Quintessential Bollywood outsider Taapsee Pannu breaks down her craft, speaks about her early life, entry into films and, of course, explains everything you want to know about her unusual name
Mayank Shekhar (MID-DAY; June 22, 2019)

Your uniqueness in showbiz starts with your name itself. Do you know any other Taapsee Pannu in the world?
I know Tapsi.

Double-A, P, S, and double-E?
On all my legal documents, my dad actually kept my name as T-A-P-A-S-E-E.

That's what's in your passport?
Yes. By the time I was old enough to say, "Dad, please don't do this to me," it was too late. T-A-P-S-I, for him, in numerology, wasn't good enough. It needed to have two Es, and an extra A, for some weird reason. That's T-A-P-A-S-E-E (my name). In school, during roll call, the teacher would stop at roll number 47, and go, "Taa Taa…" Being used to it, I'd just say, "Taapsee Pannu, present ma'am!"
I was not fine with correcting every Indian out there. That it is Tapsi, not Tapa-see. For screen, I just shifted (my dad's) two As, to make it Taapsee!

Starting out, did no South producer ask you to make it closer to say Jaya Prada?
Thank God. I wasn't ready to change these basic things about myself, for anything, or anyone. And I really like my unique name, among thousands of Poojas and Nehas, who simultaneously turn around, when their names get called!

No knock on Poojas, Nehas, before they started trolling you on Twitter, okay?
I'm used to people going after me on Twitter, so it's fine! But even they would agree, I'm sure.

The other intriguing thing about you is you'd never acted, before hitting the screen — not in even in school/college.
Well, I was pretty dramatic in life, so really didn't need the drama before camera, or audience. I'm a professionally trained dancer. In that sense, performing on stage has been my first love; and I was into public speaking. And I thought why should I pretend to be someone else [with acting]? A teacher did once force me to act on stage, in lieu of allowing me to host the show. I have no memories of that first and last stage experience, other than the fact that I moved back to hosting.

After all that, from Delhi, you land up straight down South, to act; that too in a language you didn't know at all?
I'm an experimentally unpredictable person. Even I don't know what I'm going to do next. During college, my parents would say, "Khud kamaoge, toh pata chalega, paise ki value!" So I said, "Dekh lete hai kamake kaisa hota hai!" I started modelling. It was simple. I could manage with studies, which I never wanted to give up for anything. In third year, I'd already got placed at Infosys. But in my final year, when I took CAT, I had got an 88 percentile. I could work. Or join a B-School. But I knew I could do better [in CAT]. So I decided to take a [gap] year…

Basically IIMs or none?
Yeah, my way or the highway. During that year, being the hyperactive person I am — just sitting at home, studying, was driving me crazy. Modelling went out the window, because it was getting too boring. I had stopped it in my third year itself. And then I began getting calls for films from the South. They get a lot of girls from North, who don't speak the language. They were like, "We can teach, you'll be comfortable." They were more confident about my skills than I was. So I thought fine, let me give it a shot. I wanted to try something different. I went down there with my CAT books, which I couldn't even open, because I was so deeply into those dialogue sheets, in a language I had never heard in my life. I didn't think it was going to be so difficult.

Back in the day, many Bollywood actors said, "1 2 3 4," for dialogues in the South.
Even I've heard that. I can't. I can't take prompting either, because it distracts me. Also, I'm a science student, so not good with 'rattofying' lines. I began to learn them by heart, because of which I was one of the first actresses from the North who dubbed for herself in Telugu. I wasn't as consistent with Tamil. But I learnt both.

Have seen some of your Tamil interviews. You reply in English.
Yeah, Tamil is only incoming; no outgoing. But Telugu, it happens both ways!

[Speaking of languages], you graduated in computer engineering.
Yes, I loved the study part of it. Basically I was a proud front-bencher, whenever I was in class, answering questions, following up with what's happening. This was of course rare. Because I was always outside for some competition, modelling assignment or the other. I have been a jack of all trades, master of none.

