In the two weeks since it dropped on Netflix, Mrs Chatterjee vs Norway has reached audiences far and wide, consistently finding a spot in the streamer’s top 10 movies in India. It only echoes the Rani Mukerji-starrer’s successful run at the box office. The March release, said to be made on a modest budget, earned Rs 37 crore, becoming one of the few Bollywood hits of the year so far. With it, Mukerji is happy to have busted one of the Hindi film industry’s myths — that only a Rs 100-crore earner is a true box-office hit.

“There are misconceptions about what a hit means. A film is a hit when producers make money from it. It’s not only about how much it collects at the box office; one should also factor in the film’s cost,” emphasizes the actor.

So far, 2023 has witnessed a blockbuster in Pathaan, and hits in Mrs Chatterjee vs Norway, and The Kerala Story. The strong run of Ashima Chibber’s directorial venture also shut down detractors who had doubts about the prospect of women-led films, in the post-pandemic scenario.

Mukerji asserts, “There is constant chatter about whether women-centric films are box-office draws. Of course, they are! A good film will always bring people to the theatres, and a star’s gender has no role to play in a film’s success.”

Inspired by the real-life ordeal of Sagarika Chakraborty, Mrs Chatterjee vs Norway sees the leading lady play a fierce mother who takes on the legal system of Norway when her kids are taken away from her by the welfare services, on grounds of parental neglect. The drama aligned with Mukerji’s vision of bringing courageous women’s stories to the screen.

“As an actor, my vision for cinema will evolve, but the one thing that has stayed with me is the way I want to represent women on screen. I choose films where the woman is pivotal to the plot, where she is projected with dignity and power. For me, women have always been agents of change; they are independent, courageous and caring. I wanted to highlight these facets by choosing characters that echo my belief system — be it in Yuva [2004], Black [2005], No One Killed Jessica [2011], Mardaani, or Hichki [2018].”

"The months between March and September felt never-ending," says Tahir Raj Bhasin as we catch-up for a chat. For the last few weeks, the actor has been shooting Looop Lapeta at Madh Island, post which the crew will move to Goa later this month. He says he utilised the Coronavirus lockdown time for self-reflection. "I took the time to pause and appreciate how far life has come. To merely step out of those Zoom windows and be on a set full of human contact is invigorating."

The year 2019 saw Bhasin shine in Nitesh Tiwari's Chhichhore, a film that created wonders at the box office and earned rave reviews. He would've kicked off 2020 with Kabir Khan's '83 if the pandemic had not played spoilsport. However, he now owns the leading man's space in the Taapsee Pannu-starrer—Looop Lapeta—a remake of German hit film Run Lola Run. "I started 2020 brimming with hope. The silver lining is that March feels pushed to October. As an actor, I play every part with a single-minded focus. My design to work doesn't change when I am playing a hero [or otherwise]. For me, when Derek [character he played in Chhichhore] walked in, he was the leader of the pack. Outside of the craft, as trajectory, I see this as the progression that's come hard earned. I feel stimulated and consciously abstain from doing similar parts. Producers are noticing that [my character in] Manto is nothing like Chhichhore, which is starkly different from Mardaani."

Consciously aware of the responsibility that lies on him and working in that direction every day, Bhasin says the opportunity feels like a dream come true. "Taapsee and I are working on creating chemistry. The film is a remake of a German cult movie, so we need to take extra efforts to make the film palatable to the Indian audience who may or may not have seen it. I had seen the film when I was in college and never in my wildest dreams had I imagined that I will play a lead in its remake."

Coming up next, Bhasin has a Mahesh Bhatt series that marks the veteran director's digital debut. "The studio is looking [to release the series] by the first quarter of 2021."

