BMC wants to create a 1,000-bed facility for Coronavirus patients at the venue where classics such as Mother India and Guide were shot; Residents fear a common stormwater drain will bring the virus into their homes; BMC says not yet decided whether high-risk contacts will be quarantined at the studio
Linah Baliga (MUMBAI MIRROR; May 25, 2020)

The BMC’s proposal to convert Mehboob Studio in Bandra into a 1,000-bed quarantine centre has met with stiff opposition from residents, who fear the move will expose them to pathogen risks, especially with monsoon round the corner. In a petition to the BMC, the residents have highlighted the risks posed by a common stormwater drain that carries the studio’s debris to the residential area.

Constructed in 1954 by director Mehboob Khan who shot the iconic Mother India at the studio in 1957, Mehboob Studio has been the venue of some of Bollywood’s best known movies such as Guide, Sangam, and more recently Chennai Express and Simmba.

With Mumbai reporting over a thousand corona-positive cases every day, the BMC is looking to take over all large properties and turn those into quarantine facilities. A few days ago, the civic body decided to take over the Wankhede Stadium at Churchgate, but hastily abandoned the plan on the ground that it will not be sustainable in the monsoon.

Hubert D, a resident of St Sebastian’s Colony on Rebello Road, said: “This is a low-lying area. Mehboob Studio is at the heart of a residential area, with the studio walls running along a housing society and other residential areas that have many senior citizens and children, who are prone to the virus.” The residents argued that the stormwater outlet from the rear, eastern side of the studio connects to the gutters on St Roque Road. Every year debris (plastic paper cups, plates and bottles) and waste from the studio finds its way to the common stormwater drains, they said.

If the studio waste finds its way to the stormwater drains – “which it will as in the past years” – using the studio premises as a Covid-19 facility will pose a huge risk to people, Hubert said.

Derek Talker, a resident of Mount Mary’s Road, told Mirror that they have suggested alternative locations at MET, which is on BMC land and has ready infrastructure to handle such requirements, with rooms and toilet facilities.

“The other location is 81 Aureate, an illegal building near MTNL on reclamation now in the hands of authorities. It has ready rooms and infrastructure facilities. The expense of building infrastructure would be minimal as compared to creating it from scratch,” said Talker.

Peter Gomes, a resident of St Roque Road, said Chief Minister Uddhav Thackeray wanted to allow movie shoots to recommence at the studio. Vinayak Vispute, assistant commissioner, H West Ward, said the proposal is yet to be finalised. “The higher authorities will decide whether it will be high-risk contacts or asymptomatic positive patients who are sent here,” said Vispute.

But the friends didn’t talk about their upcoming Eid clash during the closed-door interaction
Himesh Mankad (MUMBAI MIRROR; March 2, 2020)

On Saturday, Salman Khan and Akshay Kumar were shooting on adjacent sets at Mehboob Studios in Bandra for their respective films, Radhe and Laxmmi Bomb, which are gearing up for a big box-office face-off this Eid. Salman arrived at about 3 pm, and on learning that Akshay was shooting next door, strolled over to his vanity van. They remained inside for nearly 15 minutes, before getting back to their shoots.

The closed-door chat sparked speculation about whether the duo met to discuss the clash and try to push around the release date. But according to a source, it was just a casual meeting between friends and business wasn’t discussed. “There is no bad blood between them because of the upcoming clash,” the informer assured.

Salman’s shoot went on till late night while Akshay was done by evening, followed by a wrap-up party with the cast and crew. He had been shooting for the climax action scene and a song in his transgender avatar for the last six days in the studio and was happy to let his hair down with food and music. “They even played a cricket match on the sets, with Akshay leading one team and Ganesh Acharya (choreographer) as the captain of the other,” added the source, saying the Khiladi Kumar’s close friend, cricketer Shikhar Dhawan, was spotted at the party, too.

Onkar Kulkarni (BOMBAY TIMES; January 14, 2020)

To ensure that he doesn’t miss his workout sessions, Salman Khan has set up a makeshift gym at Mehboob Studio, Bandra, where he is currently shooting his next film, Radhe. The Prabhudheva-directorial has the actor playing a cop. The role requires Salman to be absolutely fit, for which he has been training rigorously. Set inside a shipping container, the gym has all the equipment, including weights, kettlebells, etc. There is also a punching bag that’s hung outside for the actor to practice boxing.

Besides Salman, the film also stars Disha Patani, Randeep Hooda and Jackie Shroff. Interestingly, the crew has a unique style of wishing each other on the sets. They wish each other saying, ‘Radhe’, and respond with, ‘Radhe Radhe.’

While Rajkummar Rao, Kriti Sanon rejig events as they are unable to return to the city owing to heavy rains, Salman Khan continues his Dabangg 3 shoot in Bandra undeterred
Mohar Basu and Sonil Dedhia (MID-DAY; July 3, 2019)

As the torrential rains paralysed the city on Monday, Bollywood too was left grappling in its aftermath.

