Director Milap Zaveri’s next, an intense romantic drama with Aditya Roy Kapur, has been born from a personal realization. “I want to do angrier films; movies that have more passion, rage, violence, love, and heartbreak. That is the genre I have excelled in,” reflected Zaveri, who enjoyed a hit in Ek Deewane Ki Deewaniyat (2025) that belonged to a similar space.

Armed with that belief, Zaveri has begun pre-production on his yet-untitled next and leading man Kapur’s prep is underway. The makers are planning to take the film on floors by the year-end. While passionate romances often spark conversations around possessiveness and gender politics, the director refuses to let online discourse dictate his storytelling.

“I block out social media chatter. Every kind of love exists in the world. If there’s a story of a toxic person, it [will reflect his toxicity]. If it’s about a saint, it is about a saint. Otherwise we should make only documentaries and social service movies,” he remarked.

According to the director, showcasing relationships with their joys and flaws is what resonates with the audience. “Which love story doesn’t have its share of anger, obsession, and heartbreak? Every human being, however perfect their relationship may be, goes through these moments. A filmmaker’s job is to tell a story. It’s up to the audience whether they like it or not. Films have to feel real; they can’t be wrapped in political correctness.”

Viewers today are looking beyond last names. That’s something director Milap Zaveri, who launched filmmaker Indra Kumar’s son Aman Kumar in Bollywood with Tera Yaar Hoon Main, is convinced about. “I believe people are lapping up talented youngsters today. If they are good, the audience accepts them. Star power alone is not why films work,” said Zaveri. 

Agreeing to launch Aman with the romantic comedy, which also stars Paresh Rawal and newcomer Akanksha Sharma, was a personal decision for Zaveri. Having collaborated with the senior Kumar over the years, he saw it as a way of giving back to his mentor.

“When Indu ji asked me if I would make this film and launch Aman, I immediately said yes. It was like guru dakshina for me. I had already seen Aman work on himself, watched his auditions and dance videos, and knew he had potential.” 

Tera Yaar Hoon Main has Zaveri admittedly more nervous than his last few releases. “The only thing I want is for people to come out saying that Aman and Akanksha are great,” he shared, before adding that he is confident about the material. The movie revolves around an unusual bond where a father helps the young man who is in love with his daughter.

“I describe it as a reverse Dilwale Dulhania Le Jayenge [1995]. Here, the heroine’s father and the hero become friends, and he is trying to balance protecting his daughter while helping the boy he cares for.”

Actor Aditya Roy Kapur will headline filmmaker Milap Zaveri’s next feature, described by its makers as an “intense, violent and deeply emotional musical love story”.

The film, backed by producer Bhushan Kumar, is expected to go on floors later this year, with a theatrical release planned for 2027. Explaining the casting, Zaveri says, “Aditya has always had an amazing ability to portray love with power and emotional depth. Ever since Aashiqui 2 (2013), audiences have connected with him in stories driven by passion and heartbreak.”

He adds, “This character is heroic, intense, aggressive, and many notches above the madness of my film Ek Deewane Ki Deewaniyat (2025). I couldn’t think of anyone better than Adi to bring this character to life.”

Kumar adds, “Our association with Aditya goes back many years and I’m happy we’re coming together once again for a story that’s intense, emotional and mounted on a grand scale.”

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After delivering action entertainers such as Satyameva Jayate and Marjaavaan, filmmaker Milap Zaveri is teaming up with Aditya Roy Kapur for his next, a violent musical romantic drama. Speaking to Bombay Times, the director says the film draws from the emotional space of Aashiqui 2 and Ek Deewane Ki Deewaniyat, while promising a distinct identity of its own.

"The film is its own beast. It is in the genre of Deewaniyat, Aashiqui 2, but has its own uniqueness. This time I want to cater to masses and classes. Single screens and multiplexes," says Milap.

Explaining why Aditya was his first choice, the filmmaker adds, "Adi was my choice because he has a strong connect with masses and female audiences as proven in Aashiqui 2 and Malang. He is a terrific actor and looker and also has a great physique for action. He resonates superbly with musicals."

Milap, who recently collaborated with Harshvardhan Rane on Ek Deewane Ki Deewaniyat, also dismissed any speculation that the two would not work together again.

"I will surely reunite with Harshvardhan Rane soon. I love him and he is my friend. Touchwood Harsh has his slate full with many exciting projects like Force 3, Silaa and soon we will surely do a film together," he ends.

The yet to be titled movie will go on the floors soon and is slated to release next year.

Aditya Roy Kapur was last seen in Metro... In Dino (2025), Anurag Basu's ensemble romantic drama. Before that, he headlined the action thriller Gumraah (2023).

Om Raut, best known for Tanhaji: The Unsung Warrior, is likely to come on board to helm an upcoming actioner featuring Tiger Shroff and Vidyut Jammwal. The project, backed by Bhushan Kumar, is in the early stages of development. A source close to the production reveals that Raut has already pitched a script to the actors. “He has pitched a script and they are currently jamming over it. It is at a nascent stage,” the source states.

Interestingly, Milap Zaveri was earlier rumoured to be directing the venture. However, he has since been announced as the director of another film with the same production house, starring Harshvardhan Rane.

“The story by Om is completely different. He has not stepped into Milap’s shoes. If everything goes well, the film will go on floors this year,” the source adds. This will mark Bhushan and Om's reunion post the debacle of Adipurush.

Earlier while talking about Adipurush's performance at the box office, Om in an interview said, “Our first day was Rs. 70 crore, and that’s just in India. Our total box office was over Rs. 400 crore. So, the numbers were very large… With Adipurush, there was a loss of perception, not a loss of revenue. If the perception was positive, if the perception was under control, we would’ve seen an exorbitant number, which we did not see. That was disappointing.”

Actor Tiger Shroff’s recent work includes big-budget action films such as Bade Miyan Chote Miyan (2024) and appearances in projects like Singham Again (2024), continuing his image as one of Bollywood’s most prominent action stars, though some of his recent films have struggled critically and commercially.

