fell off a bike, jumped off a fourth floor without a harness,” he rattles off.

Recalling the last one, his mother, Maine Pyar Kiya girl Bhagyashree, shares that since they were filming close to their home, she and husband Himalaya dropped by one evening with snacks for everyone. “Moments before, Abhimanyu had taken the dive with only an air-bed to cushion his fall. When I berated Vasan Bala (director), he confided that it was to be done by his double, but at the last moment, my son insisted on emulating his Hollywood idols,” she shudders.

Later, as his parents watched, Abhimanyu had his skin nicked by a switchboard knife, but telling himself to perform and not react, asked for another take as the blood pooled. Bhagyashree remembers jumping up, only for Himalaya to catch her hand and urge her to sit down, saying, “He’s the hero here so we can’t behave like parents, we have to believe in him.” All that’s behind them now and she can wake up with a smile, hug and kiss him, till Abhimanyu tells her exasperatedly to behave. “Even when he won prizes in school, I’d be in the front row, clapping, clicking pictures and embarrassing him,” she laughs, remembering the thrill of seeing long queues outside the two theatres screening his film during MAMI. “Both ran to full houses and they had to eventually screen it in five theatres. I couldn’t stop crying. I didn’t see my own film in the theatres 30 years ago. Today, I’m living that excitement and anticipation through my son.”

One would think acting was the logical choice for Abhimanyu who’d grown up on re-runs of Maine Pyar Kiya but he has a degree in finance and has founded and sold off 10-12 successful start-ups since he was 16, before assisting on Dum Maaro Dum and Nautanki Saala and realising that this was his calling. Some day he’d like to dabble in organic farming, but for now he’s enjoying the attention coming his way since the film’s premiere at the Toronto International Film Festival last year. “I wasn’t being let in because no one recognised me but the screening ended with a standing ovation and after that people were calling me 'Surya' on the streets, the way they still call my mom Suman,” smiles Abhimanyu who bagged the Best New Young Actor Award at an international fest at Macau.

Bhagyashree points out that kids today are more professional and knowledgeable. “Sooraj ji (Barjatya, director), Salman (Khan) and I were so raw, but got our shots done in two takes max,” she reminisces, revealing how during the Antakshri shoot, Salman had slipped on the stairs and she burst into spontaneous laughter and a “hota hai hota hai” caught Sooraj’s eye and found its way into the film.

Has Salman seen Mard Ko Dard Nahi Hota? “Not yet, but the other day, he called out to me, saying he’d heard I’d done an amazing job and if he’d have to come to my house to see the film. The 300 people around him didn’t recognise me and wondered about me,” Abhimanyu hoots while his mom recalls how during the shooting of “Dil Deewana” Salman had learnt about her secret romance with Himalaya and ragged her endlessly. “At our wedding, Sooraj ji and Salman were my family and stayed till the end.”

Her daughter Avantika, a graduate of UK’s Cass Business School who works with a city NGO, is getting interested in the movies too. “We tried to keep our kids away from the insecurities and heartaches of showbiz, but I’ve realised it’s best to let them follow their dreams and if it brings an international award, then, I can beam proudly,” she laughs, running to give Abhimanyu a hug even as he tells her to behave. 

Writer-director Vasan Bala on his second directorial and how it was inspired by a kid at a dentist’s
Ankita Chaurasia (MUMBAI MIRROR; March 13, 2019)

The title, Mard Ko Dard Nahi Hota, instantly brings to mind angry young Amitabh Bachchan and his rebellion in the 1985 Mard. Over the years, the dialogue has become a cliché and Vasan Bala’s second directorial uses it to its benefit. “We are using it in the literal sense because the protagonist is incapable of feeling physical pain due to a medical condition, Congenital Insensitivity to Pain (CIP), whereby the person suffering from it is born without pain receptors. But even if you consider the term from a broader perspective, it underplays the fact that men who don’t feel pain are superheroes. It’s a bimari really,” points out Bala, who learnt about the ailment from a friend who had run into a kid at the dentist who didn’t need anaesthesia. “Thematically, it was interesting to take this kid’s story and mesh it with martial arts, it helped package the film better.”

