There have been many disaster films in Hindi cinema since the Sohrab Modi film JHANSI KI RANI in 1953 which was the first film to lose a huge amount of money. The film only lost 30 lakh but at that time there were hardly any films made on a budget of 30 lakhs and it was a huge amount for that time. 

There are two ways at looking at disasters - one is the amount of money they lose and then there are complete washout films which just tank but sometimes they do not lose the most money as the budgets are lower and many times there is decent recovery from non theatrical revenue against the budget.

These washouts would include films like RAM GOPAL VARMA KI AAG (2007), DRONA (2008),  KHELEIN HUM JEE JAAN SEY (2010), ZANJEER (2013), BOMBAY VELVET (2015)  MIRZYA (2015), FITOOR (2016), RANGOON (2017) among others. '83 does not come in this list as its not what you call a washout but more of a rejected film. The washout films are the ones where the public just does not care for these films and don't even give them a chance.

Below is a list of the top five losers in Hindi cinema and these are the films to have lost 50 crore or more but only one of these films is a disaster and a washout also and that is BOMBAY VELVET. The others are also disasters due to heavy losses but they are rejected films and not washouts. The number in brackets is the loss of the film. The washout result of BOMBAY VELVET can be seen by the footfalls against the other films. ZERO will remain with the highest footfalls of these films as its likely that '83 will not even reach the level of MOHENJO DARO.

1. '83 (80 cr)

Footfalls - 52 lakhs apprx (2 weeks)

2. Bombay Velvet (70 cr)

Footfalls - 22.24 lakhs

3. Zero (70 cr) (on valued SRK remuneration)

Footfalls - 68.74 lakhs

4. Mohenjo Daro (55 cr)

Footfalls - 60.17 lakhs

5. Jagga Jasoos (50 cr)

Footfalls - 49.74 lakhs

Madhureeta Mukherjee (BOMBAY TIMES; December 5, 2019)

With every film, he walks down a tough path and makes tough choices. He goes back in time, blows the dust off the thick pages of history, revisits untold stories and then, creates a cinematic spectacle of it. But every subject, however challenging, has a driving force. Like for the upcoming historical war drama Panipat, what intrigued Ashutosh Gowariker was that the Marathas were defeated in the battle, but “there was a certain spirit in that entire journey, which can’t be ignored.” Yes, his films have often been mired in controversy, but it is his unbridled passion and honest intent towards the story at hand that’s helped him battle the outside forces. Finally, he believes what matters is that a film must go down in history and stand the test of time. Excerpts from a conversation with the nuanced storyteller…

Your films are clearly driven by a certain deeprooted belief, for instance Jodhaa Akbar (2008) threw light on the subject of religious harmony, and Swades (2004) brought about the feeling of nationalism. What is the inspiration behind making a film based on the Third Battle of Panipat, one of the most significant battles of the 18th century?
The idea came from the fact that back then, we were not united, and centuries later, today, we are still asking ourselves, ‘Are we united?’ This battle happened in the 18th century, but it is relevant even in today’s times. We feel oneness and feel good about the emotion of being united. We get united when there is a cricket match against neighbouring countries, but honestly, are we really united? Panipat was the battle that we lost, but what exactly happened then and why did we lose? When I started probing, I realised that there is a huge story here. The Peshwas travelled 1,000 km up north (from Pune) to stop the invaders. They were not going to Panipat, but then a cat-and-mouse chase happened along the Yamuna river, they went up north via Mathura, Agra and other cities and finally to Delhi. And then, while they were going to Punjab, they were intercepted, and the battle happened. So, what was this journey all about and how were they going to amass such a huge army? Whenever we look at a story of defeat, we are not as interested in it. When do we want to see a cricket match that we have lost? We like talking about our victories. Hence, this story intrigued me because even if we were defeated, there was a certain spirit in that entire battle and the journey, which can’t be ignored. My motivation came from that place; I wanted to capture that spirit. I wanted the audience to get a cinematic version of the most important battle of the 18th century.

There are so many layers to such an epic story and so many characters. The dynamics of that era was also complex — that is a lot to incorporate in one movie...
Yes, a huge number of characters are involved in the story. They were the movers and shakers of those times. Also, it consisted of people from all backgrounds — Hindus, Muslims, people from different castes, farmers and others. So, who gave support and who did not, was all an outcome of the political situation and the geographical location of who was placed in which territory. The relationships amongst the kingdoms were fragile and depended on many such factors. I have explored that, too, in the film.

While the audience is often divided over the way history is portrayed in cinema, I am sure that if you interact with various historians on a particular subject, you, too, would face a dilemma. Does your film take views from various experts in the field, or have you derived and relied on information and facts from a single source?
I have yet to come across two historians who agree on something. They write an account, analyse each other’s work and disagree on several things. Here, I am just a filmmaker, trying to show a historical story on screen. I am not creating another account from another perspective. I feel the need to draw my information from the earliest account that is available to us. In this case, my reference point was historian T S Shejwalkar, who wrote the book, Panipat 1761. He wrote specifically about this battle. I have created my screenplay from the way it has been narrated in his book. There is another Pune-based historian, Pandurang Balkawade. I took him on board officially for the film, for inputs on various matters.

Your choice of casting is always well-thought-through, like Hrithik Roshan and Aishwarya Rai Bachchan for Jodhaa Akbar — they both looked gorgeous and regal. How did you zero in on the cast of Panipat — Arjun as Sadashivrao Bhau, Sanjay Dutt as Ahmad Shah Abdali and Kriti as Parvatibai?
They were absolutely my first choice, and this is the first time I got my first choice of cast (laughs!). When you get your first choice, it cuts down your waiting period, because when you don’t get an actor you want, you have to pitch it to someone else, and then, it’s a long wait for many months. For Sadashivrao Bhau, I wanted someone with a big built and someone who can make you believe that he has great force and strength. I zeroed in on Kriti as she looked so Maharashtrian and is such a detailed actress. Sanjay Dutt is someone who has gone into another league, and sometimes, just his presence is enough. You put him in a specific look and make him stand there – you feel this is the character. It was great that all three of them consented right away when I offered them this film. I always think that as a writer or director, I can create only 50% of a character, it is the blend of my character sketch and the persona of the actor that finally comes alive on screen.

Lagaan (2001) changed the course of your career. After that, has there always been immense pressure to raise the bar higher and higher?
I have not thought about a previous film as a burden. I’d like to think that every new film that I do comes with challenges of its own. I have to de-strap myself from other trappings and approach every film with new vigour. If I have the attitude of having been there and done that, I think I might lose a certain charm of making every film with a fresh approach. In Jodhaa Akbar, I shot two battles, but Panipat demands something else. Unless I detach myself from my previous work, I can’t move on to take on the next challenge.

How often do you go back and view your films scene by scene? How critical are you of your work?
I am very critical of my work and I like to keep revisiting my films. If I look at my film after five years and feel embarrassed about it, that means the film hasn’t stood the test of time. I think a good film is one that stands the test of time.