Meanwhile, martial-arts specialist Vidyut Jammwal was last seen headlining the sports-action film Crakk: Jeetegaa… Toh Jiyegaa (2024) and also appeared as an antagonist in the Tamil film Madharaasi (2025), maintaining his reputation for physically demanding action roles. Filmmaker Om Raut, on the other hand, last directed the mythological epic Adipurush (2023), starring Prabhas and Saif Ali Khan, a high-budget adaptation inspired by the Ramayana that generated massive buzz but received mixed to negative responses.

Until mid-January, director Milap Zaveri and producer Bhushan Kumar were going full throttle on their next, an intense action drama with Tiger Shroff and Vidyut Jammwal. But things have a way of changing overnight in the film industry. Now, it is heard that Zaveri and the T-Series head honcho will start another project, which will see the director reuniting with his Ek Deewane Ki Deewaniyat (2025) actor Harshvardhan Rane.

mid-day has learnt that Anil Kapoor is in talks to play a pivotal role in the yet-untitled movie that is expected to roll this month.

A trade source revealed, “The makers are in the final stage of discussion with Anil. Milap will direct the actor for the first time.” What of the Shroff and Jammwal-starrer then? Apparently, the actors had started training for the actioner.

The source indicated that creative differences led to the film being put on the backburner. “Milap chose to do Harshvardhan’s movie over the other as too many creative differences were creeping in. It can happen when you cast two action heroes, but they shouldn’t interfere in the script. That said, it was an amicable parting. There was also a date clash as the makers wanted to begin the Harshvardhan movie in February, and no way would the Vidyut-Tiger film be complete by then.”

When Mastiii 4 came Elnaaz Norouzi’s way, she almost turned it down. The actor wasn’t keen to front an instalment of a sex comedy franchise known for its raunchy humour. But a narration with director Milap Zaveri changed her decision about the Riteish Deshmukh, Vivek Oberoi, and Aftab Shivdasani-starrer.

“When Milap narrated the script to me, I realized how well it is written for 2025. The women had so much more to do, and it felt like an equal script to me. I also felt it had a good message at the end and was not like the other instalments,” recalls the actor.

Sex comedies are often criticized for how they portray women. Norouzi says that she ensured the depiction of women was not disrespectful. “The women in the film are portrayed as careless, but not in any other way. In fact, they are depicted as quite smart. What made me comfortable was the way the script was,” she shares, adding that she also had a say in the costumes.

“We spoke a lot with Milap. We made sure the costumes were not vulgar. We paid heed to that as we wanted it to look graceful.”

The actor, seen in Sacred Games and Kandahar (2023), notes that she would like to change one stereotype about sex comedies. “Such films don’t only have to be about men, it can be about women as well. That’s exactly what Mastiii 4 shows.”

What makes a movie a hit — the box-office reports, the critics’ raving praises, or the masses that throng cinema halls? Filmmaker Milap Zaveri seems to have both the numbers and the people on his side. His film Ek Deewane Ki Deewaniyat, reportedly made on a shoestring budget of Rs 25 crore, may have opened to mixed responses, but the audience gave it a thumbs up, minting over Rs 75 crore within 23 days of its release.

“It was that dark horse that nobody saw coming. It’s become the third biggest hit of the year after Chhaava and Saiyaara,” he smiles.

While Ek Deewane Ki Deewaniyat, starring Harshvardhan Rane and Sonam Bajwa, resonated strongly across Tier-2 and Tier-3 cities, it also sparked debate for allegedly glorifying toxicity. Unfazed, Zaveri says his films are only “meant for entertainment and not [to give] a social message.”

He adds, “If you’ve seen Deewaniyat, the so-called toxicity isn’t rewarded. Harsh’s character had vulnerability and depth — that’s why people connected with him. Full credit goes to Harsh for that.” Having observed the reactions to Kabir Singh (2019) and Animal (2023), Zaveri believes there is a market for such love stories.

Aiming for front-bench energy in his films, the director is known to layer his movies with punchy dialogues. “When people clap or whistle, that’s my adrenaline. It’s the spinach to my Popeye,” he laughs.

Addressing the controversy around the now-viral line from the film, where Bajwa’s character boldly declares that she would sleep with whoever kills Harsh’s character, he explains, “That line was the reason the film got made. It symbolized her strength and desperation in that moment. A woman’s beauty can also be her power — that’s what I wanted to show.”

Now, he has trained his eyes on his next entertainer, Mastiii 4. “Whether you’re 20 or 60 years old, anything that makes people laugh, especially with great music and a bit of naughty humour, will always connect. Mastiii 4 brings back that same madness, energy, and star power that audiences have loved through the years. If, for two hours and fifteen minutes, they forget the world and walk out smiling — that’s all the message I need.”

Actor Vivek Oberoi, who has seen both highs and lows in his two-decade career, is currently in what he calls a “great phase,” with several major projects in hand. He will soon be seen in Mastii 4, plays Vibhishan in Nitesh Tiwari’s Ramayana, and has also joined Sandeep Reddy Vanga’s upcoming film Spirit.

“They say the universe works on vibrations and how you feel,” Vivek shares, adding, “When you’re at ease with yourself, not desperate or stressed about your career, things fall into place. I’m relaxed, listening to a lot of scripts, and lucky to choose projects purely out of passion, not compulsion.”

Calling Ramayana “India’s answer to Hollywood epics,” Vivek reveals that he has donated his fee from the film to a cause close to his heart. “I told Namit that I don’t want a penny for this. I want to donate it to a cause I believe in: helping kids with cancer,” he says.

As for Mastiii 4, the actor describes it as a nostalgic reunion. “It’s been 21 years since the first film, and the chemistry with Riteish Deshmukh, Aftab Shivdasani, and Milap Milan Zaveri, who’s directing this one, is still amazing,” he smiles.

Despite earning recognition with projects such as Sacred Games, actor Elnaaz Norouzi continues to be associated with a bold image, something she admits has been limiting. “It might be hard to break my bold image in the movie industry. There are so many projects that I can’t audition for, it is tough,” she says.