With this film, Bala is paying tribute to auteurs like Hrishikesh Mukherjee and Sai Paranjpye, using their middle-class milieu as the backdrop. “Usually action films are set in slums or high-rises. It’s the middleclass that is missing the action,” he quips. But where does a double role figure in this middle-class setting? “The idea was to take tropes from films of the ’80s and ’90s and have some fun,” he informs. Gulshan Devaiah, an old friend, plays Jimmy and Karate Mani, the latter modelled on legendary kickboxer Andy Hug. Abhimanyu Dassani and Radhika Madan bagged the leads after going through rounds of tedious auditions. “When I saw them sitting together, I knew they were my Surya and Supri,” Bala smiles.

The filmmaker’s directorial debut, Peddlers, was a story of a 20-year-old boy trapped in a drug trade and a young cop and was screened at the International Critics’ Week at the Cannes Film Festival but never made it to the theatres. “After Peddlers, I got a lot of offers to remake Tamil, Telugu and Korean films. It was a choice between being a filmmaker and a director-on hire,” he reasons, quick to add that he always wanted to direct. “If someone had told me that I had to first be a stuntman to become a director, I’d have done that.”

While he gears up for his film’s release, an advertisement for a detergent, directed by him, has been stirring up a controversy with one section lauding it for presenting a picture of communal harmony and another running it down for hurting religious sentiments. Bring up the subject and he says the concerned ad agency and brand will come out with an official statement. “I have been asked not to talk about it,” he says, sharing that his next film is with Ronnie Screwvala as well. “I’m developing the script but it will take some time to roll.” What about Anurag Kashyap for whom he has written films like Raman Raghav 2.0 and Bombay Velvet? “If Anurag asks me to write a film for him, I’m ready… If he calls me to paint his house, I will be there,” he concludes.

Avinash Lohana (MUMBAI MIRROR; March 12, 2019)

After bagging the People’s Choice Midnight Madness Award at the 43rd edition of the Toronto International Film Festival (TIFF) last year, Mard Ko Dard Nahi Hota is gearing up for a March 21 release. The action-comedy marks the debut of Abhimanyu Dassani, Maine Pyar Kiya girl Bhagyashree’s son, opposite Radhika Madan. The film also features Gulshan Devaiah in the double role of Jimmy and Karate Mani. The latter’s look is inspired by Swiss karateka and kickboxer Andy Hug.

“Vasan Bala (director) was particular that Mani is a Kyokushin Karateka, a style of stand-up, full-contact karate. He’s stuck in the ’90s even though the world around him has moved ahead. So, I started scouting the internet for videos and documentaries on the same and came across a video of a young Andy Hug. I had never heard of him till then but his look was ’90s cool and reminded me of Mithun da (actor Mithun Chakraborty),” reminisces Gulshan who discussed the look with Vasan, going on to experiment with wigs and extensions, and after four- five trials they had their Karate Mani.

The actor points out that Andy is big among martial arts fans, a legendary kickboxer much loved in Japan for his Kyokushin roots. “He is famous for his axe kicks and initially, the fight choreographer, Eric Jacobus, and I did try to incorporate them in my action scenes. It was difficult because Mani is one-legged. So after much deliberation, we went with other kicks though I had rehearsed the move for hours. But in retrospect we realised the axe kick is too dangerous to pull off consistently with just one leg,” sighs Gulshan.

Since wrapping up for the film, his wife (Kallirroi Tziafeta) and he have been training in Mixed Martial Arts (MMA) at the same place. Gulshan admits he’s taken a huge fancy to boxing. “It’s been nearly a year of training now since Mard Ko Dard Nahi Hota and while my MMA continues to be average, I am doing pretty good at boxing, it is fun,” he signs off on a laugh. 