You have given us some fine and unforgettable films like Lagaan, Swades and Jodhaa Akbar, but when an ambitious film like Mohenjo Daro (2016) goes unappreciated, and the audience does not connect with your vision, does it throw you off? What do you tell yourself?
I tell myself, ‘What were you thinking??? (Laughs!). When a film does not work, there could be many, many reasons for it. Everyone could cite a different reason, but the truth is, in this case, it was the script. Everything emanates from the script — every decision you make, and every character motivation comes from it. If the audience has not engaged with the film, it is because the script failed to engage them. There are so many times we see a film that has been made shoddily, but it turns out to be a big hit. The reason is, technique was unimportant in that film, the audience connected with the storytelling and felt for the characters. For me, Mohenjo Daro is still a nice film where we created a different world, but the script could have been emotionally more powerful and that is what it lacked.

So, you do believe in the audience’s opinion, point of view and feedback, and take it seriously as a filmmaker?
For me, the audience is always right. It is also because I am always right. When I watch a film as an audience, I am ruthless. The filmmaker must have spent 200 days shooting it and a lot of money in putting it together, but if the film does not work for me, I will say that I didn’t like it. If I can react like that, even the audience has the right to do it. They are not concerned about my hardships, or how many days of hunger I went through, all they want to know is, film acchi hai ki nahin.

Talking about battles, your films have had their own share of battles. You have got flak from some quarters for apparent misrepresentation of facts in Jodhaa Akbar and then again, in Mohenjo Daro. It is always a tightrope walk when you are making a film based on historical facts, right?
Let’s look at Sir Richard Attenborough’s film Gandhi (made in 1982). Sir Ben Kingsley, who played the titular role, resembles Mahatma Gandhi in no way. But we have no trouble with that because of the way it is addressed and the way the story is narrated. After a point, we start believing that he is the Mahatma. If you compare him with the pictures of Gandhi, it’s not slightly different, it is starkly different. Another example is the film Sanju (2018). It did not matter to us that Paresh Rawal was playing Dutt saab, because Raju (director Rajkumar Hirani) was capturing the essence of Dutt saab through Paresh Rawal and the essence of Sanjay Dutt through Ranbir Kapoor. In a historical film, too, I feel that you have to capture the essence of that period and recreate it in the most authentic way possible.

How much leeway does a filmmaker give himself for creative interpretation in a film based on history?
Every filmmaker has his own censor, his own degree of variants of what he wants to show, where he wants to jump, and where he wants to be more stringent with facts. These are the choices that you have to make while writing the screenplay. For me, authenticity and realism are very important. Yes, I have some drama in my films, like I will have a scene like ‘namak kum hai’ in Jodhaa Abkar, which is not part of history. Those embellishments are important as that will keep the audience entertained, but authenticity still remains important.

Responding to various trolls post the trailer launch of Panipat, Arjun said, “It is unfair to crack jokes on historical characters, on martyrs. We should not forget the sacrifice that these men made.” How do you react to these trolls?
I believe that trolling is an art form. I feel that the trolls are thrown artistically at you; they use choicest of words and abuses, and draw sharpest of parallels with something or the other. Trolling is like a full-time job, and so, we have to take it in our stride. I wonder how some people can have so much venom, anger and hatred in them, and they purge all that through their trolls.

Reportedly, the Afghan Embassy to India, in a letter to the MEA (Ministry of External Affairs), expressed concerns over the contents of your movie with regards to the portrayal of Ahmad Shah Abdali, who led the Afghan army in the Battle of Panipat. Have they reached out to you and what is your response to it?
I think that Abdali was a great military strategist, and he is the father of the nation for Afghanistan. But this period in history is also the same time when he invaded India eight times, and when this particular battle of Panipat happened, it was his fifth invasion. If I have to show the story of why this battle happened, then I can’t escape from the fact that he was invading India at that point. So, it is not about maligning or trying to show someone in a bad light, but what I have shown is based on facts.

You were seen after long in front of the camera in 2016 for the Marathi film, Ventilator. What made you go back to acting, which was once a career option for you?
I don’t have the energy to pursue acting now. If a director comes to me and tells me that there is a part that he wants me to play, I will do it, provided I am available during that time. I have some time after this film, so if something comes my way, it will be great. It is not that acting is easy; for me, it is therapeutic.

Historical romance, period drama, epic war film… what next? Can we expect anything like a contemporary story, with characters from the period we are currently living in?
I don’t know what is next, but do I think of a story where my hero is dressed in jeans? Yes, I think in that zone, too (laughs!). It is just that sometimes you get a theme which is so great in terms of its period setting that it takes precedence over everything else. Otherwise, why would I make a Panipat after Mohenjo Daro? I had no fears. If you get motivated by the theme, then your reasons for making the new film is different. I think everything is a mix of your effort, hard-work and your luck. You need dollops of luck. After Mohenjo Daro, for me to get this kind of cast, was great. In that sense, I must say that I have been fortunate.

Ashutosh Gowariker on his plans to explore the story of Prince Siddhartha’s journey to becoming Buddha, where he erred with Mohenjo Daro and why he felt the need to go to battle with Panipat
Roshmila Bhattacharya (MUMBAI MIRROR; November 19, 2019)

Just three weeks before he unveils his next period extravaganza, Panipat , Ashutosh Gowariker looks amazingly calm and not battle weary as you’d imagine. The voice is soft as he takes you into the war zone. Excerpts:

You choose subjects that challenge you as a filmmaker, from Lagaan and Jodhaa Akbar to Mohenjo Daro and now Panipat. What makes you want to create big screen spectacles?
I love history, and within that, the theme is important, be it religious tolerance (Jodhaa Akbar) or the concept of unity (Lagaan). I also love to create different worlds and learn what were the smallest sparks that fired these big events.

And just how difficult is it creating these worlds?
It’s very difficult and is all in the prep, which is why I make one film in three years. The research doesn’t end with the script, but blossoms through different departments—from art to action, from costumes to hair and make-up. And since every department needs time, the key is patience and singular focus. In this, I’m not alone. Along with my crew of like-minded people, I need committed actors who’ll shave their head and stay in that look for six-eight months. Building that commitment is like building an army in itself.

We’ve read about the battle of Panipat in history books but in modern times, how do you plan to whip up interest and bring people to the theatres?
Yes, we have read about the battle but how many know that there were three battles of Panipat, and the third, which we are bringing to the screen, was the most inspiring? For the first time in history, anywhere in the world, an army travelled 1,000 kilometres to stop an invader. Since film is an audio-visual medium, it’ll take you beyond textbooks. And while I like to be authentic in my depiction, I also like to tell a story in an entertaining way. I can’t think of making a film without songs; elements like music keep the audience engaged.

You’ve always cast against type but what made you opt for Sanjay Dutt, Arjun Kapoor and Kriti Sanon who had never done a historical film before Panipat?
According to descriptions, Sadashiv Rao Bhau was a large man, a warrior with brute strength. Arjun fitted the bill. Also, he was free then to give me the commitment I wanted. And having seen his Ishaqzaade, 2 States and Finding Fanny, I knew him as a natural, understated performer. Kriti is beautiful, and having played the girl-next-door in all films, I thought it would be nice to see her in regality as Parvati Bai.

