WILL WELCOME TO THE JUNGLE EMERGE AS ANOTHER HIT FOR AKSHAY KUMAR AFTER BHOOTH BANGLA?

From today, 7:30 pm onwards, the paid previews of Welcome To The Jungle will begin across the country. The film has been in the news ever since it got launched, thanks to the popularity of the series, mainly the first part. Moreover, the film is arguably the biggest multi-starrer of all time.

Welcome To The Jungle stars Akshay Kumar, Suniel Shetty, Disha Patani, Jacqueline Fernandez, Arshad Warsi, Jackie Shroff, Paresh Rawal, Raveena Tandon, Lara Dutta, Farida Jalal, Johny Lever, Shreyas Talpade, Tusshar Kapoor, Rajpal Yadav, Krushna Abhishek, Kiku Sharda, Daler Mehndi, Aftab Shivdasani, Mukesh Tiwari, Yashpal Sharma, Kiran Kumar, Zakir Hussain, Vindu Dara Singh, Urvashi Rautela, Hemant Pandey, Brijendra Kala, Feroze Khan, Late Pankaj Dheer, Puneet Issar, Sudesh Berry and many more. It is directed by Ahmed Khan, while the first two parts – Welcome and Welcome Back – were directed by Anees Bazmee.

The teaser and trailer of Welcome To The Jungle have been entertaining and it looks like a grand, fun-filled entertainer. However, the challenges remain. The trailer hasn’t wowed the audience. The songs, though quirky, have not worked as intended.

As a result, as it usually happens, people have decided to wait for the response and then book tickets. This is also reflected in the advance sales, though the bookings until now are decent. There was hope that Welcome To The Jungle would emerge as Akshay Kumar’s highest opener by crossing the earnings of Mission Mangal (Rs. 28.45 crores). However, it seems like it's not going to happen. At best, the hope is that the film will open in the range of Rs. 17 crores and Rs. 20 crores on Friday. As for paid previews, Bhooth Bangla collected Rs. 3.50 crores and Welcome To The Jungle should aim at crossing this figure.

Meanwhile, Main Vaapas Aaunga collected more than the first week’s collections in the second weekend. While Week 1 earnings were Rs. 11.23 crores, its second week collections were Rs. 11.50 crores. It is rock-steady on weekdays as well. The film is expected to cross the Rs. 30 crore mark by the end of its second week.

As for Cocktail 2, it opened at Rs. 12.25 crores and went on to earn Rs. 15.50 crores and Rs. 16.50 crores on Saturday and Sunday, respectively. But it dropped to Rs. 5.25 crores on Monday, while Tuesday's jump was limited, when it earned Rs. 5.50 crores. The film has earned Rs. 55 crores in 5 days. As of now, a lifetime of Rs. 100 crore seems like a remote possibility.

Cape of Good Films, a logo sitting quietly on the poster of many successful films, actually has a lot to boast about with the success that the production house has seen over the last few years. Founded in 2009, this boutique content house started working its way up to making films that are meaningful, yet commercial in nature.

The company’s partner, Rana Rakesh Bali, says, “Every story can be told through the medium of cinema, provided it is treated sensitively, keeping in mind the audiences you are making the film for. No one comes to the theatre, paying their hard-earned money to be taught a lesson. If you want to say something serious, say it in a way that educates them while still making them smile. That is the mantra Cape is run by.”

In the last six years, through its associations with massive hits — from Airlift (2016), Toilet: Ek Prem Katha (2017) and Mission Mangal (2019) to National Award-winning and critically acclaimed films such as Rustom (2016), Pad Man (2018), Chumbak (2017), and commercial grossers such as Kesari, Good Newwz (both 2019), and 2021’s biggest hit Sooryavanshi — Cape of Good Films has had it all.

Path-breaking films by Cape also include Naam Shabana (2017) and Durgamati: The Myth (2020), which were headlined by strong female protagonists. Its films, such as Laxmii (2020) and the recently released Atrangi Re (2021), are breaking new records for the highest viewership on OTT platforms too. The content of these diverse films by the content house spans genres like no other. Their foray into producing music videos also struck a chord with Filhall and Filhall 2 shattering records.

What stands out about Cape is that there is no face to it. “It is just a team trying to make what they believe in and want to keep it such. The feeling emanates from the fact that the films that we make are larger than an individual and an entity, and should be preserved that way,” Bali shares.

The content house now looks forward to dishing out sought after films such as Raksha Bandhan, Ram Setu and OMG 2. It enters 2022 with a firm belief in backing and making content that breaks stereotypes, challenges notions, and makes the audience fall more in love with what they have always loved — movies!

Ballsy Vidya Balan on Bollywood and the walk longer than Chembur to Juhu, or Nariman Point to Bandra!
Mayank Shekhar (MID-DAY; August 29, 2020)

There's Sahir's 'Yeh duniya agar mil bhi jaaye toh kya hai' kinda quality to the last time actor Vidya Balan felt her thoughts on her professional life totally turn around. On the Sunday after the release of her film Hamari Adhuri Kahani (2015), directed by Mohit Suri — who she says she couldn't "gel with, in an actor-director relationship" — producer Mahesh Bhatt called to say that the film had pretty much tanked in theatres.

This, after a series of back-to-back commercial duds — Bobby Jasoos (2014), the outcome of which had disappointed her the most; Shaadi Ke Side Effects (2014); Ghanchakkar (2013). Unsure of what to do, Balan's husband, producer Siddharth Roy Kapur — a non-believer himself — simply drove her down to the Sai Baba temple in Chembur. Where she just wailed non-stop, totally out of breath. She knew something needed to change about her life.

The penny dropped. "I realised I'd begun to focus too much on numbers. That stress had taken the joy away from what I do — that I like, and enjoy so much!" I didn't ask the exact lane the said Sai Baba temple is in. Which Balan says she used to visit every day of her growing up in Mumbai's eastern suburb.

Glad she brought up Chembur though. For that's where I'm chatting with her (on video) from. She's at her husband's office in Khar, which is also the neighbourhood her parents moved to, while she lives in Juhu. These are heartwarming coordinates for Bombayites, among whom she remains still the 'Chembur girl'.