WILL KESARI MANAGE TO SCORE AT THE BOX OFFICE?

The Holi weekend is here and just like any other major festival, this is also quite a beneficial period. Although a few multiplexes and theatres are shut till 1-2 PM, it doesn’t matter as viewers come out in hordes on this day from afternoon or evening. Last year, morning shows of Sonu Ke Titu Ki Sweety recorded good occupancy despite being the film in it’s 2nd week! Hence, if a biggie releases on Holi, it can surely do great collections. Tomorrow, on the day of colour, it is Kesari that will hit theatres and it’s all set to open big!

Kesari stars Akshay Kumar and Parineeti Chopra and is directed by popular Punjabi director Anurag Singh. Karan Johar’s Dharma Productions is one of the co-producers. Initially, Salman Khan Films was also associated with Kesari but then backed out. This is a period action film and talks about the Battle Of Saragarhi. It’s an unbelievable episode as 21 Sikh soldiers fought against an army of 10,000 Afghan invaders. A lot of filmmakers tried to make a film on this subject. Randeep Hooda in fact partly shot for a film on similar subject, directed by Rajkumar Santoshi. Kesari thankfully had a first mover advantage. The film looks grand and spectacular. That it’s an action and emotional story has further made it a film to watch out for.

Kesari has a four-day weekend with the first day being a National Holiday of sorts. The protagonist is a sardar and hence, North India will surely welcome this film with open arms. Also, Akshay Kumar is a huge actor. As a result, the opening can be as high as Rs. 25 crore if all goes well! Friday is non-Holiday and therefore, the collections will drop. But Saturday and Sunday collections can again be high. If the response is extraordinary for the film, then Kesari will FINALLY be Akshay Kumar’s first film to cross the Rs. 200 crore mark! A not-so-great or bad word of mouth will prove detrimental, though Rs. 100 crore is definitely on.

Kesari is not the solo release however. The other film that releases tomorrow is Mard Ko Dard Nahi Hota. It marks the debut of Bhagyashree’s son Abhimanyu Dassani and also stars Radhika Madan, Mahesh Manjrekar and Gulshan Devaiah. Although it has made it to several film festivals around the world, it looks like a fully commercial film. But it also seems niche and awareness for the film is very less. As a result, the opening will be poor although the Holi holiday factor might help it get an opening of around Rs. 1.50 or 2 crore. If word of mouth is very positive, Friday collections can be similar or even more. If response is bad, then it’ll crash in the weekend itself.

WHICH FILM WOULD YOU LIKE TO SEE AND WHY? DO LET ME KNOW!

Debutant Abhimanyu Dassani on how Mard Ko Dard Nahi Hota is international acclaim has opened new avenues
Mohar Basu (MID-DAY; March 1, 2019)

Wth Mard Ko Dard Nahi Hota, Abhimanyu Dassani may have chosen a debut vehicle that's far from mainstream, but the risk is paying off. Even as the Vasan Bala-directed venture is gearing up for release in India, the youngster — son to '90s star Bhagyashree — says the film's win at Toronto International Film Festival has opened doors for him. "After the win, I went to Los Angeles to discuss few scripts and audition for Hollywood projects. There have been offers from Chinese directors as well. But I am yet to zero in on my second film," says Dassani.

The comedy has him play a man who suffers from congenital insensitivity to pain and uses it to his advantage to hunt down criminals. He points out that the industry sat up and took notice of him after the film received an encouraging response at the different festivals it travelled to. "People who wouldn't message me back are now offering me work; they believe in me. The challenge is to choose the right film. But I know that screen time or labels — such as niche or massy films — don't matter to me. The only thing that counts is whether it's a good story."

The action thriller Mard Ko Dard Nahi Hota won the top award at the 43rd Toronto International Film Festival (TIFF). Earlier, the makers had released the trailer which opens with a young guy talking about how his dream in life is different from everyone else's.

While everyone else wants to be a pilot, a doctor, the Prime Minister or something along these lines, he wants to fight and stop all the chain snatchers in his city.