Sanjay and I go back a long way, having been co-actors on Naam. When I asked him why he’d never done a historical before, he said simply that no one had asked him. So, I did. He’s my Afghan invader, Ahmad Shah Abdali. All three were my first choices. Along with them, I have an interesting ensemble cast in Mohnish Bahl (Nana Saheb Peshwa), Padmini Kolhapure (Gopika Bai) and Zeenat Aman ji (Sakina Begum).

In India we’re quick to compare, pass judgements. So, as soon as your trailer came out, similarities between Arjun’s Sadashiv Rao Bhau and Ranveer’s Bajirao and Sanjay’s Abdali and Ranveer’s Khilji from Padmaavat were noted.
That’s understandable because the last film that comes out, stays in our recent memory. So, Jodhaa Akbar was immediately compared to Mughal-E-Azam, Bajirao Mastani to Jodhaa Akbar and Padmaavat to Baahubali. That’s nothing to be worried about.

Also, we are still in the era of the Peshwas in Panipat, which revolves around Bajirao’s next generation—his son, Nana Saheb Peshwa, his brother Chimaji Appa’s son Sadashiv Rao Bhau and his second son with Mastani, Shamsher Bahadur. So, the costumes and their palace, remain the same but the story is very different.

You give three years to a film like Mohenjo Daro (below), then, it’s torn apart. Where do you get the strength to enter another battlefield?
The norm of this business is that failure is singularly yours while success is to be shared. So, I never blame anyone. I analyse what went wrong, make mental notes and try not to repeat the mistakes in the next film.

What mistakes did you make with Mohenjo Daro? Was it the special effects?
Mohenjo Daro was pre-history, there were no references, so we wrote a story and built a world around it, from scratch, hoping the audience would identify with it. They didn’t, despite all our Herculean efforts. I’ve noted that the audience forgives bad performances and VFX if the script connects with them. That did not happen in this case. Maybe I could have done it a little differently in terms of emotions.

During Mohenjo Daro you were also dragged to court on plagiarism charges.
I’d never copy anyone’s script, in fact, I’d never take anything from anyone that doesn’t belong to me. I am very straight so when such court cases happen, I feel sad, but I have to still fight them.

Would you want to revisit Mohenjo Daro?
Not at the moment, and even if I did, I’d want to go to Harappa this time, as it became a bigger trading centre after Mohenjo Daro. A civilisation was named after it. But after Mohenjo Daro, Jodhaa Akbar and Lagaan, I’m done with pre-history, medieval, Mughal India and the British era. I haven’t explored Ancient India yet. I’d want to make a film on Buddha, on how Prince Siddhartha became Buddha. What happened to bring the change, the answers he found…

Do you see any changes in you from when you were an actor?
As a person, my knowledge about our country and its neighbours since our histories are connected, has been enriched by my own films. But as a maker, I start on a zero when I start a new project. The challenges are so different each time that I’m scared on the first day of shoot, and for every day after that, worried if I’m doing the scene right.

Lagaan was the turning point for both Aamir Khan and you. What do you recall of the film?
When I moved to direction, the attempt was to do something new and different. That’s what led to Pehla Nasha with Deepak Tijori, followed by Baazi, which was an attempt to change Aamir’s image from a chocolate hero to an action hero. Lagaan was a step further, on a bigger scale.

Back then, no one believed a cricket film, revolving around villagers who spoke in Avadhi, set in British India, would work. But both of us were excited about entering this world. Lagaan was a period drama and a sports film, it made a social statement, had songs and was a love story. Even I have not made a multi-genre film like this since. It went to the Oscars, the Olympics of cinema. We made it to the last five, after which it’s unfair to choose. But a choice had to be made, that doesn’t devalue the rest. We lost the cherry, but we ate the cake.

It was a brave step for Aamir too, not just to act in it but to also produce the film.
Oh yes, it was. But Aamir was always trying to do different things while remaining mainstream. Even when he had started, Raakh came on the heels of Qayamat Se Qayamat Tak and Lagaan with Dil Chahta Hai. But yes, Lagaan gave us the confidence and the eyeballs to take more leaps. I went on to make the nationalistic Swades, followed by Jodhaa Akbar. And along with the audience, the trade was interested in my next.

After Mohenjo Daro, it couldn’t have been easy finding backers for Panipat?
For a project to be greenlit, you need actors willing to work with you and funders who’ll back you. I was fortunate to get both. Also, I have a pillar in Sunita. She’d also come out of Mohenjo Daro and had she told me not to make Panipat, I wouldn’t have. My wife has a natural business acumen, she understands numbers and finds solutions to problems which are huge. We also found a collaborative partner in Rohit Shelatkar, who has been harvesting this dream for a while.

Panipat will be followed by Tanhaji: The Unsung Warrior. Our audience seems to be more amiable to this genre...
Jodhaa Akbar changed things.

So, would you say our audience has evolved?
I don’t think the audience has changed. I, too, grew up watching Amar Akbar Anthony and Rajnigandha, Don, Gol Maal with films of Mrinal Sen and Satyajit Ray, as also Hollywood flicks. What has changed is access. Earlier, Rajnigandha would play in three theatres, today, it would play in multiplexes, do Rs 100 crore business. What has evolved is the distribution and exhibition, which is the bridge between filmmakers and the audience.

We have digital platforms...
Yes, but web writing is difficult as you have to engage an audience and get them to binge through 10 episodes of an hour each. I don’t have that skill, I’ve to perfect cinema first.

Are you open to more acting roles after Ventilator (left)?
Acting is a difficult job, but it was calming and liberating for me to stand in front of a camera and not have to worry about the colour of the curtains behind me. I’d love to do roles which interest me. But right now, I’m in the battlefield.

And yet you seem so calm…
Oh no, I’m very nervous. Soon I will have no nails left.

Pooja Hegde says she became selective post Mohenjo Daro as she was doing well in Tamil and Telugu films
Kavita Awaasthi (HINDUSTAN TIMES; October 26, 2019)

Right before her second Hindi film Housefull 4’s release, Pooja Hegde is actually excited and “not nervous” at all. “The promotions have been a whirlwind and the film is here now,” says the Mohenjo Daro (2016) actor. Ask her what does she feel about the film being called a mindless comedy and she says, “The film is fun and people should watch it for enjoyment. It’s not mindless, it’s a mad film that’s not pretending to be something else. It is a perfect Diwali release. Working with Akshay Kumar sir and the other actors in the cast was fabulous and great fun. Akshay sir’s comic timing is epic and I don’t think anyone does comedy better than him today. He is so good at it even after so many years of being in the business,” she says.

While working with an ensemble cast that included Bobby Deol and Ritesh Deshmukh, Pooja was thrilled to be working with Kriti Sanon and Kriti Kharbanda. “For once, Pooja wasn’t the common name. Everywhere I go, there is a Pooja as it is a common name in India be it my locality, class or college. But on the sets, there were two Kritis and that made me very happy. Eventually, I began to know them well and later we would address them by their surnames,” she shares.

Though she has been an actor for seven years now, she has done a number of films in Telugu and Tamil. Housefull 4 is her second Hindi film, which she feels was the best choice for her. “I didn’t come from a film background and didn’t have someone backing me in the industry. So, your first film becomes important for you and the industry. But if your first film doesn’t work, it sets you back a little bit,” she says, adding, “Fortunately, for Mohenjo Daro, I didn’t get any criticism. After the film, I wanted to be selective. And since I was doing well in other languages, it gave me the power to choose what films I wanted to do in Hindi. I felt Housefull 4 was the right film as people would see me as a modern girl and I also got to be part of a period drama,” she says.