Playing a cop busting a human trafficking ring in Flesh, Swara Bhasker on what separates the web series from Rani Mukerji's Mardaani
Uma Ramasubramanian (MID-DAY; August 16, 2020)

A look at the trailer of Flesh and you're reminded of Rani Mukerji's Mardaani (2014). Like the Yash Raj Films' franchise, Swara Bhasker's upcoming web series on Eros Now tackles human trafficking in India. "I am a Rani fan, so any comparison is a huge compliment. I have seen both [instalments of] Mardaani, and the stunts she has pulled off are amazing," gushes Bhasker.

Even though the two offerings share a similar theme, the actor believes the treatment in Flesh is starkly different, owing to its long-format storytelling. "Mardaani is focussed on the cop [essayed by Mukerji] chasing the human trafficking racket. Since our show has an episodic format, we have had the opportunity to probe it more deeply. It was interesting to understand the dynamics of that world—be it how the girls are kept, or how the trafficking ring operates. To me, it's a different story that has dealt with the same issue."

The eight-part Danish Aslam-directed venture sees Bhasker play a no-nonsense cop with zero tolerance for crimes against women. Over a decade into her career, the actor is thrilled at donning the khaki uniform for the first time. "I have neither played a cop before nor have I done action. As an artiste, it was an opportunity to push the limits. I won't lie; it was extremely challenging and I struggled initially." Despite the odds, her faith in the story they were telling helped her surge ahead. "With Danish, I knew I was in good hands. I knew the intention [behind the stunts] was right; we were not performing action for the heck of it. The story has a soul and a larger purpose."

Rani Mukerji feels inspired by real-life female cops
Shreya Mukherjee (HINDUSTAN TIMES; December 7, 2019)

As a woman, mother and a public figure, the cause of women’s safety and empowerment is close to Rani Mukerji’s heart. Right from her maiden Bollywood film Raja Ki Aayegi Baraat (1996) to her upcoming drama Mardaani 2, the actor has portrayed strong women characters, and off the screen too doesn’t fear calling a spade a spade.

There is excitement about seeing her in a cop’s avatar again. And Rani says her character in the film is a tribute to all fearless women police officers who have dedicated their lives to their jobs. “When I was offered the script of Mardaani (2014), I had a lot of anger because of the Nirbhaya case. And the character of Shivani Shivaji Roy was giving me that outlet to channelise my energy and my anger,” she says. At the time, she interacted with several women cops and it made her “feel very inspired that here are these brave women who are doing so much for society”.

Her character in the film, she felt, put the focus on all the women police officers. “Today when you think of a cop, you do picture a lady cop as well. So I think that is something that has happened with Mardaani organically. It’s a film on women cops taking a stand on crime against women. The message is pretty clear that we all need to be aware of the growing threat in our society today and how we can protect ourselves from such incidents,” she explains.

In Rani’s words, her portrayal of Shivani is a culmination of extensive research and interviews with female cops. “We’ve put together everything… I would say it’s my observation, their stories, the way I understood them during our conversations, their body language… Whatever I have absorbed, I have put it in Shivani’s character,” she says.

The actor adds that in Mardaani 2, the audience will see many real-life instances, and that the film raises the issue of how to protect oneself. “Safety is a bigger concern. Today the most important topic is how do you protect yourself,” asks Rani.

She urges every woman to ‘identify the power within’ and face the world headstrong. This is also something she wants to pass on to her daughter Adira, who turns four on Monday (December 9).

That brings us to the question on what special plans she and filmmaker husband Aditya Chopra have for their daughter on the day. “The whole day is dedicated to her. It’s going to be a fun-filled day for all of us, we all are very excited. And I think I am going to get mental on that day,” Rani laughs.

What about the gifts for Adira? This time the mother in Rani comes to the fore. “The love that I give her is the biggest gift, the love that she gives me is my biggest gift. I make sure whatever she likes I make it happen on that day.” You can’t possibly miss the emotions in her voice.

Actor Rani Mukerji says her roles reflect her belief in how women should be perceived
Rishabh Suri (HINDUSTAN TIMES; December 3, 2019)

Right from Shashi in Yuva and Saamiya in Veer-Zaara (both 2004), to Naina Mathur in Hichki (2018), Rani Mukerji has always made sure that she plays powerful female protagonists in her films. Shivani Shivaji Roy, her cop act in Mardaani (2014), was also plotted on similar lines.