The now popular term 'outsider' refers to first-generation professionals in the film industry. And they're in huge numbers — lead actors aren't all there is to the movies. Still, there are in fact far fewer 'insiders' of Bombay, who are but outsiders to Bollywood, than you'd imagine. Despite the unmatchable geographical/real-estate head-start.

Especially among heroes, if you may. Even Govinda, the 'Virar ka chokra', is a producer's son. Off-hand one mainstream Bollywood hero from Bombay, but with no family connections to films, I can think of, is Balan's super-hit Bhool Bhulaiyaa (2007) co-star, Akshay Kumar, who grew up in Sion, quite close to Chembur: "Shilpa [Shetty] was three years my senior in school [St Anthony's], although I didn't know her personally then," Balan points out.

"But it's such a valid observation, I wonder why," she asks, as an answer. "There are various levels of being an insider-outsider, in any case. This debate has left me confused. It's different for different people, right? Also family/financial support makes it easier, if you are not operating from a space of survival. Think it's about how hard you're willing to work, once you get that break. And even how much you're willing to wait out for that break!"

Speaking of which, one of the instant inspirations/reasons to invite Balan over for this edition of Sit with Hitlist was in fact music composer Shantanu Moitra, who recently spoke at length on the reality show Times Of Music, about how Balan had auditioned 75 times for her debut film Parineeta (2005). It was while she was in the front row of a Bryan Adams concert that producer Vidhu Vinod Chopra finally called to say she was on.

Hearing it from the horse's mouth, Bryan Adams has turned into Enrique Iglesias. The number 75, Balan feels, is way off the mark. But yes, Iglesias was playing her favourite track Hero. Chopra insisted she step out of the venue to take her call. She heard the sweetest music to her ears, "You're my Parineeta." Up until then, Chopra had wanted Aishwarya Rai for the part: "He was putting in a lot of money, I was a newcomer, and the film was called Parineeta [after the female protagonist] for God's sake!"

She only has to thank, first, the persistence of her ad filmmaker-mentor Pradeep Sarkar (Dada), who had written the role, based on Sarat Chandra Chattopadhyay's novel, keeping Balan in mind. She'd performed in a series of Sarkar's ad films, plus music videos, starting with Euphoria's Kabhi aana tu meri gully.

She had even assisted him on a Fanta commercial, with Rani Mukerji in it, and where she "learnt nothing on the set". Because the crew, knowing that she was Sarkar's future leading-lady, was too busy taking care of her instead!

"Before my last test for Parineeta, I went to Dada, and said whatever happens, this is also your first [feature] film —just make it with or without me. His wife was there. He looked at her and said, 'Tell her something, tu kya keh rahi hai?' He had more belief in me than I had in myself." Evidently, beyond talent, you need somebody to appreciate it, and offer you a job, basically —just as it takes a village to make both a film, and a star.

Having not formally trained in acting per se, Balan credits Naseeruddin Shah, for instance, for texting her during the shoot of Milan Luthria's The Dirty Picture (2011) that she learn to leave behind her character on set, before heading home. The film remains still her most iconic, and that took everything out of her. Kahaani (2012), in comparison, she suggests, was a breeze, because she had all along been part of the writing process as a sounding-board for director Sujoy Ghosh.

The Dirty Picture, inspired by the life of south siren Silk Smitha, is also iconic because of the line, 'Filmein sirf teen cheezon ki wajah se chalti hain: Entertainment, entertainment, entertainment. Aur main entertainment hoon!" It's an obvious take on hotelier Conrad Hilton's famous quote about three things you need to run a successful hotel: Location, location, location!

"Now, it is my introduction at every event I go to. I had no idea it would become so popular. There were other lines that I thought would. It's all in Rajat Arora's [dialogue] writing." The one I love from one of her films the most though, while not her dialogue, is the tag-line, "Tumhara ishq, ishq; aur hamara ishq, sex?"

Apparently actor Shiney Ahuja had responded with these words after being narrated Ishqiya's script by director Abhishek Chaubey. It stuck. Arshad Warsi finally played the part — vying with uncle (Naseer) for Balan's attention: "I was just amazed by how Arshad mouths a lot of throwaway lines, like it just came out of his head! That's the beauty of his delivery."

Yet, so far as shock value of a film is concerned, towering over The Dirty Picture might well be Paa (2009), with Balan playing Amitabh Bachchan's mom: "[Before shoot] I kept chewing [director] Balki's brains to set up a reading with Mr Bachchan. Mother and son have a very physically comfortable relationship. I just can't hit him on the head, or instinctively pull his cheeks. You normally do that with a child. He is Amitabh Bachchan! We were shooting from Monday. Balki called me to Mr Bachchan's house for a look-test on Friday — to be [finally] followed by a reading. Abhishek [Bachchan, who plays the husband] and I were ready with our costumes, waiting for Mr Bachchan to emerge from the make-up room. When he came out, I told Balki, I don't need a reading. I saw a 13-year-old Auro. Something happened. I'm getting that same feeling [recalling the moment]!"

And these are generally the instinctive/immersive moments that Balan has managed to create, movie after movie. The last time we saw her on screen was as the math wiz Shakuntala Devi. The film had to drop online — instead of releasing in theatres — due to the pandemic. Her film before that Mission Mangal (2019), with a female ensemble cast, plus Akshay Kumar, had her headlining the act — surpassing Rs 200 crore, touching Rs 300 crore, at the box-office.

By all accounts, Shakuntala Devi was equally well-received on Amazon Prime, although nobody knows its viewership figure. Personally, what's the difference that she's discovered between success online, and in theatres?

She says, "The reactions come staggered — well after the date [the film drops]. With movies in theatres, after the first weekend, all conversations are centred on numbers. Also, unlike with Mission Mangal, where my character was fictionalised, Shakuntala Devi was a real person. And so, people read more and more about her, and kept getting back with responses."