Were you the only girl in class?
Imagine that being Taapsee, good for the guys! [Laughs]. No, there were 12 girls in a class of 60. Not that bad. Yeah, the ratio is quite off. But it's not the same Taapsee Pannu as you're looking at right now. I'm sure they [my classmates] do a double-take every day, when they look at what I'm doing now!



In that sense, you defy the right-brain [creative], left-brain [analytical skills] theory, where one is supposed to be only strong at either.
Something really crazy happened up here [laughs]. There is a weird kind of balance that has co-existed within me since I was a child. Even now I have a certain bent of mind, where I run certain businesses, and I have fair idea about marketing of films as well. At the same time, I choose films that aren't conventionally market-savvy.

As an actor, you're what they call a 'one-take artiste', where you psyche yourself into becoming a particular person, and it all comes out in an unrepeatable go. Must be scary for the director, right?
I will give a second take. But I warn directors that it probably won't be as good as the first. That is how it is. And that is actually a negative that comes from not being a trained actor. I don't know how to get that [moment] back again. Once I empty myself the first time on, it's very difficult to fill myself up with the same ingredients.

Would you be scared though if they didn't like your first take?
No, because then they'll tell me that I'm going in the wrong direction. And that is a totally new thing for me. The scary thing is if there's a technical glitch in a crucial shot that they don't want to get rid of. I've had directors say they're okay —even if slightly out of focus.

Does it then become harder for you to get in and out of that shot/character as well?
I laugh about the fact that I'm becoming a crazy person, with every film. I rid 90 per cent of a character from my system, and 10 per cent stays, changing something in me.

Give an instance?
I'll give you an example. During Manmarziyaan, my sister and I went out for dinner. We were standing at the pavement, waiting for the driver to get the car. There was a man at the red signal, slyly taking out his camera on a bike. It's not like he asked for a picture. I'm a public figure; not a public property, like Qutub Minar, or something. There's a clear difference.

And you whacked the shit out of him?
I, in Rumi-mode, went, "Phone andar rakh le, nahi toh tod dungi!" My sister was like, "I'm not with her!" I also instantly realised, this is not me.

That guy should be glad you hadn't stepped out of Game Over.
[Laughs] My sister was actually worried after Badla, wondering who I'll kill, once I come back! I knew that's not a good character to bring home. With Game Over, I was getting borderline depressed. I had to keep thinking about my biggest fears, again and again, for 35 days, every single day, for 12 hours. I used to text my sister, since she is my only bouncing board. I don't freak my parents out. It would be quite scary for them to see their daughter going through these mental ups and downs.

Have you considered seeing a therapist after a role?
I thought about it couple of times. But I go on a vacation after every film as a ritual. If I feel it [the character] is still not leaving me, I will. Until now, it's been fine.

What happened after Pink? That's another character, who's been through trauma.
Before Pink, I never thought I could cry without glycerine. I never used glycerine in Pink. During that shoot in Delhi, thankfully, I was staying with parents. It was all fine. But after the film got over, I would cry at the drop of a hat. I'd look at a beggar, and cry. I'm watching Jana Gana Mana on television, and I'm crying. I don't know what had really changed.

You please take care, okay?
[Laughs] Yeah, I'm trying! I've some really good people around to keep me sane.

Guess movies like Judwaa 2, Chashme Baddoor help too?
A lot! Sometimes in that world, you're made to realise that you don't really belong here. It's almost like a favour that you're [getting to] do this [role]. In this [alternative] side of the world, where most of my filmography belongs, they wonder why I have to succumb, or downgrade [myself] to do that! So either way, I hear shit from both sides. [laughs]. I might be the only one to create that middle path that probably didn't exist before; at least you'll remember me for it.

If one were to look at turning point for Hindi films for you, I'd guess it's literally that kickass introduction scene in Baby. You just unexpectedly popped up like a storm, haven't looked back since. Take us through that scene?
I'd just finished Chashme Baddoor [first Hindi film]; looking for the next. And I wanted to up my game. I'd heard of a film with two girls — one cast opposite Akshay [Kumar] sir; the other, who's an agent, with around 10 minutes on screen, but an action sequence by herself. Something in me suggested I should go after that role. I kept pushing the casting director to fix a meeting with Neeraj [Pandey] sir, who had seen me as a coy, shy girl in Chashme. So obviously I wouldn't qualify. When I met Neeraj sir, he gave me dialogues, that I just read. It was not an audition, otherwise I would've failed. He just spoke to me about my athletic side. I was a lot into sport. Somehow he was convinced.