What makes Rani zero in on such brilliant characters all the time? “I have always looked to celebrate the strength of women through my films, whenever I got the opportunity,” she says, “No One Killed Jessica (2011), Black, Mardaani, Hichki, etc. are some of the favourite films of my career as they resonated with who I’m as a person in real life and my belief in how a woman should always be perceived. For me, a woman is a pillar of strength for her family, community, husband, child, and I do feel we don’t celebrate women enough.”

The actor is all set to reprise the role of the fearless and committed superintendent of police, Shivani Shivaji Roy in Mardaani 2, which is a sequel to the hugely acclaimed Mardaani, in which she took on the kingpin of a child trafficking racket. In the second part, Rani has been pitted against a young, yet dangerous villain, who can be called pure evil.

Opening up on why she thinks her character in Mardaani became so popular with masses, she says, “Mardaani 2, which releases on December 13, is another attempt to showcase what a fearless, self-made, self-believing woman can do despite being pitted against all odds. Shivani is someone who will never back down in the face of injustice, and I’m glad people have showered her with so much love and appreciation. She is one of my most favourite characters because she lives life her way and isn’t cowed down by judgements and stereotyping. A boss in a man’s world, she ensures her work speaks the loudest. She is the quintessential spirit of a woman and maybe that’s why this character resonates with so many people.”

What the versatile actor is thrilled with is the current, new generation of actors, who are choosing to pick scripts with female protagonists. “I can see the tides changing, and I can’t tell you how thrilled I am as a woman and as an artiste. I have silently tried to do my best to bring out powerful women on screen and impact the psyche of people through their life. I get so happy when I see the young actors choosing to do women-centric films that give out the correct message about women to society,” says Rani.

Harshada Rege (DNA; December 29, 2018)

After a four-year break from films, Rani Mukerji returned to the big screen with Hichki in March this year. She portrayed a woman whose passion is teaching but suffers from Tourette Syndrome. The project was also her comeback to showbiz post the birth of her daughter, Adira. The tale of the teacher’s bond with a bunch of lesser-privileged students struck a chord with the audience, not just in India but also in China. Rani will soon be seen on the big screen again as Shivani Shivaji Roy in Mardaani 2. We met the actress recently to talk about the year that was and her choice of roles. Excerpts from the chat...

The projects you have picked — Mardaani and Hichki — are message-oriented. Is that the way ahead for you?
Both the films spoke about powerful women in different walks of life. Mardaani is a female police officer tackling flesh trade and child trafficking, which are extremely important and grave issues in our country as well as the world. I remember many parents telling me that they didn’t want to watch the film as they’d feel uncomfortable, or that they didn’t want their children to watch it. I told them that, on the contrary, the movie was for them and their children. It helps society become aware that this is not happening in a faraway land, but right in our neighbourhood. We can’t view the world with rose-tinted glasses. I wanted to be a part of such a story, that too, told from the point of view of a female police officer. Hichki was about a teacher with Tourette, who is asked to tutor a bunch of underprivileged children. In a strange way, both of them are in the same boat. Together, they learn that you can turn your weakness into strength.

What was it about these characters that impressed you?
They are based on subjects that are relevant —child trafficking and issues with the education system. They also pointed to the fact that people judge you for your outer appearance instead of your merit. When you see a woman in a cop’s uniform, you may wonder whether she will be able to protect you. But that shouldn’t be the case because an officer is that, irrespective of the gender. Similarly, a teacher’s Tourette Syndrome doesn’t mean she won’t be good at her job. There were so many layers to these characters.

I think, when people look back at these films, they will realise how important they were. When a movie releases in the midst of what you are living in, you may not realise its importance at that point in time but you will, five years down the line. It will impact change in the society and the thought process. It takes time for an actual change to come about in a society, but these films will help kick-start that process.