Rajkummar Rao, who had been shooting for RoohiAfza in Chandigarh, was scheduled to fly to Mumbai yesterday in time for the trailer launch of Judgementall Hai Kya. With the flight operations disrupted, he found himself stranded at the Chandigarh airport for hours. A few calls with the film's team later, Rao decided to make the most of the situation. He headed to Delhi as the team made hurried preparations to organise a simultaneous trailer launch in the capital. Leading lady Kangana Ranaut played host at the Mumbai event.

Rao's Bareilly Ki Barfi (2017) co-star Kriti Sanon — having wrapped up a magazine shoot in Delhi on Sunday — was to make a pit-stop in Mumbai before flying to Zambia for a July 2 event. Unfortunately, her Mumbai-bound flight was diverted to Ahmedabad where she was stationed for the next 48 hours. She landed in the city late last evening, only to make a dash for Zambia soon after.

Meanwhile, in the bay, the launch of Amaal Mallik's single, Tera Shehar, was cancelled yesterday. As was a special preview of Baadshah's new track, Paagal Hai.

However, the rains couldn't deter Salman Khan from his Dabangg act — the superstar reported to Mehboob Studios on Tuesday afternoon. A source working on the film said, "In the morning, we thought that the shoot would be cancelled. But since the rain started subsiding, the unit decided to stick to its afternoon shift. The production house had taken necessary precautions, including food arrangement and transport."

After her acting debut in a Salman Khan production, Warina Hussain will shake a leg with him in the third Dabangg film
Avinash Lohana (MUMBAI MIRROR; June 13, 2019)

Mirror had earlier reported (May 18) that after the chartbusters, “Munni Badnaam Hui”, which was picturised on Malaika Arora in the 2010 cop-drama Dabangg, and the Kareena Kapoor-starrer “Fevicol Se” in its 2012 sequel directed by Arbaaz Khan, the makers of Dabangg 3 have recorded a song titled “Munna Badnaam Hua”. Now, we have learnt that Warina Hussain, who made her Bollywood debut with the 53-year-old actor’s production LoveYatri last year opposite his brother-in-law Aayush Sharma, will feature in the new song with Chulbul Pandey.

According to a source close to the development, Salman and his team were looking for someone who would do justice to the Dabangg special number and zeroed in on Warina. “She shot for the song in a four-day schedule beginning from June 8 at Mehboob studio. Salman and Warina had a great time shooting for the song which has been composed by Sajid-Wajid and sung by Kamaal Khan of 'O O Jaane Jaana' fame and Badshah. This time the song is set in a modernised dhaba and Warina will be seen in an Indo-Western outfit. Her look is created by Salman’s designer, Ashley Lobo,” the source revealed.

Vaibhavi Merchant has choreographed the song and unlike the previous two numbers, this one will see Salman’s Chulbul Pandey in the spotlight, trying to woo his object of affection. The film, which went on the floors with a Maheshwar schedule earlier this year, moving to the outskirts of Mumbai, follows a non-linear storytelling pattern, jumping between Chulbul Pandey’s past and present, showing his transition from a neighbourhood rowdy to a Robin Hood cop. 

The Robin Hood cop and his Rajjo now come to a Mumbai studio to take their story forward
Himesh Mankad (MUMBAI MIRROR; June 4, 2019)

After Maheshwar and a brief stint on the outskirts of Mumbai, Salman Khan, Sonakshi Sinha and the child artiste playing their son will begin filming the third schedule of their cop-drama, Dabangg 3, at Mehboob Studio from June 15. “The set designers have erected a bungalow with a balcony facing a lake in the studio. Unlike the two previous instalments which were high on action and drama, Part 3 has a strong family angle taking the story forward,” revealed a source, adding that around 30 per cent of the film will be shot on this set.

Mirror had earlier reported (April 2) that Dabangg 3 follows a non-linear story telling pattern, jumping between Chulbul Pandey’s past and present, showing his transition from a neighbourhood rowdy to a Robin Hood cop. During this stint, Salman will also groove to the tunes of Sajid-Wajid’s “Munna Badnaam Hua” with an actress he was romancing before meeting Rajjo. Speculations are rife that the makers have roped in Mouni Roy for the role.

Kannada actor, Sudeep, who plays the antagonist has already filmed a shirt-less action scene for the climax and expected to join the team again in July. The film, which marks the reunion of Salman and Prabhudheva a decade after Wanted, is gearing up for a Christmas 2019 release. 

The actor has turned sutradhar for Dipika Kakar’s upcoming show that goes on air in the coming weeks
Natasha Coutinho (MUMBAI MIRROR; May 8. 2019)

Saif Ali Khan is gearing up to make his small screen debut with the upcoming show Kahaan Hum Kahaan Tum, which features Bigg Boss 12 winner Dipika Kakar Ibrahim (right) and Karan V Grover (left) as leads and will air on Star Plus. The 48-year-old actor started shooting for his portions on Tuesday at Mehboob studio in Bandra, introducing the main characters to the audience.

A source associated with the show informs, “Saif shot a sequence where the leads are deciding where to go on a date. He shot alone for the part which featured a monologue and involved voice modulation as he is also shown giving voiceover for the female protagonist. The shoot went on for four-five hours.”