You'd done martial arts?
No, but I was extremely physically active. So it [martial art] would look natural on someone who's into sport. I began training for martial arts. Now I had this injury from my dancing days. While trying to do a split, I had once injured my ligament. That injury started resurfacing with those high kicks I was practicing for Baby. I was so scared to tell anyone about it, lest I lose that role. So I would train for two hours, then go for physiotherapy for an hour — every day, for six to seven weeks. The first scene we shot for Baby in the Nepal schedule was my fight. There were two days kept for it. We finished it in a day. I had also taken Vitamin B and D injections, to make sure it [the injury] doesn't resurface. After the scene, when I told them about this injury, and how I was so scared to lose the role. They went, "Stupid; we wouldn't have done that!"



That scene might as well be the first to inspire an entire film — Naam Shabana.
Basically I've realised, what works for me, is when people don't expect anything. People did not expect that in an Akshay Kumar film, anyone will have a substantial role. Or even in Pink, for that matter, with Amitabh Bachchan being there.

Mulk as a drama would be a natural follow-up to Pink?
Apart from the courtroom drama, I don't think anything else was similar. I think Pink was very vulnerable. Mulk wasn't.

Did you similarly go as deep into Mulk?
Mulk was more like an inner voice wanting to use my medium's power as an actor to say what I wanted to say. I was the first actor to read the script in Anubhav [Sinha] sir's office. I told him right there that I was on. That last summation dialogue was something I started preparing for in my head from the day I read the script. I was waiting to do that two-pager...

Single take?
Yeah. There were five cameras running together. We had 100-120 junior artistes, given the last day of courtroom sequence. I said, "Just keep [cameras] running, come what may. Call cut, only if there's something drastically going wrong. Otherwise don't." We rolled. A new actor on set started coughing. She didn't know how sync sound works. Or that she could just go out. I finished the whole sequence. Everybody stood up and clapped. It was a surreal moment. A junior artiste handed me a signed note saying "You'll be the number one actress of Bollywood very soon", and left.

What about the cough sound?
Then Anubhav sir walks towards me with the sound designer, and I was like, "I just want to go die, right now. Don't know if I can do this again!" That new actor was in tears. I can't even get angry at her, because poor girl, it's not her fault. I did that shot again. But eventually, Anubhav sir cleaned up [sound], kept the first take!

Was Badla a lot less stressful?
Yeah, I could just 'act', because she [the character] was 'acting' there as Naina Sethi. And I easily knew what I should do to make it look real.

Stupid question, fair warning. If I recall right, there's a scene in Badla, where your co-actor, surprised by some answer of yours, says, "If this is true, then I'm Amitabh Bachchan!" Now if Bachchan already exists in the fictional space the film is in, then you would know it's him when he walks through the door, no?
Nahin! That Amitabh Bachchan is not the Amitabh Bachchan in the head of the person saying that line! It was Manav's [Kaul] impromptu addition to the dialogue; not how it was written. Sujoy [Ghosh] found it very funny. I was, like, whatever, if you guys are fine.

You've called your character in Manmarziyaan the closest to you as a person. Did that make it easier for you to play?
The part that was hard to play was the fact that she goes back to the boyfriend, after getting married. I am not that confused in life. I'm very black and white, with everything. And Rumi is always grey. It was very difficult for me [to get audiences] to root for this character, who is not loyal to the husband. I took it up as a challenge, doing it innocently, but with much conviction. I'm hopelessly loyal as a person.



[Die-hard] romantic type?
I might have dated a lot of people, but I've been 100 per cent there. And if it doesn't work [out], and I feel like going with someone else, I will cut this off completely. And then go. So that overlap didn't make sense to me. What the writer Kanika [Dhillon] told me is that [if it wasn't for that conflict/scene], then it's a cakewalk [for the character]. And I agreed.