The Iranian-German actor reveals this was partly why she was hesitant to take on her role in the upcoming Masti 4. While tight-lipped about details of Milap Zaveri’s adult comedy, she recalls, “I actually had inhibitions initially; I was thinking I would not do the film until I met Milap sir. He narrated the script to me and convinced me that the script is different from the previous instalments of the franchise.”

The 29-year-old was recently seen in John Abraham-starrer Tehran. Speaking about her part, she explains, “I have a special appearance as well as a dance number in the film. This time, it was actually the cameo that led to the dance number instead of the other way around. The dance number was something that came in much later.”

On her upcoming release, Elnaaz sounds upbeat. “It is a cool script. I totally enjoyed listening to it when Milap sir narrated it to me, and I am sure that people will enjoy watching it,” she signs off.

The Masti franchise is undergoing an evolution, moving away from its original label as a sex comedy. The success of Masti led to Grand Masti and then Great Grand Masti. However, director and writer Milap Zaveri, who is taking the reins of the next instalment, Masti 4, says that this one will be a naughty, fun comedy. Not an adult comedy.

Milap explained the shift by saying, “We have so much content on OTT platforms already. Earlier when Masti released, it was more like a shock value. Over the years, people thrived on the shock value of the franchise. But I don’t think anything shocks anyone anymore. So, the intent is not to shock, the intent is to entertain. That’s why I am saying it’s a naughty fun comedy film.”

This marks Milap’s first time directing the franchise, which features Riteish Deshmukh, Aftab Shivdasani, Vivek Oberoi, Elnaaz Norouzi and Ruhii Singh. Indra Kumar directed the first three parts. “I wrote the first two parts, so it’s a huge responsibility for me to write and direct this one,” he concluded.

Milap, who began the UK schedule of Masti 4 recently, revealed, “I would not like to call Masti 4 a sex comedy. I would like to call it a naughty, fun comedy. One of the compliments Indu ji (producer, Indra Kumar) gave me when he heard the script was that you’ve written Masti like Dhamaal. It’s got the fun element and it’s naughty. We are clear that we don’t want it to be vulgar or cringe. We want it to be fun and mad. It’s going to be men seeking fun post marriage, almost like the first part.”

Mumbai: Noted actor Rituraj Singh, who first rose to fame in the 1993 TV show ‘Banegi Apni Baat’ and went on to appear in a range of serials, films and OTT shows over the next three decades, passed away at his home early Tuesday following a cardiac arrest. He was 59.

“He had been hospitalized due to some stomach issues and was discharged a few days ago. He passed away around 12.30 am at his home due to a cardiac arrest,” said close friend Amit Behl. Singh, who started his career as a theatre actor in Delhi, is survived by his wife and two children.

Amongst his last appearances is the OTT show ‘Indian Police Force’, which released just last month. Singh's television roles include ‘Anupamaa’, ‘Hitler Didi’, ‘Shapath’, ‘Adaalat’. Besides, he appeared in supporting roles in Hindi films, including ‘Badrinath Ke Dulhania’, and in OTT shows such as ‘Bandish Bandits’ and ‘Made In Heaven’.

Singh, who studied in Delhi University, was close friends with Shah Rukh Khan. They both were a part of Barry John's Theatre Action Group (TAG).

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Actor Rituraj Singh, 59, known for Badrinath Ki Dulhania (2017), Satyameva Jayate 2 (2021) and Kahaani Ghar Ghar Kii, died on Tuesday. He is survived by wife Charu Singh and kids Jahaan and Adhiraaj.

Actor Amit Behl, a friend, told PTI, “He had been hospitalized due to some stomach issues and was discharged a few days ago. He passed away around 12.30 am at his home due to a cardiac arrest.”

Singh began his career in 1992. Satyameva Jayate 2 director Milap Zaveri says, “He was so full of life and passionate about his work. He’d rehearse his dialogues in advance with me and John (Abraham).”

In 2022, Bollywood came out of Covid crisis and tried to stand up on its feet with films such as Bhool Bhulaiyaa 2, Drishyam 2, Brahmastra, The Kashmir Files among others proving to be profitable. Even as the ‘Boycott Bollywood’ brigade marched on social media, pan-India projects including KGF 2, RRR, and Kantara roared at the box office. But will Bollywood be able to bounce back and come out even stronger in 2023?

While the year has an impressive line-up with movies such as Selfiee, Shehzada, Bholaa, Pathaan, Dunki, Sam Bahadur, Fighter and Animal already making noise for all the right reasons, it’ll be interesting to see how they fare at the box office.

Talking of what may or may not work, members of the fraternity feel that 2023 will majorly be about Shah Rukh Khan with his three projects - Pathaan, Jawan and Dunki lined up for release, even though Salman Khan has Tiger 3 and Kisi Ka Bhai Kisi Ki Jaan dropping back-to-back.

“All eyes will be on SRK. Pathaan is going to be a complete package, thanks to director Siddharth Anand. Also, rumours of cameos by Hrithik Roshan and Tiger Shroff have created a hype,” feels trade expert Atul Mohan, adding that Jawan is expected to succeed at the box office given the record of director Atlee down south.

Looking back, trade analyst Taran Adarsh says, “There were a lot of shocks and surprises last year. We are going to see the same in 2023, which is packed with films with very interesting stars and equally interesting subjects.”

After a long time, the year ahead will also see a slew of mainstream actors having multiple releases, from Akshay Kumar, Ranbir Kapoor to Kartik Aaryan and Sidharth Malhotra. “Kartik Aaryan and Ranbir Kapoor are in that phase of their careers where they are doing the movies they love. Kartik is definitely going to be in the top three actors this year in terms of popularity,” says Mohan.

As for Ranbir, given that he had a mixed 2022 with Shamshera and Brahmastra, 2023 could be crucial, with Animal and Luv Ranjan’s Tu Jhoothi Main Makkaar. “You can expect both to hopefully cross 100-crore mark each at the box-office,” says Adarsh.