The show is a love story produced by Sandiip Sikcand. It is expected to go on air sometime in the coming weeks and marks Dipika’s return to fiction two years after her last show, Sasural Simar Ka, went off air. In the show, she plays an actress to Karan’s cardiologist.

On the film front, Saif has been shooting for Ajay Devgn and Kajol’s Tanhaji in which he plays the antagonist and is to start work on Jay Shewakramani’s Jawaani Jaaneman, with Tabu and Pooja Bedi’s debutante daughter Alaia F. The film goes on the floors next month and the first schedule will be shot in London for 45 days.

Incidentally, Shah Rukh Khan had taken over sutradhar duties for Ekta Kapoor’s Kasauti Zindagi Kay reboot last year. 

Actor kicks off his first Rohit Shetty film with Katrina Kaif in Mumbai; team heads to Bangkok, Goa, Hyderabad next
Himesh Mankad (MUMBAI MIRROR; May 1, 2019)

When Rohit Shetty’s Singham with Ajay Devgn as the fearless cop Bajirao Singham opened in 2011, not many would have imagined that the director would convert it into a cop-universe with the biggest names from the Hindi film industry. Eight years later, he introduced Ranveer Singh with Simmba as Sangram Bhalerao, the second police officer in his franchise, confirming a crossover with Singham towards the end of the film. He also announced that Akshay Kumar will be the next entrant in his world, as ATS (Anti-Terrorist Squad) chief, Veer Sooryavanshi. It has since been revealed that the upcoming action-thriller titled Sooryavanshi will mark the reunion of Akshay with Katrina Kaif 12 years after their last release, the Farah Khan directorial Tees Maar Khan. Now, Mirror has learnt that the much-anticipated film goes on the floors on May 6 in Mumbai.

“Both Akshay and Katrina will be a part of the first schedule which will continue for 10-12 days in the city. The set of a house has been designed at Mehboob studio wherein the couple will film some romantic scenes,” informed a source close to the development.

The source added that they will also be shooting at real locations in Mumbai before flying to Bangkok for the second schedule. Rohit was on a recce to the Thai capital recently to finalise these locations. “He will be canning a larger-than-life introductory scene with Akshay at some landmark locations in Bangkok. Katrina is unlikely to be a part of this shoot,” revealed the source.

Rohit will then head to his favourite state, Goa, where his cop-universe is primarily set. Like always, the major action will take place in and around Goa. “He will shoot briefly there, before heading to Hyderabad where Sooryavanshi will wrap up at Ramoji Filmcity. The large ensemble cast will be present in both Goa and Hyderabad,” stated the source, adding that a major chunk of the shooting is expected to wrap up by July-end in the course of this 75-80-day journey. A couple of songs and some patchwork will remain which will be shot in November in Goa.

After completing the cop drama, Akshay will jump straight into the promotions of his Independence Day release, Misson Mangal. The Jagan Shakti directorial which revolves around a misson to the red planet also features Vidya Balan, Sonakshi Sinha, Radhika Apte and Taapsee Pannu. At present, the Khiladi Kumar is busy shooting for Laxmibomb, a horror-comedy co-starring Kiara Advani, which sees him possessed by a transgender ghost, at Madh Island. “It’s a brief schedule, and actual work on the film begins only in September,” the source concluded. Sooryavanshi is slated to release during the Eid 2020 weekend. 

Makers flew to Romania, where they initially wanted to recreate the city, for a recce but have now decided to go with real locations
Avinash Lohana (MUMBAI MIRROR; April 26, 2019)

Prep for Mahesh Bhatt’s directorial comeback Sadak 2, which is a sequel to his 1991 romantic thriller and features his daughters Alia and Pooja Bhatt alongside Sanjay Dutt and Aditya Roy Kapur, is in full swing. Recently, Mahesh and Pooja flew to Romania, where they had initially planned to recreate Mumbai, to scout for locations. Now, Mirror has learnt that the landscape of the European country didn’t really meet the duo’s vision, so the makers have decided to shoot the portions in the city.

Confirming the news, producer Mukesh Bhatt told Mirror, “Yes, it’s true. We didn’t find locations like Mumbai in Romania, so we would be shooting those portions here. The film will also be shot in other parts of India. The creative decision to not go ahead with Romania was taken by Mahesh, who is directing the film. We are putting up a set at Mehboob studio in Bandra where Sanjay and Alia will join us on the first day in mid-May.”

Previously, the team had also travelled to Kedarnath and Rishikesh for a recce. Sadak 2 marks Mahesh Bhatt’s return to direction 20 years after the 1999 Sanjay Dutt, Jackie Shroff and Manisha Koirala-starrer action-crime-thriller Kartoos. 

Hiren Kotwani (DNA; February 20, 2019)

Salman Khan, who is currently working on his Eid release Bharat, has already lined up his next film, Dabangg 3. The third instalment of the successful franchise has been in the news since the time of its announcement.

Now, we have learnt that the superstar will don the khaki for his role as Chulbul Pandey on March 26. A source says, “Salman is expected to complete his portions for Bharat in the next few weeks. He’s keeping a buffer of a few days in case he needs to shoot any patchwork.” The source further adds, “The launch of Dabangg 3, which was previously scheduled for April 4, has now been advanced to next month. Salman will kick-start the movie with a shoot at Mehboob Studios in Bandra. His entire family will be present for the launch.”