The film revolves around a man with congenital insensitivity to pain, hence the title. Its English title is The Man Who Feels No Pain. Produced by Ronnie Screwvala under the banner of RSVP, Mard Ko Dard Nahi Hota is written and directed by Vasan Bala. Starring Abhimanyu Dassani, Radhika Madan, Gulshan Devaiah, Mahesh Manjrekar and Jimit Trivedi.

Gulshan Devaiah on how he learned MMA for Mard Ko Dard Nahi Hota, months after his knee surgery
Mohar Basu (MID-DAY; January 24, 2019)

Having cherished his experience of working with Vasan Bala on Peddlers, Gulshan Devaiah was certain he had to be part of the filmmaker’s next, Mard Ko Dard Nahi hota.

The actor, who plays a martial arts expert in the satire, says he came on board the Abhimanyu Dassani starrer despite having undergone a knee cap reconstructive surgery not too long ago. “I had to pick up karate for the role. It was hard because I had no martial arts background. I would practice six days a week for four months before we began rolling,” says Devaiah, adding that the strenuous nature of the martial art put his knee at risk.

“Since I had undergone surgery only months before, I had to ask the makers to cut down on the prep. I would be practicing my karate moves on one hand, and on the other hand, my physiotherapist was working on me, too.”

The actor admits that shooting the action sequences wasn’t without its share of difficulties. “I would have cramps and spasms. I constantly suffered from lower back pain. It was frustrating. There were times when Vasan sir wasn’t sure if I could pull this off.”

The joy of working with Bala aside, Devaiah says the film introduced him to his latest passion. “I enjoyed boxing a lot, which I picked up during the film. It was my wife’s idea to make me join MMA. It resonated with me physically and mentally.”

The one genre where Bollywood has lacked as compared to world cinema and Hollywood is black comedy. There’s so much we can do here but not many have taken the effort. Vasan Bala finally takes it upon himself and comes up with Mard Ko Dard Nahi Hota. The result? This comic caper peppered with dark humour and pop culture references turns out to be one of the most unique and enjoyable films in recent times!

The story of the movie: Surya (Abhimanyu Dassani) is born with a rare defect called Congenital insensitivity to pain. In simpler words, he doesn’t feel pain. His mother (Shweta Basu Prasad) passes away in his childhood during a shocking accident. The mother’s father (Mahesh Manjrekar) and Surya’s father (Jimit Trivedi) brought him up. The grandfather is free-minded and has unconventional ways of parenting, which his father disapproves as he fears for the safety of Surya. Surya grows up in a controlled environment in a house from where he can’t go out, except for a day. His one and only idol is Karate Mani (Gulshan Devaiah), the karate expert with just one leg. All is going well until one day, Surya is asked by his father himself to go out for an important engagement and this is when his life takes a drastic turn.

Mard Ko Dard Nahi Hota is unlike any film one has seen in Bollywood. It is in the space of Kick Ass and Deadpool but there’s no way one can call Vasan Bala’s film a copy. Earlier this year, Bhavesh Joshi Superhero had also attempted to do something in this genre, although it was too serious and in my view, heavily flawed. Mard Ko Dard Nahi Hota however is highly entertaining, funny and engaging. The film starts off with a high and the way the flashback portions are depicted are too good. Surya’s childhood portions are too good and one doesn’t mind despite that it’s almost 30 minutes long. The fun continues once he grows up and bumps into the feisty Supri (Radhika Madan). The track of Karate Mani is also very interesting and his scenes provide loads and loads of laughter that bring the house down! The pre-climax fight is well presented and same goes for finale. However, in the second half, the film becomes a bit long and repetitive. Vasan Bala tries his best to make the goings on interesting but falters as the action scenes seem the same after the point. Thankfully, this is a minor glitch in the otherwise terrific fare!