To pick a few, I cite mythologist Devdutt Pattanaik, who argued in his mid-day column that Shakuntala Devi's husband actually being gay was conveniently/unfortunately touted as hoax in the film. Balan gently counters, "Shakuntala Devi's daughter [from whose perspective the film has been written, and who partnered on the project] has been very transparent talking about her mother. Why wouldn't she do the same with her father?"

Some people who'd actually met Shakuntala Devi had found her to be reserved, even if witty; rather than boisterous as Balan played the part in the picture: "Maybe they met her at a time when she was not very boisterous for whatever reasons. Maybe she was going through something, I don't know."

Also, there was a phony element of contestable astrology/numerology mixed with her skill with numbers that the film hardly touched upon — let alone debated — from Shakuntala Devi's life: "It is a two-hour film. We wanted to definitely focus on the maths, which is what got her worldwide recognition. The politics, astrology and all of that came much later in her life."

To be fair to Balan, who's not the film's writer, but as she puts it, "People will have various opinions, especially because it is a real person that we're talking about. And I respect that. But then, it would have been a different film. This is the film we chose to make!" Point taken. Possibly applies to a lot of arguments around biopics, actually.

Where Shakuntala Devi does follow a seamless narrative — a natural extension of sorts — is actually in Balan's own current filmography — if you also consider Tumhari Sulu (2017), right before Mission Mangal. What's common to these films — besides feminist subjects — are the roles of almost impossibly secure and sweet men by her side. Whether it's Shakuntala's husband Paritosh (Jisshu Sengupta), Tara's Sunil (Sanjay Kapoor) or Sulu's Ashok (Manav Kaul). There seems to be a feminist film in the Balan mould, developing into a sub-genre of its own. Or too soon to tell? "I think that is my world view. The men in my life have been the same. They have just accepted me and the women around for who they are. I feel that's where it comes from."

Really? No jerk boyfriends, ever? "Yeah, well, it's literally a rite of passage. Unless you go through… I'm trying not to use harsh rude words here. But you know, you have to sift through life to get the real deal!"

Maybe I'm just trying to locate/shame some douches of Chembur she grew up with! Or let's go back to my current Auro-like obsession: Why aren't there so many Bombay-born/bred superstars from outside Bollywood families? Could it be that Bambaiya Hindi is no good? Compare, say, Cyrus Broacha to Nawazuddin Siddiqui in a Hindi picture, if you may (no knock; just kidding Cyrus!).

Balan laughs. In her case, because she was clear she wanted to be an actor from a young age, she made sure her Hindi was perfect: "My parents have an accent, I don't." Besides, she can speak fluent Tamil, Malayalam, Telugu, Urdu, Bengali, English… What language does she think in? "In English. But on the set, at work, it's weird — only Hindi. I recently did a Telugu film (the NTR biopic), and I had to keep translating Telugu into Hindi in my head first."

If it wasn't for a string of bad luck, which ironically led her thereafter to be considered jinxed — having debuted opposite Mohanlal, and with around multiple Malayalam films signed up, on that account alone, Balan was once all set to kick off her career, between 2000-03, as a South Indian star. The Mohanlal movie, after being extensively shot, got shelved. All other producers backed off.

In the Tamil industry, Balan had been signed up by veteran K Balachander for two films. Subsequently, dropped from both. There were two other films that she got replaced from, after having shot for their first schedules. She also walked out of another, realising on the set, that it was a sex-comedy: "I got sued at 22!"

It reached a point that her parents landed up in Chennai at the office of one of the producers who had fired her. He simply remarked: "Just look at her; does she look like a heroine?" "For six months, I didn't look into the mirror. Broken, I once walked in the scorching heat from Nariman Point to Bandra, like a [revelatory] scene in a film — just to clear my head." That's 18 kilometres straight.

She did travel a much further distance, only few years later though. After Rajkumar Hirani's Lage Raho Munna Bhai (2006), she bumped into the same 'look at her face' producer at the airport, who right away offered her a film [opposite Kamal Haasan]. "I said sure, speak to my manager!" Kamal Haasan called later. She couldn't do the film: "My father felt a great sense of vindication. They've brought us up to feel the world's fair."

It rarely is. It also depends on how you look at it. Behind all the 'Miss Congeniality' exterior, if you observe her 15 years as a movie star, Balan comes across as one of the ballsiest in Bollywood. And yet never making a lamenting event of herself — almost disarmingly turning on its head the simplistic grammar/binary of victim and oppressor.

She's had a fair share of trolling — mainly body-shaming, style-policing online, and in the mainline press — a reason, I'm told, she rarely reads anything about herself. Whether any of this targeting has to do with groupism/favouritism, it's essential that this bullying aspect of the profession is being brought to light. As it has been, lately.

That's one of the reasons an old video-clip of her at a film-award show, being called out by hosts Shah Rukh Khan, Saif Ali Khan, for her tacky costume in the film Heyy Babyy (2007), started doing the rounds online. She looks visibly pissed in that moment. Such shows are typically scripted with celebs in the audience told in advance about what to expect for an impromptu engagement/act. Not the case?

"I'm a sport, and I was fine with it actually. But when I went there, I realised there were a couple of other contenders [for the worst dressed] award as well. They said they couldn't give it to them, because so-and-so, and the people around them, will get upset. I felt cheated and angry. I thought, now, that is a clear case of — and it didn't occur to me then, because I don't look at the world through that prism… I don't know, what is it called, nepotism?" Balan laughs.

Niharika Lal (BOMBAY TIMES; August 15, 2020)

Every Independence Day, movie buffs head to theatres to watch the latest releases. That’s why films released on I-Day have seen 80-90% occupancy. In the last 15-20 years, holiday weekends at the box office have usually been occupied by at least one major release, most often a patriotic film. However, this year, as cinemas remain shut due to the Coronavirus pandemic, exhibitors and distributors hope that by Diwali or the next national holiday, their businesses can resume.