Dabangg 3’s earlier launch dates
Initially, Salman Khan had reportedly planned to launch Dabangg 3 on September 16 last year. According to sources, he later decided to complete Bharat first. Then, it was supposed to kick off on April 4.

Prakash Shetty of MP Canteen; Vitthal Shetty, seen here with sons Ashok and Sudhir, has been managing the Filmistaan Canteen since 1962

Tales from privately-owned canteens in studios that have stood the test of time and trends
Kunal Guha (MUMBAI MIRROR; December 21, 2018)

Prakash Shetty was only 12 when he took over from his ailing father to manage MP Canteen, nestled inside Mehboob Studios. A regular patron from his early days of managing the canteen was a geriatric who would resign to a corner of the modest eatery and consume endless cups of chai while scanning through a script. Noticing that the senior was always absorbed in reading, Prakash ensured that he wasn’t bothered and would instruct his waiters to refill his tea at regular intervals. “It was only when I watched Saaransh that I recognised the ‘old man’ from my canteen. He was actually a young Anupam Kher in makeup,” chuckles the 49-year-old manager. “His makeup and body language were so immaculate, I actually thought he was an old man.”

Prakash’s establishment is among a handful of privately-owned canteens that have survived the test of time and trends. While some folded up organically when studios shrunk in size (Filmalaya Studios), others went out of business when studios turned into commercial spaces (Natraj Studios). But running to capacity post-lunch hour, M P Canteen seems barely threatened by extinction.

Sitting at a table that overlooks the wall where a majestic portrait of the studio’s founder Mehboob Khan hangs, he reflects on better times. “Earlier, the entire film crew would eat here. But now, everyone gets a caterer to lay out a spread next to the film set,” sighs the manager, who has also been catering for shoots for the last 20 years. “If people get meals for free, why would they come here and pay for them?” he asks.

Prakash’s loyal patrons who still order in while shooting at the studio, include actors Hrithik Roshan, Deepika Padukone, Sanjay Dutt and Salman Khan. A big draw for most happens to be the canteen’s famed misal pav which is prepared using the same mixture of freshly-ground spices for 45 years by the canteen’s cook Krishna Shetty. “Abhishek (Bachchan) loves our misal fry served with toasted pav. Once he even got his friends, including Boman Irani, to try it,” he beams. The Khan brothers, Salman, Arbaaz and Sohail, prefer the other much-revered dish, egg bhurji with pav, while Hrithik Roshan loves feasting on his eight-slice bread omelette. “Hrithik loves our bread omelette so much that he used to parcel a couple of servings for home,” remembers Prakash, adding he hasn’t come by in a while.

While it’s difficult picturing Bollywood stars sharing modest meals with the rest of the crew today, some canteens served as social equalisers. Vitthal Shetty, 85, who has been managing the Filmistan Canteen since 1962, remembers Jackie Shroff, Shakti Kapoor and Shashi Kapoor getting off their cars and strolling right into the kitchen to help themselves to whatever was being cooked — rice, dal fry, fish fry or even idli-dosa. Shashi was his most demanding patron at the time and each time the actor was to shoot at the studio, Vitthal had to source a dish that wasn’t on the menu. “He loved his clear chicken soup and we always ensured he got a bowl by the end of the day,” says the veteran, who shifted to Mumbai at the age of 35 from his native Manchakal in the Udupi district of Karnataka.

Today, he is succeeded by his sons, Ashok (57) and Sudhir (47), but having helmed the canteen for 56 years, has kept himself abreast with the turns in the film industry. “Back then, Manoj Kumar, Dev Anand, Raj Kapoor and many big stars would just roam around the studio between takes and often drop in for a cup of tea. No one had bodyguards, and no one would bother them either. But now, all actors get off their cars and rush into their vanity vans,” says Vitthal, adding that some like Amitabh Bachchan and Sridevi would send for their meals to be picked up to have in their makeup room. “If Sridevi was shooting in the studio, we knew we had to make our special Mangalorean fish curry which she loved the most.” Bangda fry was another speciality. It was such a hot-seller that they “would make the dish 365 days in a year”.

Another canteen manager who has been in the business for 42 years is V P Ali, who has manned the canteen at Kamalistan Studios since 1974. Ali struggles to get by today as the sharp drop in the number of shootings at the studio have taken a toll on his business. But in his heydays, he cracked 22 eggs at a go to whip up a generous serving of bhurji-pav for Salman. “Jeetendra loved kanda bhajiya while Suneil Shetty relished our dal fry. But business slowed down in the mid-90s.”

Ali remembers films like Razia Sultan, Desh Premi, Inteqam, Khuda Gawah which were shot at the studio when he was a one-man show — the cook and the cashier. “At the time, the studio was abutting a jungle and there was nothing available nearby. So, I had to build a stock of essentials as running out of ingredients would leave me in the lurch,” he says.