Another actor the industry is placing all its bets on, is Akshay Kumar. “Selfiee and OMG 2! are commercial films and will see Akshay in an entertaining manner, something people love,” says director Milap Zaveri, adding that 2023 is going to be about masala entertainers.

“Kartik Aaryan’s Shehzada and Ajay Devgn’s Bholaa will hopefully set the box office on fire. Then, Prabhas and Kriti Sanon’s Adipurush is definitely going to be one of the biggest highlights of 2023. Despite the film facing flak, the movie is going to open big,” Zaveri says.

Actor Ajay Devgn, meanwhile, will follow up the success of Drishyam 2 with Maidaan and Bholaa, feels trade expert Komal Nahta. “Besides the big-budget releases, Fukrey 3 is also expected to draw audiences into theatres. Since it’s the third film in the franchise, so it’ll be bigger and more ambitious,” says Nahta.

Milap Zaveri and Hiranandani

Putting the poor run of Satyameva Jayate 2 (2021) behind him, Milap Zaveri is looking forward to his next, a yet-untitled action drama. The director has another reason to cherish the project — it reunites him with writer-director Tushar Hiranandani eight years after Ek Villain (2014). While Hiranandani had written its story and screenplay, Zaveri had penned the dialogues of the Sidharth Malhotra-starrer. The two — who had previously collaborated on ABCD (2013) and Main Tera Hero (2014) — parted ways after the thriller to pursue their directorial dreams.

Asked how the duo found their way back to each other, Zaveri says, “The action drama is not in the zone of Satyameva Jayate. While it has heroism, it is more credible in plot and treatment. I had the idea, and wanted someone to write it for me. When I reached out to Tushar, he loved the story. We wrote the screenplay together. I have written the dialogues. We picked up from where we had left off.”

The director is currently finalizing the cast. 

Coming to terms with the dismal performance of the John Abraham-starrer was hard, Zaveri admits. “The producers of Satyameva Jayate 2 are backing my next. They tell me that one failure doesn’t define my work. Failure can be depressing. But you need to learn from your mistakes. I made the film that I wanted to and went wrong in my conviction. I have to admit it so that I don’t repeat the same mistakes.”

The concept of a pan-India film release isn’t new, say most film trade analysts and exhibitors. Mani Ratnam did it with 'Roja' (1992) and 'Bombay' (1995)—both Tamil films dubbed into Hindi and received well in North India. 'Hum', did it even earlier, in 1991. The movie starred superstars from both ends of the country—Amitabh Bachchan and Rajinikanth—and became one of the highest grossers of the year. Then 'Baahubali', both 'The Beginning' (2015) and 'The Conclusion' (2017), changed the game.

“It was a huge success,” says film trade analyst Komal Nahta. “Even today, 'Baahubali' is the highest-grossing Hindi film even though it is a dubbed one. No original Hindi film has been able to outdo it. Every South Indian producer wants to get on this bandwagon because the costing is minimal. You just have to record Hindi songs and dub the dialogues; nobody is spending Rs. 5 crores on promotions in the Hindi market. And if the film clicks, it is a huge profit margin.”

Calling 'Baahubali' a wake-up call for South Indian filmmakers, film trade expert and exhibitor Vishek Chauhan notes that the problem was that they assumed the market was saturated. It was further maxed out by increasing ticket prices to compensate the stars’ fee, which Chauhan says, is “huge, almost at par with Bollywood”.

“But Baahubali’s success showed them a huge market,” he says, “Plus, Bollywood had stopped catering to the masses for a few years, and was looking only at the niche and elite market. This allowed South Indian films a backdoor entry. YouTube and Satellite TV is full of dubbed South Indian films, which has made actors from the South—Allu Arjun, Ram Charan, Vijay Sethupathi, and others—a household name in the North. With 'Baahubali', they uncovered their clout and muscle at the box office and flexed it with both the instalments of 'KGF' [2018 and 2022], Saaho [2019] and 'RRR' [2022]. 'Pushpa: The Rise' [2021] was like a bolt from the blue. Even Vikrant Rona’s opening is surprisingly good.”

Film exhibitor Akshaye Rathi agrees: “It was an absolute misconception that people weren’t looking for mass entertainment. A huge chunk of the audience doesn’t have too many avenues for outdoor recreation. While a certain section can go to a nice restaurant or to watch a play, for the audience at large, cinema is the only leisure activity with friends and family. In tier 2 and tier 3 cities, the prevalent recreational activity is going to movies. This section is about 75-80 per cent of India’s population. Filmmakers have been depriving them of an appealing genre of entertainment. And, now that we are giving it to them, they are lapping it up in big numbers. We have seen that with 'Sooryavanshi' [2021], 'Pushpa', 'KGF', 'RRR', and even 'Bhool Bhulaiyaa 2'.” 

To him, it makes economic sense for a filmmaker to look at the whole country as the market, considering India has fewer screens per million (between 8 to 10 screens, against USA’s 124).

“If we further divide deployment of content on the basis of language, we limit the potential of our business,” Rathi says “OTT has enabled access to so much diverse content so suddenly that the audience is familiar with content made in any state. That’s why crossing this bridge has become easier.”

What does this mean for Bollywood? Stop taking the audience for granted, echoes everyone. “Going to a theatre is an expensive affair in terms of money and time, so the audience wants value for money,” notes Chauhan, adding that post the pandemic, only films that appeal universally do well in theatres. 

“COVID-19 changed the market entirely—a shift that would have taken place over a decade, happened in two years. The audience is not shy to explore a different genre, hero, language, or market. OTT has made the film business a level-playing field. Even in Hollywood, only big hero films do well theatrically; others are coming to OTT.”