I liked that Abhishek Bachchan's Robbie, while being the corporate bore — compared to the happening Vicky (Vicky Kaushal) — wasn't shown to be a complete doofus, given how 'suits' are often stereotyped in popular films. Which of the two would you have picked in real life?
As Taapsee, I would have chosen Robbie any day. I am not comfortable with people who don't really know where their head, hand, and feet are. Vicky was that confused. He just never had a spine. Only had heart.

He'd be more fun to be with.
Yeah, but fun means I can be friends with them. Robbie had a sense of humour at times. And he had this whole thing of, "I am yours; will be yours"—that maturity level to handle someone like Rumi. Robbie was very close to the kind of man I'd want to be with.

You are also an entrepreneur, running a wedding-planning company, invested in a badminton team, which you don't talk about. How do you handle them on a day-to-day basis? [Mohar Basu]
Let me clear this misconception. It is not that I don't talk about it. It's people who don't want to acknowledge and glorify the fact that an actress from a middle-class background is doing this simultaneously. And not because she doesn't believe in her future as an actress. But because she just wants to. Only business magazines end up mentioning it a little bit here and there.

Have you seen the show Made In Heaven; does wedding-planning business really work like that?
[Laughs] The chaos behind organising a wedding and making it look like the way it does is the same. But as far as I know, my company doesn't delve into the personal life of the bride and groom, get them together, or separated... As for day-to-day management, I don't; my sister does. I only go for key meetings. And I'm part of marketing ideas on how to grow the business. With badminton, the tournament and auction happen once a year. I have a proper office working for the rest of the months.

Apparently your team hits bad luck, whenever you're in the stands?
[Laughs] That was happening! And I was sitting in the toilet in the same seat throughout, because we were winning! Trust me it was very difficult to get investors on board for this. I gave some 20-30 odd presentations, and I finally got one investor out of them. It is not easy, just because I'm an actor. But it's helped me grow as a person. I make time for it.

What's the craziest thing a fan has done for you? [Karishma Kakar]
There was this one guy, after my first Telugu film, who just felt like giving me his first salute, before he joined his IPS [police] training. And he did. I don't know why. That was quite crazy.



You've simultaneously worked in Tamil, Telugu [which are also distinct industries], and Hindi films. How different is the kind of reception you get from each?
Very different. In this I can generalise between Tamil and Telugu, to contrast it with Hindi audiences. They [in the South] are very passionate movie fans. Even if you're one or two-film old, and your film has worked, they might not be your diehard fans, but because they are movie fans, they will be crazy about you. Passion for films is that high.

For film stars, no?
You've come in a film; you're a star for them. It's a ritual for them to watch a film every weekend. And they'll give you a chance. It's not like in Hindi, where we get tired telling the public, "Meri picture aa rahi hai, please trailer dekh lo!" Here, only when the word-of-mouth spreads that you take time off your busy schedule, and give the film a chance.

Do you think Hindi audiences have become jaded?
Honestly, don't know the reason.

Do you feel more like a 'star' in Hyderabad/Chennai?
Yeah, you're larger than life, when you are a star, in the South. Here, everybody and anybody who is sitting on a set is a star!

Interesting. Which one would you prefer to be?
I should not complain either way. Because I am getting to live both worlds. If I want to feel like a queen, I can go down South. Or I can just do one Hindi film, and they make me see the reality — that you are nowhere, and you are here only [laughs].

Bollywood makes you feel that? You've spoken about how you still feel like the outsider.
I don't see that as a negative feeling. It is my big USP, or weapon of sorts. My point of view of a lot of characters probably looks real, because I've lived it, and I'm really happy for that. And to an extent I have kept myself away from the social circle of the industry. My day ends at 10 pm, begins at 6.30-7 am...

You sound like Akshay Kumar to me; you also do about four films a year!
I wish. Even if I would've achieved half of what he has, I'll retire. Also, I really don't want those conversations of films and the film industry seeping into my real life.

You've spoken about how you've been kicked out of films, because you weren't recommended by people from certain families.
Yes, and it still happens. And it is a rule of the game, and I accepted it long back.