Despite their intrinsic relationship with films, most canteen managers admit having little interest in cinema. The only time Vitthal Shetty walked into a shoot was when Pakeezah resumed shooting after a 12-year-gap. Even Prakash Shetty rarely left the cashier’s counter, but he did drop in to watch the filming of a song featuring his favourite actress Madhuri Dixit. “I don’t remember the film, but the set was a mandir. Madhuri nailed the song in a single take,” he smiles.

DNA (September 9, 2018)

About two years ago, Karan Johar launched Dharma 2.0 to direct television commercials. Recently, Imran Khan shot an advertisement for the company whereas KJo filmed one with Deepika Padukone for a phone brand. Now, the ace producer-director is getting behind the camera for an ad featuring Twinkle Khanna and Akshay Kumar.

Last year, the power couple was seen on screen after a long time for a jewellery brand. Our source said, “This time, they are endorsing a rice brand. The team wanted a real-life industry couple for the commercial and felt Akki and Twinkle would be apt for it. When the actors were told that KJo would helm the TVC, Mrs Funnybones had some cheeky remarks for her bestie.”

Incidentally, Twinkle was the filmmaker’s first choice for Tina’s role in Kuch Kuch Hota Hai (1998), but she had refused his offer and it was then portrayed by Rani Mukerji. Recalling that incident, the former actress-turned-author joked, “This Kuch Kuch Hota Hai story is 20 years old. Now, for the first time, Karan is going to direct me in an ad. God save his soul as I can’t act at all.’’

However, the shoot went well. The source added, “They shot the TVC yesterday at Mumbai’s Mehboob Studios. The entire unit was in splits, thanks to Twinkle, Akki and KJo’s camaraderie.”

The duo wrapped up Shree Narayan Singh’s upcoming social-drama with a dance number which was shot recently at Mehboob Studios
Natasha Coutinho (MUMBAI MIRROR; July 12, 2018)

Shahid Kapoor and Shraddha Kapoor, who kicked off Shree Narayan Singh’s Batti Gul Meter Chalu in February in Uttarakhand, have been shooting the final leg of the social drama in Mumbai since the last few weeks. The duo wrapped up the film with a fun dance number choreographed by Ganesh Acharya at Mehboob studios over the weekend.

A source from the film’s team reveals that the song, “Hard Hard”, has vocals by Mika and besides the lead pair also features Divyendu Sharma. It was shot over four days. Earlier, the shoot had come to a standstill owing to erstwhile producer Prernaa Arora’s financial problems. Bhushan Kumar, who recently took over the film, as well as Atul Manjrekar’s directorial debut Fanney Khan, ensured that both projects were completed. Incidentally, the latter too wrapped up recently with a lavishly mounted song, “Mohabbat”, which features Aishwarya Rai Bachchan with international choreographer Frank Gatson Jr calling the shots.

“I have worked with Ganesh ji on Toilet - Ek Prem Katha and Special 26. When I heard this celebratory song I knew immediately that we should approach Ganesh ji and intentionally kept it towards the end, along with the climax,” director Singh informs.

Shraddha who completed her portions on Monday, has left for a family vacation to Germany with parents Shakti and Shivangi and brother Siddhanth. Upon her return, she resumes prepping for the Saina Nehwal biopic. After a short break, Shahid is slated to start shooting director Sandeep Reddy Vanga’s, Arjun Reddy with Tara Sutaria, which takes off in Mumbai in August.

Neha Maheshwri (BOMBAY TIMES; July 2, 2018)

Years ago, Varun Sharma had come to Mumbai to fulfil his dream of becoming an actor. It was a huge step for the Jalandhar boy, to leave his family and friends back home in Chandigarh, and pursue a career in Bollywood.

Today, Varun has scripted his success story on the big screen, and he says that he loves every bit of this city — which he refers to as his home and karmbhoomi. He says, “People make a city, it’s not the other way round. It is the vibe of a city that makes it unique. Mumbai and its people are full of warmth and love — it has the best qualities of all the cities in India. People from across the country come here to fulfil their dreams. Look at the film industry — it has talents from different parts of the country, speaking different languages and belonging to different cultures, collaborating to entertain the whole of India.”

Ask him how he flirts with the city, and Varun says that he loves exploring the by-lanes of Mumbai in his car. He says, “Driving in the city rejuvenates me.” The actor loves Mumbai’s monsoon as well — especially going out for a stroll in the rains and munching on bhutta. He tells us, “If North Indians rave about their winters, we have our monsoon. When I am not shooting, I sit in my balcony with a cuppa and some pakodas. What better way to enjoy rains than lazing around in your house and admiring nature.”

Talking about his early days in the city, Varun recalls his special association with Carter Road. He had landed in Mumbai a few days ahead of India’s historic cricket World Cup win in 2011. After the match, he stepped out with his sister on Carter Road, as the celebrations shifted from people’s living rooms to the streets of Mumbai.

Little did he know then that this stroll would get him to meet Shah Rukh Khan in person! Varun recollects, “We were celebrating our win with ice cream. Suddenly, a car pulled over and the next thing I see is Shah Rukh Khan emerging out of the sun roof and waving at the crowd. He has always been my inspiration and he was the reason I had come to Mumbai. At that point, I didn’t know that I would be working with him in Dilwale.”