“This [South Indian films releasing across India] helps us up the bar for storytelling and technology. 'Baahubali', 'KGF', 'RRR', are all technologically extraordinary. I hope the upcoming films—'Brahmastra', 'Pathaan' and 'Tiger 3'—do well, considering they have similar grandeur and ambition. In a way, it made us realise that commercial cinema remains intact,” says film director and writer Milap Zaveri, adding, “At some point, commercial cinema was looked down upon by critics and elite people in cities like Mumbai. So films were made keeping critics in mind and high end multiplexes. Somewhere along the way, we stopped catering to the masses. Every commercial film may not work, but one failure shouldn’t stop us from doing it again. Even in the South, after RRR, Ram Charan released Acharya [2022], which didn’t do well; but that doesn’t stop the others because that’s the base of their industry. This pan-India release phenomenon is a wake-up call. Post pandemic, if people invest time and money in a film, they expect a spectacle. Even Hollywood is ruling the roost with the Marvel series.”

Interestingly, the OTT space remains unfazed, says Sidharth Jain, former creative head for Hotstar and founder of The Story Ink, the largest book-to-screen adaptation platform. “Bollywood is making the classic mistake of copying content from the South again,” he says. “Instead, they should understand that the audience wants to watch compelling stories, and that films that do well don’t follow a trend. OTT has always offered a buffet, so there is no threat to one particular kind of content. But yes, they are commissioning more series for the Southern market.”

In the phase where halls were shut and anticipated blockbusters were on hold, OTT revitalised and rebranded Manoj Bajpayee yet again. However, he isn’t riding that wave to do mainstream projects at all. “I had a resolve that I will attach myself with middle of the road or independent cinema, and I am sticking to it,” he explains. And as to mainstream Hindi cinema, he has a word of caution: It has largely missed addressing the non-multiplex audiences for a while and so is unprepared for the current surge of the south. Excerpts from a chat:

Star kaun hota hai hamare yahan? Dekhiye, star toh wohi banega, jo exhibitor aur distributor ki requirements ko puri karta ho. Woh requirement kya hai? Requirement hai: Larger Than Life. Extravaganza. Pushpa ne uss gap ko fill kiya, RRR ne kiya.

I had a resolve that I will attach myself with either the middle of the road cinema or with the independent cinema, and I am sticking to that. It is also about empowering all these filmmakers so that not only do I get to play those roles that I always wanted to play, work with scripts that I always wanted to be part of, but also, in that process, some very talented people are being empowered. And today one can take these decisions because of OTT. Kyunki agar woh (film) theatre mein nahi aayegi toh woh OTT pe aa jayegi.

When I work with Rahul Chittella (for Gulmohar), it gives me immense joy not only to play the character that I am playing, and be part of the film, which I am so proud of, but also I see a fantastic director-writer coming into the film world. Isiliye mere liye Rahul Chittella, Devashish Makhija, Kanu Behl, Dipesh Jain, ya phir Abhishek Chaubey, Ram Reddy – all of these directors have become very important for me. Mere liye bahut important baat hai. Main yeh nahi keh raha hoon ki industry ka har actor woh kare jo main kar raha hoon. Nahi, lekin woh mera resolve hai. I have been following this without even talking about it. But now I have to say this. I have to tell people what I am doing and why I am doing it. Inki filmein karte hue mujhe badi aantrik santushti hoti hai.

That is true. Inke saath jab main kaam karta hoon toh mujhe apni bhi bahut saari sahuliyaton ko – jo dimag mein hai ki bhai yeh sahuliyat honi chahiye, ki itne saal ho gaye mujhe kaam karte hue, mujhe luxury chahiye – uss luxury ko mujhe cut down karna parta hai. Which is very good!

This is a responsibility that I have taken upon myself. I do things in a personal capacity, where I feel I have to give back, but I don’t talk about it. Many of us in the industry do what we can, where we can, but we keep it to ourselves.

Secondly, har actor ki yeh journey hai. Jahan bhi woh pahuncha hai uske liye bahut tyag karna pada hai. Maa-baap ka tyag karna pada hai, bhai-behen ka tyag karna pada hai, apne comfort ka tyag karna pada hai, apne ghar ka tyag karna pada hai. Woh kai raat rota-rota soya hai, bhookha toh chhor hi dijiye.

Even stars. There are stars who have become so huge in our industry who have come from middle-class families. They have sacrificed so much before they have become what they’ve become. Lekin jab woh ban gaya hai toh (log) kehte hai samaaj ke liye kuch kyun nahi kar rahe ho? Samaaj ke liye karna na karna uska apna chunav ho sakta hai. Hum uss ke upar dabav nahi daal sakte hain. Kya yeh dabav hum corporates pe daalte hain? Kya hum unke accountable hone ke liye unke ghar ke bahar pradarshan karte hain? Nahi karte hain. Kyunki wahan par pradarshan kar ke humein kuch nahi milne wala evaj mein. Jab main Twitter pe ek star ko gaali deta hoon, toh uske evaj mein bahut kuch mil jata hai. Ek pehchan milti hai – ek identity.

(Pauses) We have always been looking for identity – for heroes. Unfortunately, we found our heroes in film stars. But they could not be. They cannot be. They are entertainers. They are actors.

The intention comes from two-three things. I have always been looking for subjects that are genre-bending or stories which are not told or filmmaking that is not very familiar to our audience. These are my personal interests. When I watch a film say by Inarritu (Mexican filmmaker Alejandro González Iñárritu), it is a very new way of storytelling and I want to be a part of it. Where and how can I be a part of it? Definitely, Inarritu doesn’t know me. He is not going to cast me. So I have to find my own filmmakers here, whose films or storytelling I can be a part of. And yes, my own professional credibility will empower them to take the film forward.

Had I chosen, say, only mainstream format, or maybe gotten a place as a celebrated villain, then I would have been finished long back, because even heroes look for new villains after five years. I would have been used, abused, and thrown away. Maybe because I wanted to do things differently, in my own way, so that I could be relevant, these filmmakers came to my mind as a rescue or as an alternative to really keep me going, keep my interest in filmmaking and acting going. And I’m still as interested. I am still as interested and enthusiastic and as angry as ever. That anger is only towards making these films possible for my own self and for the audience. I am really seeing to it that they get a platform and medium where they can showcase their work. Purely that.