What has been your biggest takeaway from the success of your film this year?
I have always believed that content is king. Whenever a story tugs at your heartstrings and has an emotional connect, it will find an audience. Now, how big a viewership it will get is when you need to look at the box office. Even if it’s a moderate hit, you know that it has been liked. For me, the learning has been to always listen to your gut and instinct because when I signed both these movies, I didn’t expect them to become the hits that they did. But I believed in the stories. I knew that I wanted these stories to be told because these subjects were relevant. It was about believing in myself and the stories. I also realised that if there is a producer willing to make a film like this, then as an actor, I have to back it too. Whether or not it does well, the intention is right. And when the film succeeds, that’s a bonus because what you had set out to achieve, you have managed to meet it.

Go on...
With Hichki, there were many more question marks because I was married, a mother. So, would the audience want to see me? That myth was broken and I realised a lot of people wanted to see me (smiles), so that was great. I can be part of the cinema and the stories I want to tell. At the same time, I love entertaining films, so whenever I do a film with a message, it is necessary to make them entertaining as well. Nobody wants to hear a lecture that’s boring. I want to be part of films that can strike a balance between both these aspects. When I know that there’s an audience who wants to see me, I can dabble in various genres. It gives me happiness to know that the viewer doesn’t shut you out because you are married or have kids. They do that when you don’t make good films, it’s as simple as that.

How do you analyse the success of Hichki in China?
I think there are some similarities between our cultures, backgrounds and family values. Perhaps, Hichki worked so well over there because they related to the teacher-student relationship. It’s the victory of the script and content. The Chinese government really loved the movie and agreed to release it there. I remember being in a room full of Chinese audience watching a Hindi movie, clapping and crying. That was a surreal feeling. Then to meet professors from the university and for them to say they wanted to be like Naina... it was something else. Even when we had a screening in Mumbai for 300 teachers across Maharashtra, they and the principals got emotional. Many of them said Naina has become an inspiration to them. And I got to hear the same thing in China. That was amazing.

Do you think there are more author-backed roles for actresses now?
I can’t really say that because I never faced that problem. In fact, I’ve always got meaty roles, right from Raja Ki Aayegi Baarat to Yuva or Black and Bunty Aur Babli. They were equal to the men or even more, but never less. As an actor, it’s our responsibility to choose the right characters. It doesn’t matter if it’s like the one I did in Kuch Kuch Hota Hai (Tina’s part) but it has to be impactful. Length of a role is never the issue, the substance is what matters. Actors shouldn’t confuse a bigger role with an important one. You could have a small part in the film, but it should leave an impact rather than being in the entire film and not making one. I have always wanted to do films that talk about the modern Indian woman. My roles have always depicted her. So, there’s always a direct connect.

What’s your resolution, work-wise and personally, for 2019?
I don’t really make any resolutions. Every new project that I sign becomes my resolution. I know that for this project, I need to achieve a set of goals. For Hichki, I needed to look like I did pre-motherhood. I wanted to get back in shape so that I would look the part. Now, I need to look like a cop for Mardaani 2, so my entire process will be dictated by that. Also, for me, it’s very important that each day I spend with my daughter is special. So, to maintain a balance between my work and personal life is my resolution every year (laughs).

Nayandeep Rakshit (DNA; May 13, 2018)

Rani Mukerji returned to the big screen after a four-year hiatus with Hichki, in which she was seen as a teacher who battles against all odds. However, off-screen, she has been playing the role of a doting mother to her two-year-old daughter, Adira. As soon as one mentions the tiny tot’s name to Rani, her eyes light up and there is a wide smile on her face. The actress gets candid about how her child completes her.

THE JOYS OF BEING A MOTHER
The award-winning star says her evolution as a person “began from the time she was pregnant”. She adds, “Motherhood is a beautiful feeling. You start valuing someone else’s life over yours and address their needs first. I guess, it’s the only relationship in the world where this can happen and it’s amazing. Adira completes me as a person. She was a premature baby, so initially, there were a few restrictions. But she is a happy kid, touch wood.”