Bungalows of famous stars are definitely an attraction for aspiring actors and during his initial days here, Varun would often stand outside his favourite actors’ bungalows. The other popular landmarks he feels a strong connect with are Mehboob Studio and Aaram Nagar. He explains, “As a child, whenever I heard news about the film industry, I would particularly be fascinated by the word Mehboob Studio. So, I made it a point to see it after I landed here. Araam Nagar is special for obvious reasons, as every aspiring actor goes through rounds of auditions there.”

The actor says that he loves being a part of the madness, warmth and chaos of Mumbai. “Outsiders feel that one can easily get lost in Mumbai. But when you join the madness, you realise the immense love and great opportunities it offers. This city will never let you sleep on an empty stomach if you are willing to work hard. My family was a bundle of nerves when I was coming here, but the journey has been fruitful and beautiful,” says the actor, adding, “Nothing beats the street food in Mumbai. My favourite haunts are Amar Juice centre for the late-night pav bhaji and dosa. I also frequent South Mumbai for its amazing food joints.”

Sonil Dedhia (MID-DAY; June 1, 2018)

While cinephiles are raving about the recently-released Sanju trailer, fans are yet to catch a glimpse of the reel and real Sanjay Dutt in the same frame. As much as he wanted to be by Ranbir Kapoor's side during the trailer launch on Wednesday, Dutt was unable to attend the event due to the shoot of his upcoming film, Torbaaz. But we hear, a promotional song featuring the two is in the offing.

A source from the production unit reveals, "Sanjay Dutt is expected to film the special number at Mehboob Studios over the weekend. The song will be launched a few days before the movie's release. But it won't be part of the film."

The source adds that like Ranbir Kapoor does in the biopic, the track will see the senior actor in six different avatars — from his 20s to the 50s — as he narrates his story to him.

Meena Iyer (DNA; February 1, 2018)

As you alight from a taxi in a quiet Juhu bylane, your eyes darting left to right to spot where Sanjay Leela Bhansali’s office could possibly be, a police jeep comes into your vision. And you know immediately that behind the intimidating brown gates is where the man is “imprisoned.’’

When the gate slams shut, a name and reference check is done. And then, a dozen safari suit-clad men with walkie-talkies point you in the right direction. Finally, you are seated opposite SLB, who is dressed in his signature kurta-pyjama. His mop of grey hair and dark-rimmed glasses lend style to his carefully-built persona. He is celebrating the runaway success of his magnum opus with chocolate. Urging you to dig in, he indicates that he is ready to talk. And so, we ask:

Padmaavat continues to go through a lot of strife…
Yes, but Padmaavat is blessed. There are creative angels who come and bless such films. There is some divine energy that says this is the way it should be. It is fascinating to go with the flow. If you are supposed to face the attacks or these kind of protests that we have gone through, it’s a part of the film’s destiny. All I can say is that it just makes you stronger and wants you to make the movie better. When your whole being is at stake and you feel that you are going to perish, you give the thing on hand your best shot. Then things unfold in a way. So, from January 27, 2017, when we were attacked in Jaipur to January 25 this year when the film released, it has been one whole year of strife. I cannot describe all that my team and I went through.

Why didn’t you speak earlier?
A lot of people said that I didn’t answer or defend myself. I didn’t come out in the open to speak or react. But my only reaction was to make the film better. If it hit the screen, which it seemed would be almost impossible at one point, that itself would have been a victory. At the cost of repeating myself, I must say that movies like Padmaavat are destined. How can the same set of people (actor, technicians) who have worked on this film and go to another film, are not able to achieve the same kind of results that this movie has? There is some divine energy. When a film reaches a theatre, that is the happiest journey for me because there is no greater joy than that final lap from the laboratory to the screen. That is what you live for. When the first frame is beamed on the screen, it is the most fascinating and satisfying moment for me even after all these years and so many films. It is a moment to die for.

Do you agree that you have achieved a cult status in Bollywood?
I don’t know who says what. All I know is that there’s a madness that is growing within me. I constantly strive to say something bigger and better. There is a time when you evolve. You feel that you have understood your craft, signature and style of filmmaking. You know you are more adept at doing things and find that rhythm slowly over the years. That’s what I think has happened to me. I found scale during my Hum Dil De Chuke Sanam and Devdas days. But the journey between Goliyon Ki Raasleela Ram-leela and Padmaavat taught me so many other aspects. It is very difficult to make a big-scale film. What people call, ‘the big-screen experience’, is hard to achieve.

All that I loved about music, drama; all that I have learnt from Raj Kapoor, K Asif or Kamal Amrohi, V Shantaram and Mehboob Khan, I started finding and putting it together. I have also deeply admired Ramesh Sippy (of Sholay fame). I’m constantly imbibing the energies of these great men with vision and talking to them. So, I’m discovering far more than the basic box-office collection.

You said Ram Leela was a learning curve...
I started finding the rhythm of the shot for the first time during Ram Leela. I made sure the sur and the scale didn’t go wrong. I found some joy in making Padmaavat irrespective of the problems that I encountered.