INDEPENDENCE DAY RELEASES ENCASH EXTENDED WEEKEND
Advance bookings for I-Day releases, extended weekend and at least 75-80% occupancy are among the reasons why I-Day is one of the most profitable weekends for filmmakers. In the last two decades, from Chak De! India to Aarakshan, Ek Tha Tiger, Singham Returns to last year’s Batla House and Mission Mangal, several major films have released on or around Independence Day. Shaaminder Mallik, a distributor, says, “It’s not just one day, but the whole week between August 11-18 that films are scheduled, to benefit from the holiday. In fact, most of these releases perform well at the box office and have good collections.”

Usually, the slots for I-Day releases are booked a year in advance, with filmmakers and actors announcing the project and the release date. John Abraham, whose film Batla House released on Independence Day last year, said in a November 2019 interview that he feels the day belongs to him. Announcing his next, Attack, which was to be released on August 14, 2020, John had said, “I’ve come to believe that the day belongs to me, not just because it’s a national holiday, but also for the feeling it brings forth. Attack is an apt I-Day release, patriotic without being jingoistic.”


‘I-DAY HAS ALWAYS BEEN BIG FOR CINEMAS’
At a panel discussion on the reopening of cinemas in April, filmmaker Nikkhil Advani had said that he was optimistic that cinemas will reopen by August 15. Last month, before the announcement of Unlock 3.0, when we spoke to exhibitors, they, too, said they were expecting to reopen before I-Day. But that did not happen.

Akshaye Rathi, the Director of Saroj Cinemas, says, “August 15 is one of the most exciting release slots after Diwali. All of us in the film trade are missing the fire that we would usually witness on the I-Day weekend. It’s unfortunate that we are shut this year, but hopefully, that will change soon.”

Yogesh Raizada, Corporate Head, Wave Cinemas, says, “While August 15 is reserved for a single major release, last year, we had two movies — Batla House and Mission Mangal. I’ve been in this business for almost 30 years, and I remember that I-Day has always been a big day for cinemas. Every year, we would have over 80-90% bookings for I-Day. And with anticipated releases, such as a Salman Khan or an Akshay Kumar film, we would have 60-70% advance bookings. This year is a historic low for the industry, as theatres have never been shut on I-Day in the last 25-30 years.”

EXHIBITORS UNSURE IF BUSINESS WILL PICK UP BEFORE THE NEXT NATIONAL HOLIDAY
Exhibitors say that even if cinemas reopen, they are “unsure if they will be housefull even during the next national holiday.” They are not very hopeful about Diwali, while some are even unsure if business will pick up by January 26, 2021. Tinku Singh, Group President, SRS Cinemas, says, “Ticket bookings for I-Day releases are usually high because of the holiday. And, with Raksha Bandhan and Janmashtami falling around August 15 every year, an I-Day release would usually mean a weekend release. Cinemas have special pricing for such profitable weekends, but this year, the box office has been shut. Back in April-May, we didn’t expect that we won’t be operational even in August. Now, I don’t know if we’ll even reopen by January 26 next year.”

With inputs from Rachana Dubey

Kirti Kulhari on her decade-long journey in showbiz; says she’s open to working in sequel of her debut, Khichdi
Akash Bhatnagar (MUMBAI MIRROR; June 20, 2020)

Kirti Kulhari entered films with Khichdi: The Movie in 2010, but it was six years later, that she hit pay dirt with Pink. “I could have easily vanished but I am glad I didn’t submit to norms and survived,” she asserts while taking stock of a decade in showbiz.

Kirti was a known face in the ad world before acting happened and informs that she got her first two films — Khichdi and Shaitan — simultaneously. “Even their dates clashed, but fortunately, Shaitan got pushed by six-seven months,” she recalls, adding that Khichdi defied her expectations. “Playing a dumb girl was liberating. I have watched the film at least 10 times in theatres. I loved how people would go berserk over anything we did on screen.”

Actor-producer J D Majethia recently told Mirror (April 25) that he is looking at different platforms to take the Khichdi franchise forward. Will she be in it? “J D and Aatish (Kapadia, director) live in the same society as me. Whenever I bump into them, I tell them to make a sequel. They even wrote something, but it didn’t work out. It’s been 10 years, the audience has evolved with time. If it happens, I’d want to be a part of it,” she says.

Kirti has gravitated towards more intense roles with Pink, Indu Sarkar, Uri: The Surgical Strike and Mission Mangal. “I’d always wanted to do something that would make a difference and followed that instinct. Now, I want to explore. I love romcoms and I’m ready to do one,” she avers.

Kirti had a good run last year with the Vicky Kaushal-led Uri and Mission Mangal, featuring Akshay Kumar, Vidya Balan, Taapsee Pannu and Sonakshi Sinha, among others. She’s ready to do more multistarrers. “I can work with 100 actors, but they should have the right attitude towards work and not focus on who they are. I like to work in a state of equality,” she says.

Next up for Kirti is the Parineeti Chopra-starrer The Girl On The Train remake, in which she plays a cop. The film was to release on May 8 but was deferred in the wake of the Coronavirus outbreak. The actress is unfazed, choosing to talk about her character instead, which is different from the original (the 2016 Hollywood film led by Emily Blunt) and has been developed further. “It’s a parallel lead now. My look is something that has never been seen in Indian cinema. It will be a talking point,” she promises.

She is all praise for her co-star, saying, “Parineeti is a bubbly girl who enjoys what she is doing with who she is around. She was simultaneously preparing for the Saina Nehwal biopic, which pushed her out of her comfort zone. We planned to play badminton together so many times, but it never happened.”

And what is her takeaway from the three-month lockdown? “That all we need is a life of minimalism. Also, the idea of planning ahead is pointless,” she notes.

There final classifications of 2019 were as follows as the year delivered 19 HIT films and nine of them of being major HITS. There were further six successful films and then two Below Average films. The year was dominated by Akshay Kumar with three of the top six hits belonging to him.

There was an ALL TIME BLOCKBUSTER film in 2019 also but that came from Hollywood with AVENGERS: ENDGAME. However, despite doing 363 crore nett business, the footfalls of KABIR SINGH were still more than AVENGERS: ENDGAME. KABIR SINGH and WAR were the only films to go over 2 crore footfalls and no film even came close to 3 crore.