ADIRA COMES FIRST
Post Mardaani (2014), Rani decided to stay away from the limelight. However, she doesn’t regret her decision and reasons, “Now, when I do a film, it has to be in accordance with Adira’s schedule.”

Rani says, “I want to be part of every milestone in Adira’s life and ensure I don’t miss any of it. During Hichki, she was going to take her first step. Luckily, I had reached home from shoot right in time to see her do that. These are moments that will never come back and I’ll cherish them forever.” She avers, “If a filmmaker is willing to keep in mind all these factors and moreover, if it’s a good script, I’ll happily take up the film. During those one-and-a-half years when I was with my daughter and changed her nappies as well as did other chores, I was so comfortable that I could be happy doing that all my life. I was so consumed with my daughter’s love that nothing else crossed my mind.”

Ask her how Adira is as a kid and the proud mom says, “Adira likes to see everyone around her happy. Even the helpers that I have at home are fond of her because she will make sure each one of them gets equal attention. She doesn’t like to choose between two people.”

Does she know that she has an actor mom? Rani smiles and says, “No, she’s too young to understand that. But when she watched my promos of Hichki on TV, she would scream ‘Mumma’.”

‘ADI AND I WANT TO GIVE HER A NORMAL LIFE’
Like all parents, Rani is extremely protective of her child, too. “Both Adi (husband Aditya Chopra) and I are protective of her, but that’s how it should be. Adira gave birth to the mother in me. And like any other parent, I will definitely make sure I do the best for my kid. Till the time we are responsible for her, we’ll try and give her a normal life,” she says.

The light-eyed actress, however, adds that they ‘want to keep her away from the media glare’. “I keep clicking selfies with Adira all day. And there’s a point when she gets bored and asks me to stop (smiles). But those selfies are only for me and they will never go anywhere,” she tells us.

ON PLANNING ANOTHER BABY
Adi is busy producing some of the biggest films in the industry today. Will Rani follow suit and set up a production house of her own? “No, I don’t need to. The setup is already here, so why would I go out and get something on my own? Even if I do, I will still be using his team and people.” But there’s something else she wants to be busy with. “Right now, I am just happy with the production of babies (smiles). Of course, there is a plan to have another child. Adira needs to have company,” she signs off with her trademark giggle.

Nayandeep Rakshit (DNA; April 25, 2018)

Before Hichki had released, Rani Mukerji had told us that she was waiting to see if the audience still wanted to watch her. “If not, I would rather sit at home and take care of my daughter Adira,” she had joked. Now, with her comeback vehicle garnering approximately Rs 44.5 crore at the domestic box office, she feels vindicated.

She says, “It’s important for actors to know what their audience is thinking of them on that particular Friday. Do they want to watch you? The day you stop getting the jitters on a Friday or stop valuing its relevance, you should pack your bags and go home. We want the feedback from viewers or critics. I’m not acting for myself.”

In an era where people forget you when they don’t see you that often, is it difficult to stay relevant with the times, we ask. And pat comes the response, “I don’t want to be known for my presence on social media or for what appearances I’m making between my films. I want to be relevant with my work.”

There was a three-and-a-half-year gap between Mardaani and Hichki. However, now Rani wants to be seen more often on the big screen. She elaborates, “That’s the plan — to act in more films that connect with me and touch my heart. Also, I want to do them at quicker intervals. I wanted to see how Hichki does because there was a long gap between this and my previous film. Now that I know that the audience is more than happy to see me, the projects, which I have kept on hold till now, will soon see the light of the day.”

Quiz her about the kind of movies that she would like to take up and she says, “I have quite a few offers, but I have to work on them first. Right now, I would like to do either Mardaani 2 or a romantic film.”

Subhash K Jha (DNA; September 19, 2017)

Love Sonia, the hard-hitting film on child trafficking starring Mrunal Thakur, Manoj Bajpayee, Richa Chadha, Rajkummar Rao and Freida Pinto has been asked to remove all the English and Hindi cuss words and abuses. Scenes of sexual abuse have also been reduced drastically.