Is it right to say that you have been obsessed with your ideas long before your films went on floors?
I took 12 years to make Bajirao Mastani. I waited nine years to make Ram Leela and I had to wait eight years from the time I did Padmavati, the opera on stage, in Paris to get to the film. I’ve enjoyed making these movies so much. They were very challenging. How to put things into a big frame and how to spend money are things that I’m obsessing about all the time. You know budgets become available to you but how you spend that money in the correct way is important. And I really don’t care whether the films brought in the numbers at the box office or not. I never work with that fear.

One never hears of you taking a holiday...
People say why don’t you go on a holiday and I tell them I only want to go to the studio. I want to go to Film City and Mehboob Studios and sit over there. So often, when I’m crossing Bandra, I make it a point to drive into the Mehboob Studio compound, sit there and just stare. That is the kind of love that I have for cinema.

That’s why you have been labelled eccentric…
(Laughs) They can call me what they want. If I’m happy and I enjoy taking that detour into the studio compound and saluting the memory of Mehboob Khan, then let me be. Perhaps the energies of Mehboob saab will get into me and his soul will bless me. Who knows? I like doing that, so I do it. I go to V Shantaram’s Rajkamal Studio in Parel for my mixing. And when I stroll in that place, I can feel his energy and soul. His trophies... the smell in that re-recording studio which has been exactly the same over the years. I had gone there first when I was remixing for Parinda (1989) because I was an assistant with Vidhu Vinod Chopra.

It does matter right that Padmaavat will cross the 150 crore mark today?
It’s so nice to know that the audience wants to see your work. A film without an audience makes no sense. When they say, ‘We now understand your signature and style of filmmaking, so we come to see your film,’ it’s a great high. Whether it has Ranveer (Singh) and Deepika (Padukone which is an added attraction), they come to see my film. I personally thank god for this blessing because even if I’ve been cursed with all these innumerous problems — over the years which I have fought — inner demons and external problems — I’ve also been blessed by God because he has said, ‘Ok fine, you get a style and signature, you have an audience, you do not need anything more.’ Who puts in Rs 180 crore to make a film? It is easier said than done. I would say I’m more blessed than I’m cursed. Even though Padmaavat has gone through so many problems, today it is getting its due.

You have done three films with Aishwarya (Rai Bachchan) and three with Deepika. Is it time to look for a new muse?
Deepika is so fabulous; she is such a jaan. I just love her. All her hard work and brilliance that she brings to the set is effortless. She does her preparation but there is none of the—I AM PREPARED FOR A ROLE—heaviness around her. It is done with so much silence. It’s such a pleasure to work with someone who does what she is doing at that moment with absolute honesty. She’s an actor who feels so honestly and simply, but her performances are detailed and nuanced. I’m not done with her yet.

What about Ranveer Singh who seems to be your favourite?
No other filmmaker understands Ranveer the way I do. Ranveer and I have a great chemistry and understanding. I know how to direct him and I’m aware about his limitations and strengths. I know what to do with him. He’s a very special actor. He has so much energy. I only feel he puts too much effort into ‘I did my research and I went here and did that’, all that I understand. For him to pursue his greatness, he has to be a little more effortless. He is fantastic. I am not done with him either.

Shahid was the new energy on your set?
Shahid was a new energy on set because I hadn’t worked with him before. It was interesting to see how a new actor works. He is a great-looking kid. He is extremely talented and so effortless. He is constantly wanting to become better. He would say, ‘I’m unhappy with that shot. Can I do this better?’ And I would tell him, ‘Can you stop pushing yourself. And punishing yourself because I know what I want from you.’ It was great working with him. He gave Maharawal Ratan Singh such dignity and silence. It was a nuanced and delicate performance. I’m so proud of what he has done in this film. Ranveer obviously had the author-backed role and he has come out with flying colours in it because of the range, but to play a straight and understated part, yet to make your presence felt is very difficult. Deepika and Shahid look so good together. I wish they do more films with each other.

Aren’t you being too harsh on yourself by completely isolating yourself from the world?
I’m in a zone. I’ve not met anyone. I only live for my films. I do not feel I’m too harsh on myself. I’m enjoying it immensely. Once I start a film, I’m like that person who is sitting in a yagna completely consumed by the puja and the process. I’m in that meditative state where I see nothing, but my film. Even if I’ve been physically attacked or my set has been ransacked, my first reaction is, ‘Oh god, that shot, which we had set up, was so beautiful! Where will I take it?’ The humiliation and the anger of what I went through became secondary in so many ways. My film mattered to me. I saw a film called Sant Tukaram so many years ago. When Tukaram was asked anything, he would say ‘Vithal, Vithal.’ And you would wonder what he meant. Today, I understand what it means because for me it is only films. I have become Tukaram.

Doesn’t all work and no play make you dull?
The emotions that I may deprive myself of in terms of relationships don’t matter. I live my life through my films. It is such a joy. Nothing distracts me. I just want to make bigger and better films. I’m constantly asking myself, ‘How do I evolve further?’ I’ve done a lot of introspection to reach this stage. If a film worked, I’ve never got up and said, ‘Wow, my movie worked. Bro, let us have a party.’ For me, it is how do I get better. How do I get one more star from a reviewer? How do I become a better person and a better filmmaker? Which is why you are finding a slow growth in my films from Ram Leela to Padmaavat. The search for excellence doesn’t die. It is getting more and more pronounced. And I’m living it completely.