Pooja Hegde on Prabhas with whom she resumes shooting a love story next month; hoping second Hindi film puts her back on track in B-Town
Himesh Mankad (MUMBAI MIRROR; October 18, 2019)

On October 13, Pooja Hedge brought in her 29th birthday on a flight, en route to a resort. “My staff got a cake along and we cut it while still in air. The rest of the day was spent with family, away from work and the phone,” she smiles.

The model-turned-actress made her debut with the much-talked about Hrithik Roshan-starrer, Mohenjo Daro, which went bust. Following the debacle, she moved down South where she snapped up films with all the big names like Mahesh Babu, Allu Arjun and Jr NTR. Now, she’s back in B-Town with the fourth instalment of Sajid Nadiadwala’s comic franchise Housefull.

Does she regret opening her innings with Ashutosh Gowariker’s period romance? She retorts, “Not at all, it ticked all the boxes on paper, right from an established actor to a successful director and producer. It was a right decision taken at that point of time. You can’t predict the fate of a film and this one unfortunately didn’t do well. And since I don’t come from a film background, it set me back. But with Housefull 4, things are now moving around.” The franchise is known to be driven by its actors, with Akshay Kumar at the centre. But Pooja insists that the series has evolved and this instalment is different. “The girls aren’t dumb, but strong, independent and badass. And the story is a comedy of errors revolving around six principal characters,” she assures, quick to add that Housefull is still Akshay’s franchise and he is the ‘hero’ of Part 4 too.

On her part, she reasons, she had wanted to explore the comic space and is ecstatic she got to do it with the best in business. “There’s no actor who does comedy better than Akshay sir. I love the way he improvises on the set. Hera Pheri is my all-time favourite, followed by Housefull and Bhool Bhulaiyaa,” Pooja smiles.

In November, the actress kicks off a 20-day schedule of her next, an “intense, romantic saga”, in which she is paired with Prabhas. “It’s set in 1970s Europe, the scale is humongous and it’s one of the best scripts I’ve come across,” she says, quick to add that her co-star, a superstar down South, is one of the nicest human beings she knows. “It is amazing that something as big as Baahubali happened to such a nice person. He’s so chilled out, considerate.”

She had shot for a few days with Prabhas a year ago during which they bonded over their shared passion for cinema, nature and food. “He loves to eat and he loves to feed. His cook brought great meals for us on the set,” she reminisces, admitting that shooting for the two films is a completely different experience. “The Prabhas film is a mature love story and I come on the set all prepped up while for Housefull, the lesser you prepare, the better it is as you need to play off each other energies.”

The argument between Kangana Ranaut and a journalist, Justin Rao, that took place at a film event on July 7, has spiralled into something quite big. The entertainment journalists have formed an association called Entertainment Journalists Guild and collectively took a decision to boycott Kangana Ranaut. Kangana hit back, making it clear that she doesn’t mind being boycotted by ‘pseudo journalists’, even calling them termites and other such objectionable terms. Kangana’s sister Rangoli too has jumped in and have made a series of posts. She has retweeted posts of other supporters and the narrative being built is that the reason these ‘bikau journalists’ are against Kangana is because she supports Narendra Modi and the she has exposed Karan Johar. So they are assuming that all the journalists opposing Kangana Ranaut are on the payroll of KJo. These cheerleaders even dared the media to mete out the same treatment to someone like Salman Khan.

Well, these blind fans are completely wrong. Exactly five years ago, in July 2014, a section of media – the photojournalists – had placed a ban on superstar Salman Khan. At an event held to promote his then film Kick, Salman’s bodyguards had roughed up the photographers who were so hurt by the behaviour that they put a ban. Salman didn’t apologize and from July to November 2014, the ban was in place. It was only during Arpita Khan’s wedding that the ban was lifted.

Just before Salman Khan row, Shraddha Kapoor too faced the ire of the photographers after they alleged that she intentionally avoids them or make them wait for hours at end. At an event to promote Ek Villain, photographers refused to take any picture despite co-actor Riteish Deshmukh and director Mohit Suri intervening. She had to call the lensmen for a peace meeting and regretted behaving in the manner in which she did and assured that it’ll never happen again. Only then was this section of media satisfied. Needless to say, both are productions of nepotism.

So, as one can see, the media is not being hypocritical or unfair with their ban on Kangana Ranaut. And the aforementioned instances prove that whenever the media has got angry, they have taken action. And also, they haven’t distinguished between actors based on their political views or nepotism or any such criteria. Salman Khan was a superstar even in 2014 and yet, the photographers didn’t think twice before banning him.

Also, spats between actors and journalists have happened even before. Go to YouTube and check for ‘Bollywood actor gets angry at journalist’ videos. A few of them are misleading but many videos will depict how celebrities have lost their cool when asked a question which they found to be objectionable. But there’s always a way in making your displeasure clear. What Kangana did at the Sunday event was highly shocking. She accused Justin Rao of ‘hurting her brand’ with his ‘smear campaign’ and also accused him of having ‘gandi soch’! Ironically, Kangana and Rangoli have been doing the same to actors like Alia Bhatt despite the latter not doing anything to get such a reaction from the sisters.

Now talking about the ‘Karan Johar’ factor! Again, a narrative has been built that her enmity with Karan Johar is the reason why the media is angry with her. This is the most laughable of all criticisms. That’s because just two months ago, a large section of media had ripped apart KJo’s college romcom, Student Of The Year 2. The film was heavily slammed for its unrealistic depiction of college life, clothes worn by characters, plot and performances. A month before Student Of The Year 2, Karan Johar’s magnum opus Kalank too was slammed heavily. Funnily, Justin Rao himself had made fun of it too.

Another claim by Kangana’s fans is that she always has to fight her battles alone and got no support from the media during her earlier film, Manikarnika – The Queen Of Jhansi. This lie too can be demolished within minutes. Google for Manikarnika’s reviews and one can see most of the media outlets have given positive reviews to the film. There was a huge applause in the press show, which consisted of these ‘pseudo’ journalists. Agreed that most Bollywood celebs didn’t tweet much about the film or didn’t tweet at all. But does that matter? And is she the only one who gets such treatment?

A few days back, the trailer of Batla House, featuring John Abraham, was unveiled on social media. A handful of celebs have praised the trailer on social media while the vast majority didn’t even bother to write anything about it. Last year, John Abraham faced the biggest test of his life when he had to fight an ugly legal battle with Prernaa Arora over his film Parmanu. Before the verdict came in his favour, many in the media interviewed Prernaa Arora who happily chose to give her side of the story. No one from the industry stood up in John’s support. John finally won the case and Parmanu emerged as one of the biggest films of his career. So is John supposed to cry over this attitude? Should he also call names to the media? After all, many didn’t even take sides. They interviewed Prernaa because she was ready to talk and it was a hot topic then. Which journalist would lose this opportunity? The same happened when Manikarnika’s co-director Krish came out with his version. When the media published his interview, it was funnily seen as an agenda-driven step by journalists!