The final classifications of films released in 2019 with distributor shares in brackets are as follows.

All Time Blockbuster 
-

Super Blockbuster
1. Kabir Singh (135 crore)

Blockbuster
2. War (151 crore)
3. Uri: The Surgical Strike (101 crore)

Super Hit
4. Housefull 4 (104 crore)
5. Good Newwz (96 crore)
6. Mission Mangal (94 crore)
7. Chhichhore (66.50 crore)
8. Dream Girl (65 crore)
9. Bala (50.50 crore)

Hit
10. Saaho (Hindi) (77 crore)
11. Total Dhamaal (75 crore)
12. Kesari (74 crore)
13. Super 30 (70 crore)
14. Gully Boy (66 crore)
15. Batla House (41.75 crore)
16. Luka Chuppi (41.50 crore)
17. Badla (39.50 crore)
18. Pati Patni Aur Woh (37 crore)
19. Article 15 (28.50 crore)

Semi Hit
20. Bharat (102 crore)
21. De De Pyaar De (44 crore)
22. Mardaani 2 (21.75 crore)

Average
23. Manikarnka - The Queen Of Jhansi (43 crore)
24. The Accidental Prime Minister (11.25 crore)
25. The Tashkent Files (5.50 crore)

Below Average
26. Student Of The Year 2 (32 crore)
27. Marjaavaan (22 crore)

Titas Chowdhury (HINDUSTAN TIMES; March 14, 2020)

For Kirti Kulhari, stories that are rooted in reality, and based on real life events strike a deeper chord more than fictional narratives. Last year, the actor featured in Uri: The Surgical Strike, a film based on India’s surgical strike against Pakistan, and Mission Mangal based on India’s first interplanetary expedition. She believes it’s easier to connect with the audience with a story that is inspired from a true event. “I personally get very attracted to films and series that are based on true life events. As an actor, I’ve realised that reality is stranger than fiction and I think that is what fascinates me. Reality is actually so much stranger than whatever one can imagine, think or create in terms of fiction and I love that aspect,” she explains.

Kulhari says that as an actor, working in a film based on real events helps her connect to her character better. “When you know it has happened for real, it inspires you so much more because a part of you believes that something like this is possible and it’s not a figment of someone’s imagination. It makes it more relatable. It makes you believe that the human spirit is strong and it can do and create so much if all energies are in the right direction,” she says stressing on the increasing number of films being made on real stories.

The Indu Sarkar (2017) actor says that doing such films has never been a conscious decision. “For the actor in me, a story is a story, but I do get biased towards real life stories. I’ve never thought of creating a balance between fact and fiction while working in such films. There’s nothing very fictional about telling human stories. (Even in a fiction), the characters that you play are around you and the things that happen to them have happened to different people at different points of time,” Kulhari says.

Striking a fine balance between reality and dramatisation is no mean feat for filmmakers
Titas Chowdhury (HINDUSTAN TIMES; February 27, 2020)

Reality never fails to fascinate Bollywood. Last year, a number of stories such as Uri: the Surgical Strike, Mission Mangal, Gully Boy, India’s Most Wanted, Article 15, Batla House and The Sky Is Pink were rooted in reality. A similar trend is noticed in the web space. Series based on real events such as Delhi Crime, Rangbaaz, Jamtara – Sabka Number Aayega, Kaafir and The Forgotten Army are being talked about.

Among the movies released this year, Chhapaak (inspired by the life of an acid attack survivor), Tanhaji: The Unsung Warrior (based on the life of Tanaji Malusare, a military assistant of Maratha King Chhatrapati Shivaji) and Shikara (based on the exodus of Kashmiri Pandits from the valley), stirred the fact versus fiction debate once again. We have a number of reality based movies set for release later in the year. The extent to which creative liberties can be taken becomes the core of the discussions, as there’s always the fear of hurting the sentiments of communities and families of the subjects involved.

Nikkhil Advani, who directed Batla House and has shot for a web series based on 26/11 attacks, says it’s an “everyday battle” for filmmakers to find a balance between facts and taking creative licenses. “I find my inspiration in such stories. Fact is stranger than fiction, which allows the filmmaker in me to do a lot of research. The biggest challenge is to maintain a balance. Bollywood is a dramatic genre, especially when you’re working within the mainstream space. There’s a responsibility to be true to the story and due approvals are needed from the person and their family. We can’t push the envelope too much,” he says.

Sanjay Gupta, who wrote Shootout At Lokhandwala (2007) and is now directing Mumbai Saga, the story of Bombay becoming Mumbai, shares, “My obsession with real life stories started with Shootout At Lokhandwala. We have such amazing incidents in our own city which need to be told. As a filmmaker, my process is to first collect the material which includes speaking to the people and their family and do an extensive research which is turned into a screenplay,” he says. The filmmaker adds that one needs to stay true to the incident and also make it entertaining, or else it will turn into a documentary. “When we say ‘entertaining’, it doesn’t mean adding comic sequences or songs, it’s about taking certain creative liberties within the given parameters,” he says.

Director Hansal Mehta just wrapped up shooting for a web series titled Scam 1992, based on financial crimes that took place in the 1990s and 2000s. “Within the boundaries of time and cinematic language, we have to convey the essence of the characters and their journeys. A filmmaker imagines his version of a story based on available resources. While writing a script, I think what the story and the characters mean to me at a personal level. With different stories, there are different kinds of accuracies that one want to achieve,” he explains.

Actor Ajay Devgn, who’ll be seen in Bhuj: The Pride Of India, based on the reconstruction of the IAF airbase with the help of local women, believes that sources often lack information and thus the responsibility lies with the makers. “It’s tough to tread that thin line of realism, justify the characters and still be imaginative enough to dramatise the characters ,” he says. Filmmaker Meghna Gulzar, known for Talvar (2015), Raazi (2018) and Chhapaak, says, “I don’t take creative liberties and my films are proof of that. If a need is felt to make a film more cinematic, we play around with the timeline of the events and not make it chronological. You can add dimensions to a character without distorting the essence of their personality. There’s always an essence of reality in our films, books and literature.” Gulzar, who is busy with a project based on Field Marshal Sam Manekshaw, adds, “It isn’t a biopic strictly in the sense of the term. It’s like a take on the life and the times of Sam Manekshaw.”