Mohar Basu (MID-DAY; December 25, 2017)

Salman Khan and Katrina Kaif’s Tiger Zinda Hai collected Rs 33.75 crore on the day of release. As the film continues to rake in the moolah at the box office, director Ali Abbas Zafar couldn’t resist treating the lead actors. Khan, who was shooting for Race 3 at Mehboob Studios, was joined by Kaif and Zafar on the set. The trio ended up having an impromptu celebration.

A source tells mid-day, “Dropping in on the set was Ali’s idea. He was under tremendous pressure, because the year saw a lot of duds. But he’s relived that his film has garnered good reviews. Yesterday, he called Katrina and convinced her to accompany him to meet Salman.”

A source from the set of Race 3 says that Kaif was dressed in red, keeping up with the festive revelry. “Once Salman was done with the shoot, they had a small party. Even the crew of Race 3 joined them. It was an unplanned Christmas celebration and the trio had a blast,” adds the insider.

A few days ago, Kaif had told mid-day that if the film does well, that’d be her “best X’mas present”. The film has done business worth Rs 69.40 crore in two days.

Roshmila Bhattacharya (MUMBAI MIRROR; August 24, 2017)

You just have to mention the name Hrishikesh Mukherjee and Dharmendra turns emotional as memories come flooding in. “He was like family, I’d often drop by his place and he’d come home to visit my parents,” says the actor, flashbacking to the Satyakam shoot at Mehboob Studio when, despite his repeated requests, Hrishida insisted on filming him from a certain angle which he was convinced was not his ‘good side’. “One day, Dada wasn’t feeling well and decided to go home early, leaving me to complete the scene with the DoP Jaywant Pathare. Grabbing the opportunity, I immediately told Pathare to turn the camera, but just as we were about to roll, dada popped up behind us, laughing over my guilty expression, and with a hug, letting me take the shot the way I wanted,” Dharamji reminisces.

He describes Hrishida as an indulgent older brother who, despite being careful about not taking any unnecessary shots, once succumbed to his pleas for a retake, taking as many as seven takes, before asking for the first which he’d approved of to be printed. “I slyly asked for the second take to be taken but being an eagle-eyed editor, dada spotted it immediately as I’d known he would, but once again gave in,” he smiles, quick to add that Hrishida could also be a strict disciplinarian who, while they were shooting for Chupke Chupke, snipped out an entire antara from the song, “Sa Re Ga Ma”, when he turned up late for the shoot.

On another occasion, when he reported late again, for the climax at Aarey Milk Colony because he was juggling double shifts, an exasperated Hrishida ordered him to go to the bathroom and come out pulling up his zip. “I thought he was joking, but he was serious, and looking at his watch told me not to waste any more time but do as instructed. I complied and he actually took the shot and incorporated it in the scene,” Dharamji laughs at his ‘punishment’, adding that his Chupke Chupke co-star Amitabh Bachchan and he agreed on the former’s game show, KBC, that the director they were most scared of was undoubtedly Hrishda, who commanded respect and won their hearts.

Dharamji had met the Bengali babu for the first time at Mohan Studio. A fresh-faced Filmfare discovery, he’d been signed for Bimal Roy’s Bandini and Hrishida was the film’s editor. Later, when he was shooting for Guddi at Mohan Studio with debutante Jaya Bhaduri, who, like her character, hero-worshipped him, Hrishida’s eyes fell on a light lying on a burnt set, and he used it to give Guddi and the viewers a lesson in cinema and stardom and how ephemeral both can be. “He pointed out that the light, which had once lit up and made so many faces look beautiful on screen, was now lying forgotten in a corner of a studio which could itself metamorphose into a factory one day, such was life in wonderland. I still remember that shot and those lines, that light and the studio, which was like my gurukul,” says Dharamji.

Hrishida, who directed over 40 films in a career spanning four decades, passed away on August 27, 2006. “It’s been 11 years and I still miss him every day,” Dharamji says, mistyeyed.

Natasha Coutinho (MUMBAI MIRROR; July 26, 2017)

Rohit Shetty’s Golmaal Again team, who are currently shooting at Mehboob Studio, had an unexpected visitor on Monday when South actor Allu Arjun dropped by to meet Shetty and actors Tusshar Kapoor, Kunal Kemmu and Prakash Raj who were shooting their portions. Earlier, in February, Rohit had dropped by the sets of Allu Arjun’s film Duvvada Jagannadham.

Tusshar who’s known Allu since 2001 when he was filming Yeh Dil in Hyderabad was happy to meet him after all these years. “He’s such a humble star, I hope to see him more often on our shoots.”

The Mumbai schedule of Golmaal Again wraps up in a couple of days after which the team will move to Hyderabad in August for a long schedule. It remains to be seen if Allu Arjun drops in on the sets there as well and whether he will feature in the film.