Now, from Delhi, I have to go to Jharkhand where Devashish Makhija and the unit is waiting for me (for Joram). They want a certain kind of discipline from Manoj Bajpayee and they are not going to compromise on that. And I am not ready to compromise on my effort either. So everything is back-breaking, kneebreaking.

You said it. You just nailed it. You know, one Gangs Of Wasseypur (2012), one Rajneeti (2010), and then Special 26 (2013) has given me so much strength to do Aligarh (2016), Bhonsle (2018) and Gali Guleiyan (2018) and so many others...If I do Aligarh or Bhonsle, for me it is self-satisfying. I sleep very peacefully after doing it. And then The Family Man has given me choices that I never had till now.

That’s how I tried to maneuver my career. I always needed one project which could empower me, give me that strength to go ahead and be a part of these filmmakers’ vision which could help me to reinvent myself, and rekindle my energy. It’s all mutual when I am doing these films. For my next scene (as he was at a set) I’m ready to go, I’m all prepared. I’m ready to go. Everything is prepared. But having said that I must tell you that I am not a genre-specific person. After five-six films, you may see me in a complete mainstream film doing all sorts of stuff because it has attracted me, not the genre but the matter, the film as such or the passion of the director.

If it doesn’t work then it doesn’t work. I have done Baaghi 2 and Satyameva Jayate. I have done many films in the past, so the filmography itself says that I have done those films. I have never regretted, rather I have enjoyed because I don’t judge them. Because for me cinema is far more important. Films are important.

(Pauses) Itni blockbuster ho rahi hai (from the south). . . forget about Manoj Bajpayee and the likes of me for a minute, it has sent a shiver down the spine of all the mainstream filmmakers from the Mumbai film industry. They really don’t know where to look.

Yes! I have been part of Tamil films and Telugu films. I exactly know why this is happening.

Koi nahi samjhaega aap ko kyunki apne aap ko criticise karna padega. Maine kaam kiya hai wahan pe. They are unapologetic, they are passionate, and every shot they take as if they are taking the best shot in the world. And so much thought and passion goes into it. Not even once do they talk about the audience in a demeaning way. They don’t say that the audience will understand. ‘Yeh massy hai, yeh chal jayega’ – they never talk in this language. They shoot a film as they have envisioned it, they don’t dumb it down for the audience because they hold their audience in the highest regard and their passion is supreme.

If you see Pushpa or RRR or KGF, the making of it – it is immaculate. Each and every frame is actually shot in a manner as if it were a life and death situation. This is what we lack. We started thinking about mainstream films only in terms of money and box office. Hum criticize nahi kar sakte na apne aap ko. So hum unko ‘different’ keh kar alag kar denge.

But it’s a lesson. This is a lesson for Mumbai industry mainstream filmmakers on how to make mainstream cinema.

I will tell you one thing – do you know that Ram Charan and Junior NTR and Allu Arjun and Pawan Kalyan were already stars in the B, C cities before their recent films became big hits. Their older films were already being watched in a dubbed version in all the interior places. Those were the films which were actually satisfying the B, C cities of this country. But we were satisfied with the multiplexes and popcorn films thinking that we are making the best mainstream cinema which is reaching everyone. No, it was not reaching everyone. That section – the audience of the smaller cities, the single screens – was really not entertained. They (mainstream Bollywood) stopped addressing those viewers. When multiplexes become very expensive and far away from their (audiences’) reach, then who is their star? Who is entertaining them all this while? For you, as a person who buys a ticket in a multiplex in Delhi, when you see RRR, Junior NTR is someone you have seen for the first time – but not for the viewers in the B, C cities. They have already seen him.

Someone told me before RRR’s release – “Bhaiyya, aap Junior NTR aur Ram Charan ko le kar chale jaiye Haryana ke kisi gaon mein, woh aaj bhi mob ho jayenge. Aap ka (Bollywood) superstar wahan mob nahi hoga kyunki woh audience unki filmein nahi dekhte hain. Woh inki filmein dekhte hai, dubbed version.”

Upper middle class ko jab hero mila, aur multiplex bhi usi waqt aaye, uske baad humne ye space miss kar diya. Lekin multiplex mein jaana sabke bas ki baat rahi nahi. Ab Zanjeer, Naseeb, Khalnayak kahan banti hai? Ya Vishwanath? Kalicharan? Hamari upper middle class ka hero NRI ban gaya tha. Upper middle class ka aspiration woh raha. The successful huge megastars that we have created – they were not megastars of B, C cities.

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Recently, a two-year old video (Bhagwan Aur Khuda ) of Manoj reciting a poem on harmony between religions has been circulating. He tells us, “This video was made during the lockdown. I was in Uttarakhand and Milap (Zaveri, film writer and director) wrote this poem and sent this to me, asking me to recite it. Mujhe poems recite karna waise bhi achcha lagta hai, and I really liked what he wrote, so I recorded it and sent it back to him. He then called me to say ki isko shoot kar ke bhej do agar wahan koi assistants hain jo mere saath phanse hue hain. It so happened that two assistant directors were there, stuck along with me, Sagar and Ashok. So we spent some time and shot it together.”

He reminds us that he also shot for another video during the first lockdown – Bambai Me Ka Ba for Anubhav Sinha. While it was initially posted online two years ago,it’s been seen more recently than it probably was then. “Jab uss samay daala tha tab bhi kaafi chala tha, lekin iss samay jis tarah se iss ka swagat ho raha hai woh unprecedented hai,” says Manoj, adding, “Mera apna maanna hai ki Bharat ko aage jaana hai toh sab ko saath mil ke chalna hoga. The message was to spread peace and harmony when we first shot this two years back. I am of course surprised that it has gone viral at this point. But as to why, perhaps the simplest answer is in what one of my co-actors messaged me: It was relevant then, it is relevant now, and it will always be relevant.”