Actor Kirti Kulhari, who was seen in Uri and Mission Mangal, believes there is nothing fictional about telling human stories. “I do projects that are kind of real, or based on human relationships,” she says.

List of upcoming Bollywood films:
- Bhuj: The Pride Of India
- Attack
- The Big Bull
- Mumbai Saga
- Bell Bottom

List of upcoming web series:
- Nikkhil Advani’s web show on 26/11 attacks
- Scam 1992
- Konkona Sen Sharma’s web show on Arati Das

Sonakshi Sinha, who has been working non-stop for nine years, has now decided to do ‘one thing at a time’; says she’s excited about her digital debut
Kavita Awaasthi (HINDUSTAN TIMES; February 17, 2020)

After nine years as an actor in Bollywood, Sonakshi Sinha has changed a lot. Though she admits that she loves to “work non-stop” and is super dedicated to what she does. Sonakshi also insists that she doesn’t want to burn out. Therefore, the actor has decided that this year on, she will only work on one project at a time. In an interview, Sonakshi talks about her digital debut with a thriller, why she needs to not be “low-key” and why she prefers her work to speak for her. Excerpts:

What made you decide to do a web show?
After the stellar year I have had with four releases [Kalank, Khandaani Shafakhana, Mission Mangal, Dabangg 3] last year, I wanted to take up something only if it blew my mind, and this web show did that. It challenges me, and the story is thrilling. I didn’t have to think twice before taking it up. Plus, director Reema Kagti is so clear about her vision, and it’s a pleasure to be directed by her.

You recently learned to ride a bike for the same show. How has that experience been?
Wonderful. I have always wanted to learn how to ride, but with work being so hectic, and it being a little difficult to do so on the Mumbai streets, I never got a chance to ride a bike until now. My teachers, Sheetal and Shubhangi from a riding school are cool biker girls and taught me well. I have always liked bikes, but now that I know how to ride — I love them! Although, I am not a fan of speeding, just being on a bike is an exhilarating feeling.

What is that one thing that attracts mainstream actors like you to a digital show?
The content. I am hooked to watching shows on various OTT platforms, and I strongly believe their content is way better than most films today. And, as an actor, at the end of the day, I am only looking for things that will challenge me. I will always be an actor first — whether I choose to do films, digital shows, television or theatre. They are just mediums. I am not leaving cinema at all, just trying something new.

This year, you will complete 10 years in showbiz. How do you feel your career has panned out?
Recently, a survey revealed that I am the only actress who debuted in 2010s and has been a part of films that have collected ₹1,500 crores at the box office since then. It’s safe to say that my career panned out really well. I think I am a very hard working person. I have been super dedicated to my work and that has really paid off. I believe in keeping my head down and working hard. I have worked non-stop for the past nine years and this year, I have taken a step back and decided to do one thing at a time. It’s important not to burn out, I still think I have a long way to go. I’d rather let my work speak for myself, but having said that, I could work on my PR skills... I am too low-key for this business.

The year 2019 turned out to be pretty decent with the top twenty five films collecting 3600 crore nett plus as compared to 3000 crore nett last year. But a lot is to do with lower GST in 2019 as the GROSS numbers are 4250 crore compared to 3850 crore in 2018. There is a 20% difference in NETT numbers which would be a good result if all things were equal but in actual terms the difference is 10% as in GROSS numbers, all is equal. The 10% growth is roughly how much ticket rates grew in 2019.

The biggest grosser of the year was WAR (Hindi) grossing 292 crore nett but the biggest HIT was KABIR SINGH. It was the universal blockbuster of the year which did equally well in all parts of India. It also had the highest footfalls of the year as it was released outside holiday periods on normal ticket rates. WAR and URI were also BLOCKBUSTERS but could have done better in the Central India markets where there performance was lower as compared to other areas. The other film to top 200 crore nett HOUSEFULL 4 could have done better in North.

No film got close to 3 crore footfalls which tells there was no really huge BLOCKBUSTER. In fact the last 3 crore footfall film was TIGER ZINDA HAI in 2017 though PADMAAVAT may have got there if it had released all over. Only two Hindi films - KABIR SINGH and WAR - managed to get more than 2 crore footfalls and the third film was AVENGERS: ENDGAME from Hollywood. SAAHO also manged it in all formats and if we take all formats into consideration then this film had the most footfalls of any film in India last year at 2.60 crore.

The ranking of the top films in terms of NETT collections are as follows and these twenty stand above the rest as the 26th film is under 50 crore nett. The GROSS collections may change the positions a little as there is state levy and higher service charges in some states and if films have a higher ratio coming from these areas then it changes the NETT to GROSS ratio.

1. War (Hindi) - 2,92,71,50,000
2 Kabir Singh - 2,76,34,00,000
3. Uri: The Surgical Strike - 2,44,00,50,000
4. Housefull 4 - 2,05,60,50,000
5 Bharat - 1,97,34,50,000
6. Good Newwz - 1,95,78,00,000 (35 days)
7. Mission Mangal - 1,92,67,00,000
8. Kesari - 1,51,87,50,000
9. Total Dhamaal - 1,50,07,50,000
10. Saaho (Hindi) - 1,48,84,00,000
11. Chhichhore - 1,47,32,50,000
12. Super 30 - 1,47,00,00,000
13. Dream Girl - 1,39,37,00,000
14. Dabangg 3 (Hindi) - 1,34,79,00,000
15. Gully Boy - 1,34,21,50,000
16, Bala -1,10,97,50,000
17. De De Pyaar De - 94,50,00,000
18. Manikarnika - The Queen Of Jhansi (Hindi) - 90,81,00,000
19. Luka Chuppi - 88,50,50,000
20. Badla - 87,56,00,000
21. Batla House - 84,99,50,000
22. Pati Patni Aur Woh - 80,41,00,000
23. Kalank - 80,03,50,000
24. Student Of The Year 2 - 65,70,50,000
25. Article 15 - 65,17,50,000

NOTE - Good Newwz is still running in week six but will not change the rankings as it has only 25-50 lakh more to come

R Balki makes an assurance after his Mission Mangal director, Jagan Shakti, underwent surgery for a clot in the brain
Himesh Mankad (MUMBAI MIRROR; January 28, 2020)

Jagan Shakti, who made his directorial debut with the Akshay Kumar-fronted Mission Mangal , was admitted to Kokilaben Hospital on Saturday after he collapsed while socialising with friends in the city. A clot in his brain was detected and Jagan underwent surgery on Monday. His mentor, R Balki, who produced his debut film confirmed the news. “Jagan is doing well post the surgery and there is nothing to worry about now,” he was quick to add.