Just like John Abraham, there are plenty of such examples of actors going ahead solo without support. Ronnie Screwvala is fighting against the unjust VPF (Vritual Print Fee) charged by the multiplexes. If he wins, it’ll benefit the whole industry. But no one has openly supported him. He’s still fighting without playing the victim card. Three years ago, Hrithik Roshan, the so-called enemy of Kangana Ranaut and star kid, too was in the same boat as John and Ronnie. His film Mohenjo Daro was to clash with Akshay Kumar-starrer Rustom. Celebs like Alia Bhatt, Salman Khan, Ranveer Singh, Fawad Khan, Arjun Kapoor, Varun Dhawan etc posted pics and videos that helped promote Rustom. No one did the same for Mohenjo Daro. Now imagine if it was Kangana’s film that had clashed with Rustom. Do you think she would have kept quiet with these promotional strategies of Akshay Kumar-starrer?

Having said that, it is not false that some members of the media are against Kangana Ranaut and some do have an agenda. And there's also no denying that Kangana does get slammed for her political views. But she is not the exception and even the right wingers can't claim to be free of bias when they day-and-night target anti-BJP actors like Swara Bhasker, Shabana Azmi etc. Check any tweet of Swara and there'll be some troll who has posted screenshot from her masturbation scene of Veere Di Wedding or at least mentioned about it. Even the right-wing websites like OpIndia are whole heartedly supporting Kangana, which is surely their right, but their article reeks of partiality for Kangana. The article clearly mentions Justin Rao is a 'journalist' and thus trying to defame him by presenting him someone who claims to be a mediaperson but is not. Meanwhile, one can’t also deny that Justin Rao indeed went overboard with his posts on Kangana and a few of them indeed were in bad taste. But if you are against Justin for that, it is funny that you’ll support Kangana for doing the same to other people. It is also wrong on your part to cook up stories to spread your false agenda that all in the industry and media hate Kangana.

Sadly, the blind fans will continue to believe despite showing them the reality. They’ll support Rangoli when she’ll accuse celebrities of not taking Kangana’s name while praising Judgementall Hai Kya trailer but won’t mind when she didn’t mention co-star Rajkummar Rao while posting the video of ‘Wakhra Swag’ song! They’ll look the other way when Rajkummar Rao would rubbish reports that he supported Kangana over the Justin Rao episode. They’ll go to any lengths to praise her and overlook her wrongdoings just because they too are fans of Narendra Modi. In doing so, they have become a laughing stock. Thankfully, most of the aam junta too haven’t chose Kangana’s side this time, as compared to previous instances when they felt that her notion about nepotism was justified. Again, I’d like to reiterate that it’s highly unfortunate that this feud is becoming uglier and here’s hoping better sense prevails soon.

Scenic locations, friendly authorities and welcoming locals are some of the reasons why Madhya Pradesh has emerged as one of the hottest shooting destinations in the country
Saptaparna Biswas and Farzana Patowari (BOMBAY TIMES; April 7, 2019)

“Yeh wohi jagah hai jahan Hrithik Roshan ne magarmachh ke saath ladayi kari thi Mohenjo Daro film mein,” yells out the boatman at Bhedaghat of Jabalpur to the tourists he’s ferrying across the Narmada. Around 600 kilometers away from this site, in Maheshwar, fans of Salman Khan proudly brag, “Aaj bhai cycle pe nikle humare ghar ke saamne se.”

It’s just another day in Madhya Pradesh, where big-budget films, famous actors and grand sets have become commonplace, as more and more filmmakers are opting to shoot in the state. It’s not just the scenic locales that attract them towards MP, but also the hospitality of the locals, film-friendly infrastructure and wholehearted support from the state department of tourism. When we spoke to members from the industry, they told us that MP is actually topping the list of shooting destinations in the country.


‘THE TOURISM DEPARTMENT SUPPORTS FILMMAKERS’

A key factor, which has led many filmmakers and actors to trust MP for shoots, is the support extended by the local authorities for permissions and access to various heritage and protected structures. Harsh Dave, line producer, who is a part of the crew of Dabangg 3, currently being shot in Maheshwar, says, “The department that handles permissions for film shoots has been extremely supportive to all the teams that have shot in and around Indore. The permission to shoot at Ahilya Fort was granted much before the shoot had started. It was the same for the massive production of Kalank. The permission to shoot at Lal Bagh Palace, which can be seen in the first scene of the teaser, was also granted before the team had arrived. In fact, they also looked after the accommodation for up to 75 team members.” Syed Zaid Ali, a line producer from Bhopal, adds, “In states like Uttar Pradesh, one has to take permission from the local politicians, too. But in MP, not only does the government give permission easily, the people, too, are supportive.”

Even the shoot for the 2016 Oscar nominated Hollywood movie Lion – starring Nicole Kidman and Dev Patel – was conducted peacefully in the remote village of Khandwa. Line producer Pravesh Sahani recounts, “With great efforts and help extended by the Madhya Pradesh Tourism (MPT), we peacefully conducted the shooting in Khandwa and other regions. A local MPT officer was assigned to us for smooth transition through schedules, which was very helpful.”

“I had such an amazing experience in MP that I am planning to shoot my next movie here, too. I felt like I was shooting in a home studio, as the people and administration were so supportive. Also, the shooting cost in these cities is quite economical when compared to the metro cities,” says Amar Kaushik, director of Stree (2018).

SCENIC SITES GALORE

From hills, to ravines and spectacular waterbodies — all coupled with some unexplored heritage structures — MP has tons of scenic shooting locations to offer. Hari Ranjan Rao, MD of MPT’s film tourism board, explains “Since the 80s, many films have been shot in MP’s scenic locations. For example, Bobby was shot in Bhedaghat and Asoka in Pachmarhi. Director Prakash Jha has also explored the forests for films like Chakravyuh. Since the beginning, the green and lush natural landscape that has been a major attraction for filmmakers.”

Actor Aparshakti Khurana adds, “Our entire drive, from Indore to Chanderi, was so beautiful. We recorded so many videos of the lush green landscape. The Chanderi Fort is truly an underrated location. The beauty of these places kept our entire team captivated, and that is what came out in the movie as well.”


‘LOCALS HAVE OPENED UP THEIR HOMES TO HUNDREDS OF CAST AND CREW MEMBERS’

Besides the beauty of the state, the filmmakers unanimously agree that they are touched by the support of the locals. The director of the acclaimed movie Lipstick Under My Burkha, Alankrita Shrivastava, recalls, “We shot in the heart of the walled city of Bhopal, and though curious, the citizens never interrupted or disturbed us during our schedules.”

Director Debamitra Biswas Hasan, who recently shot the Nawazuddin Siddiqui and Athiya Shetty-starrer Motichoor Chaknachoor in Bhopal, says, “We shot in the BHEL colony and the way the people behaved there amazed me. They followed our guidelines religiously.”

Amar remembers how the locals of Chanderi accommodated the team in their own houses. “Around 300 hundred people would be watching our shoot from their windows and terraces, but not a single noise could be heard. I have seen people start hooting as soon as they see something exciting, but here nothing of that sort happened. People even offered us their houses to shoot in and made us feel at home,” he says.