While reaching out to Manoj for this interaction, we realised that our WhatsApp messages to him weren’t landing. The actor subsequently clarified that it was on account of him having deleted the app. “WhatsApp pe bahut saare known, unknown messages aate hain, everyone expecting you to respond to them quickly. There are invitation to all kinds of functions and then people expect you to respond in a positive manner. There are so many forwards – many of which are not in sync with my sensibilities – spams, unknown numbers and bulk messages coming in every day, unknown calls coming every day. It’s humanly not possible for any of us to entertain each and every message and answer them in positive. And your answer should match their expectation, which was getting a little too much. I also wanted to just keep a lot of time for my reading, for watching content and spending time with my family rather than just being stuck on the phone and being busy answering people. So I think it was just very, very important for me to delete it so that the expectations stop.”

Before 130kgs; (right) After 98kgs

“I raced with my son a few weeks ago, and beat him. He was so upset,” Milap Zaveri says in the midst of this conversation with a hearty laugh. The statement, from the man who is known to be a doting father to his seven-year old, may seem rather misplaced. But this win was reason to cheer.

Only seven months ago, Mehaan was angered when his father, Zaveri, couldn’t play with him in the park. A few steps in, and the director — weighing 130 kilos then — would be rendered breathless, leaving Mehaan, upset. This seemingly innocuous interaction preceded another incident that served as the final jolt that Zaveri needed to adopt a weight-loss programme.

“One day, I suddenly felt pain in my left arm. I told my wife Gauri about it and she suggested that we head to the doctor. That drive was an emotional one. I began to explain [our] finances to her, in case [something happened]. She kept reassuring me. Fortunately, it was a muscle issue and was unrelated to the heart. But it was the wake-up call [I needed]. I am 42, with a seven-year-old son, and a lovely wife. I want to be around him when he grows up. Also, I didn’t want to feel lethargic and unprepared during the years that he is growing up. I had let myself go; I took to bad eating habits, which worsened due to my erratic schedule. The exercise routine went for a toss. This needed to change.”

Often seen ordering a variety of junk meals on his set, Zaveri began to leave his crew members amused as he’d walk in with “dabbas” carrying three specially prepared meals from a healthy meals service. Every meal was carefully created in accordance with Zaveri’s needs. “Yousuf [Nalwala, from the company] said that his preparations were precisely the amount I need to consume in a day. Not only was the food tasty, but it also included carbohydrates like brown rice and multi-grain chapati, for the first four months. When you think of ‘diet’ food, you imagine sprouts, and that can be [off-putting]. But these meals were not like that, and that made the process easier. But, I didn’t have a cheat day for two months. Even if people offered me a few bites of their meals, I’d stick to my own.” 

Zaveri supplemented his new eating plan with running sessions, conducted six days a week. He began with walking sessions on the treadmill, progressed to jogging bouts, and subsequently took to intense sprinting sessions. “Today, I can cover 11 kilometres in 80 minutes,” he says of the noteworthy record.

The mental boost that this journey has given Zaveri becomes evident in simple things — once filled with images of his films’ posters, his social media feed now features pictures of him instead. It takes an army, he agrees, to enable a person to get the help that they need. After having shed the initial eight kilos easily, he admits that hitting a plateau was disheartening.

“At such a time, you derive motivation from the words of your nutritionist who tells you that such phases are normal, and can be broken. A lot of this process depends on your mental [state]. Being complimented for your looks, and encouraged by your social circle to stick to your plan are factors that make a difference. My wife, in-laws, and friends kept pushing me to keep going. They would rearrange their schedule to keep themselves free over the weekend because I indulge in cheat meals on Sundays. They are the ones who can make or break [such an attempt].”

While he practices cardiovascular activities and weight training alternately, Zaveri says he has “made peace” with his routine. Mondays and Saturdays, however, are the toughest days to navigate. “On Monday, which follows Sunday’s cheat meals, the tummy is in turmoil. And on Saturdays, [my trainer makes me perform] the toughest workout to account for the next day’s cheat meal.”

There’s no stopping him just yet, as Zaveri says he aims to shave another 20 kilos. “Who knows? I may go all the way and get six-pack abs.” 

Talking about six-pack abs, what role did his long-time friend John Abraham play in his journey? “He always gives me good suggestions and encourages me [to stay fit]. But, if I tell him I’ve lost 10 kilos, he’s the sort to say, ‘You need to lose 20 more’.”

For breakfast, I have oats that have been soaked overnight. I couple it with fruits and dark-chocolate toppings. I have reduced my carb intake in the other meals of the day. Lunch comprises a paneer preparation, or a continental one. It may also be egg bhurji. For dinner, I have paneer cutlet or a salad.

Determination can move mountains, and that’s precisely what filmmaker Milap Zaveri had in oodles. Proving this is the fact that he has shed over 30 kilos in less than a year. He shared his achievement with a tweet: “Under 100kg after almost four years! Picture abhi baaki hai mere dost.”

Revealing how his fitness journey started in July last year, the Marjaavaan (2019) and Satyameva Jayate 2 (2021)director tells us, “I weighed around 130kg then and found myself lethargic. I couldn’t even play with my six-year-old son Mehaan without getting exhausted. It got me thinking that I need to be fit so that I can be there for him and my wife, Gouri... And a few weeks back I finally beat him in a race.”

Zaveri, 42, focussed on a low-carb high-protein diet, with three-day cardio and three-day weight training routine. Moderation and discipline were important, he adds, sharing: “You can tell someone a hundred times (to lose weight), but they won’t do it until they decide themselves.”

He also mentions being encouraged by his friends, such as actors Riteish Deshmukh, Genelia Deshmukh and Shaad Randhawa. “I joke with them that I’ll lose more and launch myself (as an actor),” he concludes.

A John Abraham film brings with it a certain kind of excitement, but in the new normal, it’s bringing to you the unexpected — the actor in a triple role in the upcoming film, Satyameva Jayate 2. As the film gears up to hit the theatres, the actor tells Bombay Times about what convinced him to play a triple role in this film, how they intend to reach the hinterland of our country with this film and stressing the fact that he will continue to add more power to the action genre in India. Excerpts:

Initially, I wasn’t too keen on playing the third role (of the protagonist’s father). My reason for not wanting to do the third role was that the film is already centred on me, and hence, I felt that doing this would result in too much of me in it. However, Milap’s (Zaveri, director) conviction in what he wants to portray through my character in the film, is outstanding. He was quite committed to that process and was convinced that I should be playing the third role as well, which is the flashback sequence of the father and his two sons. Honestly, that half-an-hour in the film is probably the best part. After watching the film, I told him that he got it right!