Mission Mangal was inspired by ISRO’s Mars Orbiter Mission and featured Vidya Balan, Taapsee Pannu, Sonakshi Sinha, Kirti Kulhari, Nithya Menen, Sharman Joshi and Dalip Tahil as scientists working on the project. Dalip admitted he was shocked when he heard the news and wishing the director a speedy recovery, promising to visit as soon as the hospital permits. “I heard Akshay was among the first to know and got Jagan admitted, taking charge of things,” he said.

“I heard Akshay was among the first to know. He got Jagan admitted to hospital and took charge of things,” says Dalip Tahil.

Sanjay Kapoor, who played Vidya Balan’s husband in the film was equally shocked. “He is such a fit guy. I’m praying for his speedy recovery,” the actor asserted.

Jagan was gearing up to kick off his next, Ikka, the official Hindi remake of the Tamil hit, Kaththi.

Akshay Kumar has had a historic year which and is by far the star of the year with no other actor even in sight. The records have tumbled in 2019 with a cumulative total of the for Akshay Kumar starrers to be in the region of 750 crore nett and worldwide it will be the first time ever that an actor will cross 1000 crore.

It does not stop there as the domination continued on satellite as HOUSEFULL 4, 2.0 (Hindi) and KESARI all took openings which placed them in the top ten of all time on release. HOUSEFULL 4 became that very rare film to top 2 crore impressions on first screening.

There have been many times that an actor has givev 3 hits in a year but there is a big difference between 3 and 4 as that 4 is a rarity in history. Today most actors cant even manage to have four releases let alone 4 HITS. This is where most actors get it wrong as the fact is there are no MUGHAL-E-AZAM, SHOLAY or BAAHUBALIs being made in the Hindi film industry which need 200 or 300 days to shoot. So its very difficult to understand how actors have just one or two release a year. Hardly any Hindi films have any real cinematic value today and on average are 50-60 days shoots and there are 365 days in a year.

This is where Akshay Kumar has scored over all the other actors in recent times as most of the others have gone into that zone of less work which puts pressure on the films for big numbers. But as Akshay Kumar has more films, there is not the pressure of doing 200 crore nett or 300 crore nett each time and he can even get away with a 100 crore nett film as long as the others do the better numbers.

There is no actor even in sight in 2019 after Akshay Kumar as the gap is so big. The next best is probably Hrithik Roshan but even there WAR  was a two hero film and the credit goes 50-50 with Tiger Shroff. But the edge for the year has gone to Hrithik Roshan as his other release SUPER 30 did better than Tiger Shroff's other release STUDENT OF THE YEAR 2.

The other actor in contention for second spot is Ayushmann Khurana with two solo SUPER HIT films DREAM GIRL and BALA. But its actually a fight for 11th spot between Hrithik Roshan and Ayushmann Khurana as Akshay Kumar is actually 1-10 as far as 2019 goes. The records for Akshay Kumar in 2019 are as follows.

India Theatrical
Kesari - 151.87 crore
Mission Mangal - 192.67  crore
Housefull 4 - 205.60 crore
Good Newwz - 200 crore (expected)
TOTAL - 750.14 crore (The previous best was 510 crore by Salman Khan in 2015)

Worldwide Theatrical
Kesari - 203 crore
Mission Mangal - 277 crore
Housefull 4 - 293 crore
Good Newwz - 305 crore (expected)
TOTAL - 1078 crore (The first time that the 1000 crore mark has been broken and its unlikely to be broken many times. The previous best was 968 crore by Salman Khan in 2015)

Actors To Give 4 or more HITS In A Year
Dharmendra (1966, 1970, 1972, 1973, 1987)
Rajesh Khanna (1970, 1971)
Amitabh Bachchan (1977, 1978, 1981)
Akshay Kumar (1994, 2019)
Not much to say here as the other names means you are with the greats of all time and its very unlikely any contemporary of Akshay Kumar or a younger actor will join this elite list while Akshay Kumar may add another year. As mentioned above 3 HITS in a year happens but 4 is a rarity.

Television Ratings
2.0 (Hindi) - 1,65,13,000
Kesari - 1,56,66,000
Mission Mangal - 56,96,000
Housefull 4 - 2,15,42,000
TOTAL - 5,94,17,000 (Almost 6 crore impressions in television premieres in one year which is an insane number and could have been higher if Mission Mangal worked on television. Despite this it will be a huge record for anyone to break.)

The figures say it all and its a phenomenal year from all angles and there will be chances of a repeat next year

After experiencing another fulfilling year, Akshay Kumar says he still follows only his heart; adds even now, he has the ‘same hunger and greed’ to do quality work
Prashant Singh (HINDUSTAN TIMES; December 30, 2019)

In 2017 and 2018, he had three releases. Although the number went up to four this year, what remained unchanged was Akshay Kumar’s hit ratio, as Kesari, Mission Mangal and Housefull 4 hit the bull’s eye even as Good Newwz opens on a very strong note. “I still feel nervous [before a new film’s release] and there’s a bit of anxiety, too, regarding what is going to happen. So, there’s some stress as well and always a small prayer for everything to go well,” says Akshay, as he readies for Sooryavanshi, Laxmmi Bomb, Bachchan Pandey and Prithviraj next year. Excerpts:

Like the past few years, you had multiple hits in 2019 as well.
For me, personally, it [the year] was the same [like any other]. Sometimes, four out of four films work. And at other times, the numbers fluctuate as well. Bas darr lagta hai kahin chaar mein kabhi zero naa ho jaaye (laughs).