Pravesh Sahani, line producer for Lion, shares a similar anecdote. “We had to house about 200 crew members in the town of Khandwa, and the people there responded warmly. They opened up their homes for us. Even the director of the film, Garth Davis, has fond memories of all his time spent in the state,” he says.

‘THERE IS NO DEARTH OF TALENT IN MADHYA PRADESH’

The fact that Bhopal and Indore have a very active theatre scene means filmmakers can get assistant directors, production team hands and supporting actors from these cities. Actress Aahana Kumra says, “While shooting for Lipstick Under My Burkha, half of the production unit and assistant directors turned out to be folks from the theatre circuit. Finding people for supporting roles at a short notice was never a problem either.”

Prakash Jha, who is credited with putting locations of MP on the film industry’s map, with Rajneeti, Chakravyuh, Aarakshan, and Jai Gangaajal, agrees, “Bhopal is a film city in itself. Besides beautiful locations and supportive administration, it also houses a great talent pool of youngsters, which should be fully explored.”

FILMS SHOT IN MP IN THE LAST FIVE YEARS

Dabangg 3

Motichoor Chaknachoor

Kalank

Stree

Sui Dhaaga

Sanju

Padman Lipstick Under My Burkha

Toilet — Ek Prem Katha

Jai Gangaajal

Mohenjo Daro

Tishnagi

Kangana Ranaut on why she was compelled to turn director to see her period drama to its release; reveals third Tanu Weds Manu film is on the way
Roshmila Bhattacharya (MUMBAI MIRROR; January 21, 2019)

You started Manikarnika - The Queen of Jhansi as an actress and ended it also as a co-director. What was it like taking on the additional responsibility?
It was as surprising for me as for anybody else. It was never the intention but today, when it’s my vision out there on screen, I’m happy that more than a revenge drama, it’s a patriotic film.

How difficult was it to enter the picture as a director in October with the pressure of delivering the film in three months?
October is when everyone got to know, I came on board as director in June. For two-three months we re-conceived the entire film, incorporated six-seven songs, then the reshoot began. I was running two units simultaneously, one with my DoP, Kiran Deohans, and a parallel unit with Sachin Krishn and Nick Powell. A regular DOP takes 15-20 shots a day, Kiran ji and I were taking 50-60 shots, wrapping up five-six scenes, every day for 45 days. The same was happening with the parallel unit with every frame taking a couple of hours to dress up. Even the VFX team finished off six months work in two and the music team didn’t get more than two hours sleep. It was all about manic passion, devotion. It might have killed me, but I was used to working in extreme situations.

Your producer, Kamal Jain, has reportedly suffered a paralytic stroke. He is currently on the ventilator battling for his life.
This happened a week ago. When we were in Delhi together on January 6 he had complained of a kharash in his voice. Two days later, he called from the hospital to say the MRI report had detected a small dot in the brain. After that he couldn’t move one side of his mouth, couldn’t talk or eat. It was scary. We’re praying for him and have taken over all his responsibilities. On Saturday, Kamal ji released a letter from hospital thanking everyone for their concern and informing that he was recovering. This film has been a labour of love, sweat and blood.

At any point did you feel like it would be aborted?
There were date issues, certain actors not co-operating, some being flown into ND Studio in chartered planes. The original DoP and the earlier ADs were not allowed to come on my sets because they’d started working with Krish (the original director) on the NTR biopic. I was working with an entirely new team and couldn’t afford to recreate the grandeur, like a Rs 5 crore darbar set. I could only work with fresh content and patchwork. But just when things seemed impossible, they’d tilt in my favour. I was fortunate to have K V Vijayendra Prasad sir (story and screenplay writer) and Prasoon Joshi sir (lyrics and dialogue), who were my pillars of strength.

A year ago, you had planned to turn director but the project did not materialise. Today, after Manikarnika, do you feel confident to drive your own directorial from the first shot to the last?
I drove this film too, from the first shot to the last. Only 30 per cent of the film, the action sequences shot by Krish and Nick, have been retained and I did lots of patchwork on those too. The remaining 70 per cent of the film was shot by me.

So, when do we hear about the next directorial?
I’m itching to go on the floor now, I have a concept, but will wait for the response to this film. True success comes to those who do what is needed, not what they want. I was ready when this opportunity was thrown at me, I grabbed and ran with it. But now, I’m in no hurry. I’m accepted as an actor, I have two-three films lined up. For me direction is not just about engaging the viewer for two hours, that’s a given when you’re in the entertainment business. The only way I’d give a year or two of my life to a project as a director would be if I have something important and meaningful to say that can’t be said on Instagram or Twitter. Not that I am on either or against the social media. The fact is direction can never be a self-indulgent pursuit for me.

That’s quite a statement…
I know it’s hard to understand that someone wants to make a movie not for money, for fans or vanity. I have never worked so selflessly. Anurag’s (Basu) film (Imali) was to start in November, but from May to January, I’ve done only 10 days work for Ashwiny’s (Iyer Tiwari) Panga to pay my installments. During Diwali I let go of several campaigns, financially things have gone for a toss but there was no question of asking for extra money in a project that had already gone over-budget. And I couldn’t desert a sinking ship either. People try to dissect my motives, compartmentalise me, wrap their heads around me. And in doing so, they only end up with pancreas and kidneys. It would be better if they wrapped their hearts around me, they might have found the person.

You are sharing the credits with Krish as director, right?
Yes, having shot 70 per cent of the film, my contribution is inarguable. Once the job was done, the team felt I should get my credit. But since Krish was the pioneer of this project and set up many things which have been retained for their sheer brilliance and not because we couldn’t have changed those too, he becomes an equal partner. However, it’s not a collaboration so our names will be listed individually.

What was the reaction at the Rashtrapati Bhavan screening on Friday?
Phenomenal! Everyone stood up and clapped at the end! Mr (L K) Advani told me thrice, “Wonderful direction!”, and noted certain subtle nuances which was unusual when everyone was talking about my performance. Prasoon sir later explained that he’d started his career as a film critic.

It’s almost surreal to be accidentally launched as a director in this way. I remember discussing my dress code with my sister Rangoli when I first thought of turning director, and when I actually took over the reins, I don’t recall what I pulled out of the cupboard or what shoes I wore. My hair was mess, my face was dusty, kuch khaya nahin tha din bhar… All the romanticism flew out of the window and what remained was dedication and diligence to the craft.

And Manikarnika, did you feel her?
I felt her anger and her grudge when things weren’t going her way. I fell off the horse two-three times, there were freak accidents, so finally I surrendered myself to her so she could tell her story through me knowing she would not settle for less.

Manikarnika took on the British male order, you have taken on the industry bastion. Today, no matter how many films with top heroes bomb, if you stumble, it will be the debacle of the year…
Manikarnika fought not just the British but also the Indian male order because she did not go to Kashi after she was widowed and ascended the throne. I too have gambled everything on this film and am hanging in there, waiting to see what will happen. Will I lose more? Maybe. Will I hit the jackpot? Maybe. It has happened many times before. It’s a film about an extraordinary woman and what I am feeling right now doesn’t come easily and then doesn’t last long. So, all I am doing is revelling in the grace without thinking of commercial success or critical acclaim.