But it pisses you off, right?
Of course, you feel really angry, and you vent it out. I do it in front of my sister. My sister always has the same answer —that I always knew about it. It happens in every industry.

You publicly sarcastically cribbed about it, when you were left out of Filmfare popular award nominations, despite having three big releases the same year.
Actually two years back, it affected me the most, when Pink happened, because I was snubbed then as well. [Filmmaker] Shoojit Sircar told me, "Apne kapde silwa le, iss saal bade award milenge tujhko!" People were just crying while interviewing me, because of the role that had touched them so deeply.

Which is true, yes.
After all that, you are not even nominated in a lot of awards, and totally snubbed that year. That broke my heart. I thought I'll do something. I'll give such films every year that people will start asking you [the organisers], "Why are you snubbing her?" I was snubbed last year as well. But, this year, things changed. Because it became so evidently shameless that people started questioning. Now they can't turn back and say, she's bitter, cribbing, or crying. I am not saying anything. My audience is.

You also speak about how you get far more recognition from the public than peers in the film industry.
Yes. But, since when did peer validation become the true hallmark? I am fine with being the underdog. I am still not in the so-called list of "5 actresses to be rated in the order of their performances!" But I am still the same actress whose films are the highest rated in the year. Let the validation come in from the public. None of these peers whose validation we expect are paying for the movie ticket. So it doesn't matter.

MUMBAI MIRROR (May 15, 2019)

Taapsee Pannu has found a close friend in her Manmarziyaan co-star Vicky Kaushal and now, she’s endorsing him as “marriage material”. During their recent turn on a Colors Infinity show BFFs hosted by Neha Dhupia, the actress introduced Vicky by exclaiming, “All men are a**h*les but Vicky is the best”. She went on to reveal that they bonded on Whatsapp even before meeting each other during the shoot of their Anurag Kashyap directorial. “I was in my blue hair and she in her red hair and I don’t know for some reason we just hit it off straight away. One striking thing about her personality is that she is immensely transparent as a person and she is a great talker. And I am a great listener,” Vicky complimented Taapsee back.

While the actress went on to say that she doesn’t find Vicky hot, in a game of ‘hook up, marry, kill’ among Varun Dhawan, Abhishek Bachchan and Vicky, she said she would “hook up with Varun, kill Abhishek and marry Vicky as he is more marriage material.”

While on the topic of marriage, Vicky said that he is yet to feel like he has arrived as no one has asked him to dance at a wedding yet. What would it cost to get him to do it? “For all the dulhas and dulhans out there, one rupee,” he exclaimed.
-------------------------
DNA (May 15, 2019)

Later, when both, Vicky and Taapsee, were asked to reveal each other’s worst films, the Masaan actor named Taapsee’s Naam Shabana, while she rated his Sanju as her least favourite movie from Masaan, Uri: The Surgical Strike and the Sanjay Dutt biopic. Interestingly, when Vicky was asked to name his worst performance, he mentioned Luv Shuv Tey Chicken Khurana! The Pink actress retorted saying, “Background, passing wale roles ki baat nahin kar rahe hain!” Neha wanted to know if he was there in the film! To this Vicky said, “Hey, poore teen scene the mere. I was playing the younger Kunal Kapoor.” Now, you know!

Neha Maheshwri (BOMBAY TIMES; September 3, 2018)

She comes across a bubbly girl next door, who can transform into a hard-as-nails woman in an instant. In a way, Taapsee Pannu’s choice of films is a lot like her — a mix of lighthearted commercial potboilers like Judwaa 2 and intense, issue-based movies like Pink. And now, as the actress gears up for the release of her next, Manmarziyaan, she talks to BT about how much she believes in box-office numbers, acting in an Anurag Kashyap film and her love-hate relationship with trolls. Excerpts...

Manmarziyaan was announced in November 2016, but it took two years to complete the film. With a new cast and Anurag Kashyap directing it, expectations have risen. As one of the main characters in the film, are you feeling the pressure?
I suffer from anxiety, but it’s healthy. If I stop feeling anxious, it would mean that something is wrong. In fact, l feel the pressure while selecting a film and not when it’s releasing. I love the pressure of expectations, as I have worked really hard to reach this stage. It keeps me on my toes and doesn’t allow me to take things for granted.