More than 45 cuts were ordered, only then the film was granted an ‘A’ certificate. Whatever happened to the Central Board Of Film Certification’s claims that films with an ‘A’ certificate won’t require any cuts, especially when the movie deals with a socially-relevant subject?

Director Tabrez Noorani waited 12 years to make Love Sonia. “I’ve researched, visited brothels, even rescued sex workers from the flesh trade with the help of NGOs. This is the film I’ve always wanted to direct,” he reveals.

Tabrez feels not much justice has been done to the theme of human trafficking in cinema. “The only significant film I’ve seen on human trafficking is Lukas Moodysson’s Lilya 4-ever. Otherwise, Indian films on the theme like Nagesh Kukunoor’s Lakshmi and Pradeep Sarkar’s Mardaani do not have the bandwidth to make a broad impact.”

Usman Ghafoor in Lahore (MID-DAY; July 23, 2017)

A few years ago, when Adnan Siddiqui opted out of Yash Raj Films’s Mardani because the part that was originally offered to him was changed at the last minute, he thought Bollywood would never have any meaty parts for him. Then, Boney Kapoor’s Mom came along. Today, post the film’s successful release, this well-known Pakistani actor of hit serials such as Maat, Mere Qatil Mere Dildar and Doraha, some of which were also aired on Zindagi, has been lapping up accolades after acting with Sridevi, Nawazuddin Siddiqui and Akshaye Khanna.

A Sridevi fan, Siddiqui says Mom meant acting alongside the veteran actress, especially playing Sridevi’s husband. “Real life mein nah sahi, screen pe hi sahi,” he chuckles.

Mom isn’t his first international acting assignment. Earlier, Siddiqui did a cameo in a Hollywood film, A Mighty Heart (2007), alongside Angelina Jolie. Back home, he has just released his first feature, Yalghaar. It is touted to be the most expensive film in Pakistan’s history.

Clearly, Siddiqui is on a roll. Yalghaar and Mom have scored big at the box office. My first question to him is obviously about his experience with the Bollywood crew and, particularly, Sridevi. “I’d be insane if I said I didn’t love the experience. And, honestly, I would’ve said so if I hadn’t loved it, I am that crazy!” Our conversation is briefly interrupted by a phone call. “It’s Boney sahib,” Siddiqui murmers, before he rushes to answer the call. He returns shortly, and begins to relate how he enjoys a “great rapport” with the producer. “We’re on the same page; we’re always exchanging notes on the film.”

Interestingly, Mom’s director (Ravi Udyawar) is a debutant, and so is Sajal Ali, another Pak import. Siddiqui attributes it to his producer. “You’ve to hand it to Boney sahib for trusting so many newcomers with his film.” Excerpts from an interview.

How did Mom come your way?
India se mujhe pehle bhi offers aa chukhein hain, but nothing excited me. I was approached for Mardaani (2014), for the villain’s part. Later, I was asked to play the cop instead. So, I refused. Last year, when the makers of Mom approached me, my instinctive response was, “I hope I am not wasted in the role.” I was concerned because I have worked hard, over the past 27 years, to get where I am. I didn’t want it to go down the drain.

You finally accepted the role, despite its length?
Roles aren’t big or small, but the actors are. I was convinced that I wasn’t looking at the length of the character as much as its significance to the plot. When I was told that it was Boney Kapoor’s film, and that I’d be playing Sri ma’m’s husband, I jumped with joy. I have always admired her work, her range as an actor, and her beauty. If you take her film Mr India (1987), for instance. She is a seductress in one song, a comedienne in another. She also makes you cry in that particular scene when she learns that the children are starving. Similarly, she had amazed me in Sadma (1983). I am proud of my Pakistani co-star Sajal’s performance also. I think it’s a great achievement for her that she got the chance to debut in a film that stars Sridevi, and yet she could hold her own.