Earlier there were four films – Thackeray, Why Cheat India, Super 30 and Manikarnika -- vying for the same Friday. Did the thought of moving ever cross your mind?
Never! This is a patriotic film, it needed to come on Republic Day. But that said, it’s not a sentimental or emotional call, but a strategic decision. The buzz on our film has been strong since the first teaser which is why we could stick to this date while two other films moved.

After seeing the first trailer people pointed to a line of dialogue similar to Hrithik Roshan’s Mohenjo Daro…
Who has seen that film? Let’s not even go there.

There are fellow actors who walked out of Manikarnika and today are congratulating you. Tables turn quickly?
I had so much respect for those who hated me, now they are changing their mind too. In this world dosti is often betrayed, dushmani toh imandaari se nibha lo.

From Manikarnika to Mental Hai Kya, how big a jump will it be for the audience?
A complete shift. If Manikarnika is an event film for school children and families, Mental Hai Kya is targeting young people with a fondness for psychological thrillers. For films like Mental… and Panga my contribution is limited to that of an actress. I go to the set as an employee and do what I am asked to do, it’s a great relief.

You met with the Prime Minister on Saturday at the inauguration of the National Museum of Indian Cinema in Mumbai. Given that this is the election year, will you campaign for a party if asked?
I can’t resonate with a party and its different members. But as an individual, I reiterate that there is no leader with Narendra Modi’s guts, charisma and intellect in the country or even the world. He can change the destiny of our country and even the continent. The qualities we look for in a leader and in our neighbour are different. A leader should be a daredevil like Rani Lakshmibai who will sacrifice her head before anyone else’s. A neighbour can be timid and take care of your garden.

Last year the #MeToo movement exploded in our country and lead to some big names being outed. Would you say you pioneered it?
Yes, of course, when I was 17, I lodged a police complaint against violence and harassment and it shocked the industry. I’m still being bullied but then any girl who comes out, is subjected to scrutiny. But thanks to the power of social media, the world has become one collective consciousness and today the industry’s double face vis-a-vis not just women but even our soldiers after Uri has been exposed. Now, if anyone does not take a stand, they will be called out. But at the same time, media trials and personal judgements are not welcome. Comments like “I don’t believe he could do this” and “I’m shocked” should not be passed. People should stand by survivors staunchly, for what is right, and see it through.

Have you seen Zero given that Aanand L Rai and you go back all the way to the Tanu Weds Manu franchise?
I have been too busy with Manikarnika to attend any of the trials of Zero but Aanand ji is coming for a show of our film. We will be announcing Tanu Weds Manu 3 soon.

Kamal Jain dismisses plagiarism allegations and pending dues
Himesh Mankad (MUMBAI MIRROR; December 19, 2018)

Kangana Ranaut and the entire team of Manikarnika - The Queen of Jhansi launched the three-minute 20-second-long trailer of the film with a lot of fanfare on December 18 in Mumbai. The film, which revives one of the proudest chapters of Indian history, has been getting a lot of raves for its grandeur and hard-hitting dialogues. However, as has been the case for all big films, this period drama has also found naysayers.

Mudassar Aziz, who last directed Happy Phirr Bhag Jayegi, was among those who had an issue with a dialogue from the trailer, pointing out that it is the exact same as the one in Mohenjo Daro’s trailer and also the film. “Never a nice feeling. ‘Farq yeh hai ki tujhe raj karna hai aur mujhe seva!’ Hope it’s a coincidence and so it’s never too late to correct it! Please,” he tweeted.

The Manikarnika trailer ends with Kangana saying, “Jhansi aap bhi chahte hain, aur main bhi, fark sirf itna hai aapko raaj karna hai, aur mujhe apno ki seva.” In Ashutosh Gowarikar’s fantasy adventure, Hrithik Roshan had mouthed the same dialogue.

When we contacted Kamal Jain, the producer of Manikarnika, he said dismissively, “No one has a copyright on dialogue. It is a common dialogue, and the similarity is just a coincidence. Everybody wants to take mileage, attaching their name to a film as big as Manikarnika.”

Another tweet which grabbed attention was that by German model Andy Von Eich, who claims to have acted in Manikarnika but complains that he has yet to received full payment from the producers. Kamal was quick to shrug the allegations, “It’s absolutely false, all dues have been cleared. Anybody can go and tweet about such a big film, everybody is putting out random stuff on Twitter these days.” 

As told to Natasha Coutinho (MUMBAI MIRROR; October 23, 2018)

The first time I got paid for a job was during my school days when I was eight. My grandfather was an active member of the Mumbai Athletic Association and since I knew a bit of calligraphy, he made me write the names in my flowing hand on the certificates handed out to student participants during sport meets. The Rs 200 I got made me feel like I had won a jackpot!

Growing up, I was a shy girl who suffered from acute stage fright. When I joined college, I decided I needed to become more outgoing and started signing up for everything. This boosted my confidence but once, during a college event in 2009, while dancing on Madhuri Dixit’s “Aaja Nachle” song, I just froze and went on doing the same step for four minutes. Around 15,000 spectators saw me make a fool of myself but surprisingly, I was spotted by a Miss India talent scout who urged me to enter the contest. My first reaction was, “I don’t look good.” I’d been a tomboy with short hair and braces, never touched my mother’s lipstick or dressed up like a girl. But she insisted I give it a shot. So, I took part in the pageant that year and though I didn’t make it to the final round, I was voted Miss India Talented. The next year, I made it to the final round of Miss India South and was the second runners-up in the Miss Universe 2010 contest.

After that, I was flooded with offers for ramp shows and ads. I started with a Rs 3000 a day pay check, which went up to Rs 5000 and then doubled. Meanwhile, I had started getting offers for films down South but I wasn’t sure if I wanted to act. A friend insisted I send my pictures and I ended up bagging the lead in the first Tamil superhero film, Mugamoodi. I still wasn’t sure but my mom convinced me, reasoning that people pay to learn acting and here I was getting paid to learn how to act. The film opened on August 31, 2012, was dubbed in Telugu as Mask and released in Hindi as Mahabali Ek Super Hero.

I continued with my commercials but honestly, that wasn’t a very exciting phase. For a year, I had been giving auditions but the jobs I wanted, eluded me. I only ended up getting work I didn’t want to do. Then, one day, just when I was getting into an ad audition, a crow shat on me. “This might as well be lucky for me,” I consoled myself. To my surprise, I ended up being short-listed.

After one more test, the girl auditioning me reacted with a “Good… Good!” Nervously, I asked her if I could do a take. She told me shortly it wasn’t required. It seemed like she had lost interest and turning to my mother, I sighed, “I don’t think I’m getting the ad.” But after some days, my manager called me to inform that I had got it. She was more excited than I was. I realised later why when I discovered that it featured Ranbir Kapoor opposite me.

That commercial grabbed a lot of eyeballs. Sunita Gowariker spotted me in it and recommended me to her filmmaker husband Ashutosh for his period extravaganza, Mohenjo Daro. And I began my innings in Bollywood with another reel life superhero, Hrithik Roshan.

Today, I have the fourth instalment of Sajid Nadidawala’s Housefull franchise to look forward to. And Saaho, the action thriller opposite Baahubali superstar Prabhas. Who would have imagined that shy Pooja would be happy in the spotlight today but that’s life!