After having achieved so much success, fame and money, has your definition of success and failure changed?
For me, the meaning of both the things still remain the same as it always was. It hasn’t changed even one degree. Even now, there’s the same hunger, greed for good work, and also a bit of insecurity. And it’s always revolving in my head. I guess, that’s what keeps me on my toes all the time, ke badhiya kaam karna hai aur mehnat karni hai.

In 2020, too, your filmography looks diverse and dissimilar. Is there any method behind the madness?
There’s no method behind the madness or astute planning as such. There’s only heart involved in it, and not the head. Dil se karta hoon jo bhi karta hoon. And by God’s grace, everything works out in a beautiful manner. Dil se jab aap kaam karte ho toh tukka bhi kabhi sahi baith jaata hai aur kabhi nahi baithta. I have always — from the start — worked from my heart. I also gave 16 flops so at that time, tukka, too, didn’t work. But I didn’t stop, and kept following my heart.

Many feel that your career took a new turn with Special 26 (2013). Now, as we get ready to enter 2020, do you feel it’s time for a redefinition?
According to me, the correct term isn’t ‘redefinition’. I want to keep deconstructing myself. Pehle banao phir todo, and that process should go on. The mantra is not to rely on the same construction. It’s just like the game [building blocks and construction sets] that kids play of constant construction and deconstruction.

Of late, most of your films seem to carry a message about some or the other issue…
Not really! What was the issue that we addressed in Housefull 4? There’s no ‘issue’ in Sooryavanshi. And which ‘issue’ are we addressing in Laxmmi Bomb. Aisa nahi hota; it’s not about the issue. It all depends on what’s the script like. If you like the script and screenplay, then you do it. Sometimes, you also encounter risky scripts. But if you are ready to take that leap of faith, then you should go ahead. My question is: ‘audience is ready, are you [as an actor]?’ If you are ready, then you convince the audience. Aap khud hi tayyar nahi ho, ya dar rahe ho, then how will you do it?

Now, as you get great reviews for your outing in Good Newwz — after the success of Housefull 4 — you seem to be always ready to play around with your comic avatar…
I love comedies. Vis-à-vis Housefull 4, I was absolutely ready for a slapstick comedy. I know a lot of critics panned it but I believe in slapstick [comedy] also because I know it has a separate audience. Uske liye main bhi tayyar tha. I did that film, including the song, Bala with absolute conviction, even though I knew that it’s foolish comedy because I know aise thode hi hota hai. It’s senseless for sure, but at the same time, it is fun too and also has a fan base. And you have to cater to everyone. Good Newwz, in comparison, has situational comedy because the incident happened in real life. It has been taken from a real incident and that’s one of the reasons why I took it up.

Recently, you also said that big names work with you only as a producer and not director…
I said it in jest but actually, that’s the reality (laughs).

At this stage, do you ever feel the pressure of the fact that so many people in the movie business – from exhibitors/distributors to spot boys – also depend/benefit from your films?
Main uss wajah se pressure nahi leta but pressure leta hoon ke bas film chal jaaye so that mera agla saal theek-thaak, acche se nikal jaayega. That’s the major pressure. See, [Hindi] film’s productions won’t stop. Logon ko kaam milna bandh nahi hona hai. If one Akshay Kumar goes away, there will still be 50 other films that would get made. On an average, 180 films are made every year, in Hindi. If I am not there, only four less films will get made. Baaki 176 toh phir bhi banti rahengi.

For the past few years, you have steadily maintained your work pace. Doesn’t it require a lot of effort from you?
Effort? Not at all! Do you know how long do I take to complete a film? Good Newwz, for instance, was completed in 32 days. Even if I take 40 days and multiply it by four films, it works out to 160 days. Out of 365 days, take out 160 days, and you are still left with almost 200 days. What would I do in those 200 days? I can maybe, do four more films (laughs) and still, would be left with 40 days. I am only talking about myself and not commenting about how other actors are working. But even a director like Shankar made 2.0 with me in just 38 days.

Clearly, you have developed some sort of a working system over the years…
It’s not about system. It’s all about the fact that you shouldn’t waste any time. If you [the lead star] come on time, the entire unit will also be on time. When you come late, everyone is like, ‘kya faayda, woh toh late aayega.’ So, you come late and then heroine too does the same and then other artistes also follow suit. Jahaan din mein teen scene shoot hone the, wahaan ek scene hota hai. Due to that, 40 din ka 120 din ho jaata hai. In Good Newwz, neither Kareena [Kapoor Khan] nor Kiara [Advani] worked for more than five to six hours. You don’t need more than 50 to 55 days for filmmaking, regardless of how big a film you are making. Tom Cruise took 55 days to complete Mission: Impossible. Usse bhi badi film bana rahe ho kya! It’s one of the most amazing action films ever. I feel if you do proper homework, then you can work very fast.

In Good Newwz, you teamed up with Kareena Kapoor Khan after many years. Do such castings help since you already know the other person?
I don’t know if it matters a lot because I have also worked with 18-19 new heroines in my career. It all depends on how you make a co-star feel or how comfortable and easy you make the other person feel. You should just be yourself and don’t get too attached to your stardom. I feel your stardom can be your own enemy as well. Maintain some distance from it and then, you can make everyone feel comfortable. That’s how you work with new directors and heroines as well.

You team up a lot with new directors, including the Good Newwz helmer, Raj Mehta. Do you find experienced ones boring, or is there another reason?
No, I don’t find the experienced ones boring (smiles). I just feel that new directors bring in fresh energy and plus, they have a lot of hunger, too. It’s a do-or-die situation for them. If I come across any good story/script from the experienced filmmakers and if they have the same hunger, I would readily work with them. If a good director – regardless of the experience – has great energy, why wouldn’t I team up with him/her?