Were you concerned that your role might be slashed at the editing table, especially after relations between India and Pakistan got worse in September last year?
Never. I had full faith in Boney sahib.

It was reported that you and Sajal weren’t going to return to India for the remaining shoot, because you were concerned about your safety?
That was pure assumption. In fact, we got our visas despite tension at the borders. Boney sahib is a well connected person. He didn’t want us or his team to get into any awkward situation, and so decided to shift the shooting location to Bangkok. It must’ve been a tough choice, financially also, since he had to fly the cast and crew from India and us, from Pakistan. Earlier, the part in the film which is supposed to be Kashmir was shot in Georgia because being Pakistanis, we would not be allowed there. I often told Boney sahib that it was because of us that the film’s budget had gone up, and he’d comfort me by saying, “Arrey yaar, we are professionals, we don’t think that way!” It was a big thing for me.

You weren’t required for dubbing?
No, because Mom was shot in sync sound.

Where did the shooting locations take you in India? In an April 16, 2016 tweet, you said, “My stay at one of the most beautiful palaces in Jaipur, ‘Jai Mahal Palace’ was nothing less than royal.”
We shot in Delhi and Mumbai. But, you know, Boney sahib pampers his actors a lot. There was a gap of 10 days between our two shooting spells, so he planned trips for us in India. He told us visit Agra and Jaipur at his expense. He could’ve told us to hang in in our hotel rooms, but he wanted us to enjoy our time. He took care of everything for us, from our travels to our food. He had arranged a special cook for me, named Afzal, who would make sure I get halal meat.

Did you get any other offers during your stay in India?
I was called to audition for Mira Nair’s Broadway musical, which is loosely based on her own film, Monsoon Wedding (2001). It was for the role of Lalit, played by Naseeruddin Shah. As I was shooting for Mom in India, I had to give it a miss.

Hiren Kotwani (BOMBAY TIMES; November 14, 2016)

Letty Mariam Abraham (MID-DAY; June 17, 2016)

Pakistani TV superstar Adnan Siddiqui, who finally makes his Bollywood debut in a Sridevi- starrer after turning down a few films here, reveals why he was skeptical about doing this project too

After Fawad Khan, another Pakistani actor is set to make India his second home. Television star Adnan Siddiqui kick-starts his Bollywood journey with Sridevi-starrer Mom after having rejected quite a few offers from several ace filmmakers here. That includes films like Rani Mukerji’s Mardaani and erotic thriller Jism 2 featuring Sunny Leone.

Even when he was approached for Mom, Siddiqui was in two minds about doing it. “Initially, I was nervous about working with Srideviji, but her kindness made it easy. She reacts perfectly and puts you at ease. She is a great actor and extremely humble. That shows her class and what she has achieved. I have learnt a lot of things from her,” says the 46-year-old.

But he didn’t know Sridevi when he was offered the film. What made him finally sign it? “The fact that I would be able to rub shoulders with an experienced actress like Sridevi,” Siddiqui gushes, as the fanboy in him comes to the fore. He adds, “Also, the banner, belief in the producer (Boney Kapoor) and director (Ravi Udyawar). But most of all, Nawazuddin Siddiqui. Though I have no scenes with him, I can at least put in my resume that I have worked with him,” he chuckles.

The actor, who recently wrapped up work on his TV shows, Mere Humdum Mere Dost and Vasl, explains why he passed up Mardaani despite it being a YRF production. “It’s not about the production house; it’s about the role I am offered. If they had offered me the role of the antagonist in Mardaani, I would have lapped it up, but they wanted me to play a cop who didn’t even have 20 minutes on screen. It was barely a five-minute thing and I can’t accept that, no matter what production house it is. I need a role that’s challenging and suits me. Mom is a family drama, something a strong family man would like to do. No person, banner or production house can make a movie. It is the whole team that has to be good. Of course, in this business you cannot predict anything, but I am keeping my fingers crossed,” he says.