Nikkhil (Advani, producer) and I belong to a genre of action films based on real-life events, like Batla House, Madras Cafe and Parmanu: The Story Of Pokhran. We belong to that space, and it comes very easily to us. With SMJ2, we were very clear about wanting to reach out to a larger audience — that’s your masses. I am not talking about the price of a ticket, which is probably more than Rs. 500 at a multiplex. I am talking about the footfalls across the country because India is not just about Mumbai and Delhi alone… it goes beyond that. I know for a fact that SMJ2 will reach out to the hinterland and that’s the idea. When you penetrate through to the masses, your value of a ticket may be one/tenth, but your footfalls may be one/fifth more and the collections are as good as a typical multiplex film. That’s what we are doing with SMJ2.

On social media, the number one trending topic when Sooryavanshi was released was #BoycottBollywood, but the film still clocked in huge numbers on day one. So, there is a huge dichotomy between what happens on Twitter and in the real world. We forget that there is an India out there that wants to savour the experience of watching a film in a theatre, especially after the pandemic. They don’t care about what’s trending on social media. That’s why as an actor and as a part of the film fraternity, I don’t really care about the trolls. Does SMJ2 care about it? It cares about ticket sales. We resonate with the audience that’s going to buy tickets to watch the film.

I love my country and I love to entertain my country even more. As an actor, I follow my director’s conviction, and if he wants to play to the masses, I will do it. The film brings out the honest Indian in you without traversing the political space or hurting anyone’s sentiment. Now in that process, if SMJ2 goes over the top, so be it! Our film addresses the farmers’ plight in the country, children being poisoned in Gorakhpur, no oxygen cylinders. It is almost prophetic as Milap brought it up even before the pandemic, albeit, in the entertainment space, without pointing a finger at anybody. That’s the vision of my director and if I am not convinced by the kind of films my director makes, then I should not be doing it.

I like and enjoy doing action just like an actor who loves to dance. It is like a romantic moment for me. I am very comfortable in this space. After a point, an actor tends to become a prisoner of his own image, but the good thing is that people still expect to see me doing the action. A lot of stars often give up on action over a period of time because it wears you out physically. I have had injuries everywhere, but I have no intentions of slowing down on action space. In fact, I am at my fittest best today. I intend to push the envelope in this genre even further and get more intense.

The pandemic may have thrown everyone’s plans into disarray, but actor John Abraham was certain of one thing: his film Satyameva Jayate 2 (SJ2) would only be released in theatres. “I was 100% sure we would have to wait. If we had to wait for another six months, we would have, for a theatrical release. There was no other option. We were very clear,” says the 48-year-old actor, who will play not one, not two, but three characters in the film.

The reopening of theatres, on the other hand, has resulted in a barrage of back-to-back releases every week, with SJ2 and Salman Khan’s Antim: The Final Truth both opening in theatres with barely a day’s gap.

Ask him should all filmmakers have met to discuss how to avoid this audience split, at least initially? He agrees, “Yes, I feel at least, in the first six months, all films should have decided to give each other some space. But, unfortunately, I am aware of the fact that there are more films than space. If clashes are inevitable, so be it. We can only wish well for others. That’s all. Also, everything hinges on whether or not you have an audience, and thankfully, Sooryavanshi has opened the floodgates. So we’re hoping audiences come in and enjoy themselves.”

So far, two trailers for SJ2 have been released, with the actor admitting that he prefers the second one. “That’s because that’s the grain of the film. The songs are performing exceptionally well. Jan Gan Mann has taken off faster than I expected. My favourite song, though, is always going to be Meri Zindagi,” says the actor, who is playing three roles for the first time in his career.

He corrects us by stating that this is also his first time playing a dual role. “I initially refused to do the third role and said it’s too much for me,” he says, describing shooting the characters as “overwhelming.” “Then Milap (Zaveri, director) persuaded me, saying, ‘Listen, this role is very important’, and he was right. That is my best role in the film, in my opinion. Those 45 minutes in the film are beyond fantastic. The rest of the film is entertaining, but the third role of a farmer elevates the film. I felt overworked at times, but the process was enjoyable because Milap is a positive person. I complain a lot,” he signs off.

Twitter was flooded with memes, one more hilarious than the other, when Satyameva Jayate 2 trailer was launched online. Milap Zaveri, who has helmed the John Abraham-starrer, is unperturbed. “Those on social media are a minuscule fraction of the audience. They don’t reflect the sentiment of the masses,” he says. The filmmaker may not be entirely wrong. Distributors, who’ve watched 40 minutes of the film, believe Zaveri’s masala offering — complete with punchlines and gravity-defying action sequences — can bring the public back to cinemas.

“I have realised trolls aren’t my audience. If they were, neither Satyameva Jayate [2018] nor Marjaavaan [2019] would’ve worked,” says Zaveri.

The director is happy catering to the single-screen audience who enjoy dialoguebaazi, and hoot and clap at cinemas. “If intellectuals don’t like my movie, I don’t care. Between critical acclaim and box office, I choose the latter. Memes add buzz to my movie. It’s better to be talked about, even if trolled, than to go unnoticed. The day SJ stops working, I have enough capability to reinvent.”

That he has Abraham’s backing means the world to him. “John has shown faith in me, and it’s scary too because I have to live up to his expectations.”

The director is aware that the over-the-top cop actioner is at odds with his leading man’s sensibilities. “His sensibility is reflected in Parmanu [2018] and Batla House [2019]. He often jokes that Milap is my cheat day. We have a deal — even when he is 90, he has to do SJ 30.” While there’s a long way to the 30th instalment, Zaveri adds that Abraham has given his nod to the third edition of the cop caper.