The Hindi-Telugu bilingual, which pairs the actor with Pooja Hegde, kicks off in Europe and marks the Bollywood debut of Telugu director Radha Krishna Kumar
Sanyukta Iyer (MUMBAI MIRROR; April 26, 2018)

Prabhas, who set the cash registers ringing at the box office and found pan-India fame with SS Rajamouli’s two-part Baahubali franchise, is gearing up for a Hindi-Telugu period-romance which will be dubbed in many other languages. The yet-untitled film which will mark Telugu director Radha Krishna Kumar’s Bollywood debut rolls in June in Europe. Mohenjo Daro debutante, Pooja Hegde, has been paired with Prabhas.

The leading lady is looking forward to the collaboration, asserting that it’s a great opportunity to prove herself as an actress. “I knew Prabhas was already on board when the makers approached me for this entertaining love story. It has a beautiful role for me and I’m really excited!” the 27-year-old actress said.

Pooja who made her debut in 2012 with the Tamil superhero flick, Mugamoodi, was working on two Telugu projects simultaneously in Hyderabad —Oka Laika Kosam and Mukunda — when she bagged her big Bollywood break opposite Hrithik Roshan in Ashutosh Gowariker’s period-action-romance. “Since Mohenjo Daro took two years to complete, people assume I’ve done a lot of work down South but I’m still a new entrant. I was intimidated by Hrithik since it was my first Hindi film but this time I’m more excited. I’ve only heard great things about Prabhas and his work ethic,” she adds, happy to have landed the part.

Prabhas will be in Mumbai in the first week of May for a three-day workshop with Pooja, who has never been a part of a prep workshop before. “I have not been told what the prep is about but both Prabhas and I will be attempting some unique action and musical sequences for the first time,” she informs, unwilling to elaborate.

While Pooja is expected to start shooting by June-end, Prabhas joins the team in Europe on July 7 after wrapping up his Hindi-Telugu bilingual Saaho, which features Shraddha Kapoor.

Recce for the project is presently underway. The makers will be locking several locations in Europe where the period-romance will be filmed entirely. “It’s a long schedule and we’ll be travelling back and forth,” Pooja adds.

Mohar Basu (MID-DAY; March 19, 2018)

Putting the debacle of Hrithik Roshan starrer Mohenjo Daro (2016) behind her, Pooja Hegde has bagged a bilingual — Hindi and Telugu — opposite South superstar Prabhas. With the shoot of Saaho delayed, the untitled project is likely to be Prabhas’s next to hit screens after Baahubali 2 (2017).

Hegde says there was “no question of not going ahead with a film like this.” “The director [Radha Krishna Kumar] and producers [Vamsi Krishna and U Pramod] came to me for the narration. It’s a thorough entertainer,” she says, adding that she is yet to meet her co-star.

Post the mammoth success of the Baahubali franchise, Prabhas’s larger-than-life persona could make newbies uncomfortable. But Hegde says her excitement overrides her anxiety. “For me, it was intimidating to work with Hrithik as well. But I managed that fine. I don’t look at this film as something that should intimidate me. It’s an opportunity to prove myself. Prabhas has done that already, it’s my turn now. “

The bilingual, which rolls in July, marks her second film in Hindi. Though it has been almost two years since her first Hindi film, the actor says she “never let it become a confidence issue. The reviews didn’t slam me. I was praised for my screen presence. Whether a film does well or not, is not in my hands.”

Joginder Tuteja (DNA; August 13, 2017)

There was a time till a couple of years ago when star power ensured that a substandard or a bad film worked at least to an extent at the box office. Not anymore! While bad films are failing, even good films are finding it difficult to find an audience. The new era of Bollywood audiences is fairly and squarely announcing that they are the king.

How it all started
When the Rs 100-crore phenomenon kick-started with Ghajini, hordes of films followed suit. Each Khan — Aamir, Shah Rukh, and Salman got into a race to deliver a century. Soon enough, Akshay Kumar, Ajay Devgn and Hrithik Roshan, too, had them to their names. The young brigade, Varun Dhawan, Ranveer Singh and Arjun Kapoor, entered the club and countless films joined in.

There were bad apples
Each biggie delivered by superstars was not quite worth the Rs 100-crore fortune. To some, it seemed like a fluke where films managed to score big. In fact, there were bad apples — films managing to register big numbers despite being panned by critics. So, on the one hand, there was quality cinema being missed and on the other, there was this slogan of ‘Bollywood Shining’.

Stardom ruled
One of the key reasons for this phenomenon to gain prominence was the star system ruling Bollywood. A Khan film had to take an opening. A non-Khan superstar (read Akshay, Ajay, Hrithik) was a reliable commodity. Bring in Deepika Padukone, Priyanka Chopra, or Katrina Kaif into the mix and a ‘deal’ was well in place to draw in audiences at least during the opening weekend. More films started seeing a Rs 50 crore plus weekend and content took a backseat. Stardom ruled!

The bubble had to burst
This was a bubble waiting to burst, but the industry wasn’t willing to see it with open eyes. The projects continued to be put together and an occasional Rs 200-crore or Rs 300-crore blockbuster made many believe that this phenomenon was there to stay. Many didn’t bother to check the abysmal failure rate that stood over 60 per cent at least. Producers and distributors lost money on these films. Still, for the 20 per cent odd films where both parties made money, champagne bottles were popped. No one was willing to wake up.

Audiences wised up
As corporate presentations were being put together for the big projects, audiences were wising up, too. They decided not to be enticed by just star power or a package deal. The early signs, what with Salman’s Jai Ho, Ranbir Kapoor’s Besharam and Bombay Velvet, Ajay’s Action Jackson, and SRK’s Fan being rejected became prominent with Ranveer’s Befikre, Hrithik Roshan’s Mohenjo Daro flopping. Unfortunately, many still didn’t understand these signals.

The unforgiving audience
One look at how audiences have given a thumbs down to star power is pretty much a testimony to how they’ve come up with a collective call of ‘enough is enough’. Salman returns after 10 Rs 100-crore biggies and delivers a major failure in Tubelight. SRK returns in his romantic avatar with Jab Harry Met Sejal and even that’s not welcomed. Ranbir’s Jagga Jasoos finds itself in the midst of widespread negativity. Tiger Shroff sees his lowest grosser ever in Munna Michael. Rangoon and Raabta emerge as disasters. Youngsters are not impressed with OK Jaanu and Meri Pyaari Bindu. Amitabh Bachchan suffered one of the biggest disasters with Sarkar 3. In a year that has seen close to 60 releases already, 14 odd turned out to be profitable at least for the producers, if not for the distributors as well.

Will there be a change?
Change is the name of the game, but one waits to see if that would happen quickly. The rest of the releases of 2017 can’t be altered with the content already being shot. Most of 2018 releases won’t see much of a change either since the script has been drafted and the shooting commenced. So, if a remarkable turnaround is expected, it would be in 2019, when some sort of sanity would have returned to the scene. Guess life would indeed have to come full circle for Bollywood by then.

Neha Maheshwri (BOMBAY TIMES; May 27, 2017)

Reza Noorani (BOMBAY TIMES; January 26, 2017)