Does it worry him that it is a female-oriented project after all? Siddiqui says, “While I am of the same age as the Khans, they are still not my contemporaries. It would be stupid to think that I will get a role like they do. I am creating space like Irrfan, Kay Kay Menon or Manoj Bajpayee and a few other character actors. If I think I can do what Shah Rukh Khan does here or, for that matter, what Fawad does in Pakistan, it will be stupid. You have to be aware of where you stand.”

What does it take to create Indian content for the world? Filmmaker pair Pan Nalin and Gaurav Dhingra spill the secret
Ananya Ghosh (MID-DAY; September 6, 2015)

Pan Nalin — the versatile brain behind Wagale Ki Duniya — meets us at the Versova office he shares with co-founder of Jungle Book Entertainment, Gaurav Dhingra. Their first venture, was the 2013 documentary Faith Connections inspired by the Maha Kumbh Mela held in allahabad. In 2014, they joined hands with Canadian producer Fred Fuchs for the television series, Greeks, which follows the 326 BC Indian invasion of Alexander. Still under development, the budget for season one is around $ 30-40 million. For now, however, nalin and Dhingra are excited about a project closer home — their first full- length Bollywood film, Angry Indian Goddesses, which will premiere at TIFF in 12 days. Excerpts from an interview:

How did your paths cross?
Dhingra: Having worked in the production department for Rang De Basanti and as line producer for Delhi 6, I met Pan in 2006 on the sets of The Valley of Flowers, where I was production manager. After the film, we went our separate ways only to reconnect again. That is when we realised that we have similar visions when it comes to filmmaking.

What’s keeping you busy?
Dhingra: We are working on Beyond the Known World, a film co-produced by the New Zealand High Commission; an English TV series with Fuchs based on Alexander the Great’s India invasion. And, among other things, we have developed content for Saadat Hasan Manto’s Toba Tek Singh and an Indo-Chinese martial arts film.

Why choose television?
Nalin: The production quality of television in the UK and US is far better than even Hollywood films. Many mainstream scriptwriters are writing for television as it gives them more scope. Also, people are looking towards the East for stories and there are hardly any tales from India in the market. We pitched a few ideas and Greeks got selected. It is a fictional account based on real incidents. We have done a lot of research to make sure that the content is not just good, but great.

Speaking of content, was it tricky filming Faith Connections, considering the Kumbh Mela is well documented?
Nalin: (laughs) The Kumbh is not just about a mass gathering, the holy dip, and the abundant photo-ops. It is about real stories of real people — all bound by faith… religious or otherwise. From a mother who has lost her child in true ’80s Bollywood style, to a pantshirt baba, to a 10-year-old who either wants to become a sadhu or join the mafia, the characters we found intrigued us to no end. Eventually, I had to call in more crew and equipment. We just wanted to tell the stories of a few people we found interesting.

How did you manage to hold on to your camera?
Nalin: There were police and security guards at every inch. But, they had areas earmarked for the media and that caused us some problem, as we wanted to shoot certain people and not politicians taking holy dips. In order to roam around freely with our equipment, we had to convince authorities of our purpose and get relevant permissions. We had eight people in three separate teams following the characters we thought would have a story, and we’d often lose them in the crowd.
Gaurav: Even the basic amenities, which for us included battery chargers for our cameras, were hard to find. We had to keep local ‘runners’ who would run back and forth from where we were shooting to a place where we had kept a generator to get the batteries charged.

What prompted Angry Indian Goddesses?
Dhingra: Women-centric stories are seldom told in the right manner. Even today, a film is called Mardaani… as in ‘like a man’. In Gulaab Gang, women kick and fight like men. Why can’t women be women and still have their own film? We wanted to make a film where they are in their own space. Our girls are no Jhansi Ki Ranis, just girls… albeit a bit angry.
Nalin: While auditioning, we realised that women can be b** chy about one another, and yet stick together like glue. Their ‘buddyness’ is different from the let’s-forget-the-world-and-have-beer friendship that guys share.