Abhimanyu Dassani makes a fine debut and he’s really good for a first timer. This is a very challenging role and there’s no reference as such, especially in Bollywood. But he manages to come out with flying colours and he’s surely a debutant to watch out for! Radhika Madan, last seen in Pataakha, is a pataakha even here. Her entry is a bit late but once she enters the scene, one can’t help but look only at her. She has a terrific screen presence and if she chooses the right scripts, she surely has a long way to go! Gulshan Devaiah is unbelievable and takes the film to dizzying heights. His comic timing is incredible and with this film, the spotlight is sure to come back on him. This talented actor has not got his due and it’s high time that the industry and moviegoers give him the same respect that they have given to Pankaj Tripathi, Rajkummar Rao etc. Mahesh Manjrekar is very adorable and it’s a pleasure to see him in a Bollywood film after ages. Jimit Trivedi, who recently impressed everyone with 102 Not Out, is also quite good and does contribute to the laughter quotient. Shweta Basu Prasad leaves a mark in a small role. The actors playing the young Surya and Supri are terrific.

Karan Kulkarni’s music is quirky and goes very well with the film’s mood. Same goes Karan Kulkarni’s background music which escalates impact in several scenes! Jay I Patel's cinematography is flawless and the various crazy scenes are well shot. Ratheesh UK's production design is realistic. Prerna Sehgal's editing is quite slick and stylish and also helps in making the desired impact. The review would be incomplete without the mention of Eric Jacobus and Anand Shetty's action. It is real, raw but not too violent and quite appealing!

Vasan Bala's story is very hatke and kudos to him for coming up with this idea of a man not feeling pain at all. Vasan Bala's screenplay is a clear winner. The way he has written scenes is seen to be believed and he has ensured that even a simple scene is depicted differently. Vasan Bala's dialogues are one of the highpoints. The one-liners are crazy and compliment the goings-on very well. Especially the ones mouthed by Gulshan Devaiah are the best! Vasan Bala's direction is quite supreme and one can make out that here’s a man who knows his job well. Technically, he’s also quite literate and gives a great experience to the viewers. As mentioned above, at places, he does falter but that’s completely alright considering what a top notch film he has made overall!

On the whole, Mard Ko Dard Nahi Hota is a paisa-vasool and highly entertaining flick that’ll surely turn out to be one of the surprises of 2019, when it releases in cinemas. It might look niche and a film for the multiplex audiences but it’s very massy and does have a chance in single screens as well. Even the kids are going to love this film and the adventures of this man who feels no pain. Don’t miss!

My rating - **** ½ out of 5!

Director of Mard Ko Dard Nahi Hota, which bagged TIFF’s People’s Choice gong, on casting Bhagyashree’s son
Sonia Lulla (MID-DAY; October 11, 2018)

Having presented for the viewers at the recently concluded Toronto International Film Festival (TIFF), a film on a man with congenital insensitivity to pain, Vasan Bala possibly knew his offering wasn’t a conventional one for the gala. “But you don’t really make a film for the festivals,” laughs the director, who went on to break norms anyway, and bag the People’s Choice title in the festival’s Midnight Madness section with Mard Ko Dard Nahi Hota.

Having learnt of the condition from a friend, Bala was certain it was a topic he wanted to explore. “You wonder how life would be if things were a certain way. I always [hoped] I never felt pain. But after seeing several documentaries pertaining to the subject, [I realised that] pain is what makes you feel alive.”

The film marks Bhagyashree’s son, Abhimanyu Dassani’s Bollywood debut, and Bala reveals that it was five days into meeting Dasani that he learnt of his association with the actor. “He had arrived at Mukesh Chhabra’s [casting director] office, just like any another aspiring actor. We had conducted workshops with them to capture them in different scenarios. The auditions went on for a month-and-a-half, and he emerged as the clear winner,” he says of Dasani, who had been practicing mixed martial arts for four years before a back injury called time on his training. “Following his injury, he started training again for the film and was back to his original ways in two weeks. He trained in MMA, Karate and Taekwondo over an eight- month period.”