Do you bother about the number game?
It has always been about the number game for me. I won’t even mince words in admitting that I don’t want anything except box-office success. For me, numbers are the only parameter for success, as that means that people have seen my film. Of course, I will read what critics have to say about films like Pink and Naam Shabana, but not about a film like Judwaa 2. A film like that is not made for them, it’s only made for numbers and entertainment.

How was the experience of collaborating with Anurag Kashyap, who is mostly known for sketching dark characters?
It’s been a funny experience. People are either hardcore Anurag Kashyap fans or they don’t follow his cinema at all. I am somewhere in between. I loved Dev D and Gangs Of Wasseypur, even though the underworld is not my zone. I have liked some of his films, and totally disliked others. I would often tell him, ‘Sir, kya soch rahe the ye banane se pehle? Ye fast forward karke bhi nahi dekh sakti main.’ I think it’s my honesty that made Anurag and me click so well. So, don’t be surprised if you see us do more work together.

In Marmarziyaan, you play Rumi, a carefree girl who doesn’t hold back when it comes to speaking her mind. In real life, too, you are like that...
Anurag believes that I am Rumi, though I don’t agree completely. That’s why he didn’t give me the script till two days before the shoot. Finally, I had to threaten him that if he didn’t give me the script, I wouldn’t show up on the set. Anurag didn’t change a single thing about me — from my hair texture to my body language. While there may be similarities, I am not someone who shouts and screams like Rumi. When I am angry, I become cold, sarcastic and mean. I can rip the person apart with my words. However, I will never abuse. In fact, many people are shocked when I tell them that I don’t abuse. That’s probably because of my image. I even told Anurag that no abuses will be hurled on screen, unlike what is seen in most of his films. I will only star in films that I can watch as an audience. Mujhe nahi prove karna ki main gory stuff kar sakti hoon.

Like most of your characters on screen, you are vocal on social media too. While you don’t hold back from thrashing trolls, does it affect you as a person?
They don’t know the real me, which is why they are trolling me, otherwise they wouldn’t dare. In the beginning, I responded to a few people. Then, my father told me not to talk or reply to trolls, as he didn’t want me to stoop down to their level. Somebody told me that as you become bigger, you start affecting people. So, they pull you down. Honestly, trolls don’t affect me anymore. In fact, I want to use social media for the benefit of my genuine followers — I pick up one or two tweets and use my sense of humour to entertain them. The trolls don’t realise that they are actually helping me become more popular and in return, I am helping them grab a celebrity’s attention. I think my trolls and I are very good friends. There is an equation going on here (laughs!).

You have almost become synonymous with films that highlight pertinent issues. So, a huge section of the audience expects you to have an opinion on every pressing matter...
Well, people who have brains will understand that I am an actor and my way of voicing an opinion is through my films. I am not a social activist or a politician. I will not go on the terrace and shout ki aaj ka mera agenda ye hai. I will choose some films, which address some issues, while others will be pure entertainers. When I am doing films like Pink and Mulk, I am asked questions regarding the issues they are based on, and when I answer those questions, they say, ‘Film release ho rahi hai, isliye ye ab bol rahi hai.’

Do you feel that people can’t imagine you in films that are not issue-based, while you must be wanting a healthy mix of intense roles and commercial potboilers...
No, they actually can. They still remember me for Judwaa 2. They may love me or hate me for doing it, but they do remember the film. Having said that, I also know the audience believe that if I do a film, it will have something to talk about. I am happy that they have that notion about me. At least, they are not coming to watch my films leaving their brains at home. My movies may be issuebased, but they never fall in the bracket of indie, art or typical festival films. Though my movies might seem unconventional, they will be commercial in their own way. Manmarziyaan is not hard-hitting or a mudda-based film, but it will make you feel strongly about love. However, I also have to do films like Judwaa 2, to change gears or people will expect only hardhitting films from me. I do a film like that to clear the palette. It’s like sorbet. And I hope films like Judwaa 2 come my way, as I have to struggle to get them. The problem is, there is a long queue of girls, who are doing such films, brilliantly. So, why should the makers take me instead? For them, it’s about taking the risk or thinking out of the box.

Nayandeep Rakshit (DNA; June 22, 2018)

If actresses like Deepika Padukone, Kangana Ranaut, Vidya Balan, and Anushka Sharma have made it a point to pick movies with author-backed roles, superstars like Akshay Kumar, Shah Rukh Khan and Aamir Khan are doing their bit to support films with strong female characters at its core. While Aamir produced Secret Superstar, which was about the ambitions of a young aspiring singer and her relationship with her mother, SRK starred in Dear Zindagi that revolved around Alia Bhatt’s character. Akshay, too, lent support to Naam Shabana, which was a spin-off based on Taapsee Pannu’s character in Baby.

Talking about this change, Akshay says, “It’s time the industry as a whole started giving that respect to our actresses. A film isn’t complete without a hero. Similarly, movies can’t be made without the heroine either. I would happily do these roles whenever necessary.” The National Award winner reveals that right after Airlift released, he was in talks with his co-star Nimrat Kaur for a project. “I remember we had spoken about it but it didn’t work out,” he says.

The superstar, who has a martial arts school and promotes self-defence among young girls and women, admits that he’s looking forward to “making a film with a strong woman-oriented subject.” He avers, “As an actor and a producer, I get a lot of scripts every day. Some of them are good, others aren’t. Recently, there was a script, which dealt with the topic of dowry, which I really liked. But you have to get everything right, and that hasn’t happened yet. It’s almost like fishing where you cast your net and wait... Sometimes you get something outstanding, sometimes you don’t. But yes, my team and I have discussed the idea of making a powerful film with a strong female character.”

With both, commercial and arty ventures on his plate, Manoj Bajpayee discusses how content-driven cinema has given his kind a new lease
Sonia Lulla (MID-DAY; January 28, 2018)

In 2016, a 10-15 line monologue by intelligence agent Ranvir Singh convincing Taapsee Pannu's Shabana, in Naam Shabana, was proving to be onerous for Manoj Bajpayee. Unrelenting, director Neeraj Pandey had kept him going for 10 takes, and demanded yet another. That the role was offered to Bajpayee on a platter — Pandey literally permitted him to select his character — had made the feat even more cumbersome. "Any other actor in my place would have crumbled," says Bajpayee, who was "up for the challenge" that the filmmaker hurled at him. And it certainly was one, given that Pandey even refused to point out what it was that was going amiss. "He only says, 'Second take... third take... fourth take'. He is always looking for something, but the actor will never know what [that is]," Bajpayee says.

That his acting prowess is challenged 25 years into his career implies that Bajpayee welcomes a collaboration with Pandey. His fifth association, the forthcoming Missing, with Tabu, sees Pandey as producer, while the sixth, Aiyaary, has him wield the director's baton. The intellectual fodder that they offer each other implies that Bajpayee is sure to pick up a conversation with the filmmaker daily, even when they aren't filming. "Every week, we also grab dinner together at his office or at a restaurant, where stories and ideas make for discussion. Ever-so-often, he sends across a copy of his script for my opinion. He pays heed to them on some occasions, he rejects them on the others. We are similar, intellectually. He understands my dreams and expectations as an actor, and I trust him. But generally, we don't interfere in one another's business."


Bajpayee with wife Neha and daughter Ava

Even as he awaits the February 9 release of Pandey's Aiyaary, the actor has his hands full with three other ventures, each of which, interestingly, is targeted at a distinct audience. While Dipesh Jain's In The Shadows has been appeasing the festival-going audience, Sajid Nadiawala's Baaghi 2 hopes to draw viewers of mainstream cinema. Bajpayee also has Raj Nidimoru and Krishna DK's The Family Man set for a digital outing, a platform he touts as the "next big thing". Evidently basking under the glory of the limitless offers, he credits the growth of contextually strong cinema for the increasing attention that cinematic talents have been acquiring. "We are finally heading towards a time when performance-driven actors will be at par with superstars. And that was exactly what the fight was about. The fight was never about mainstream cinema versus art-house films. We just wanted an industry where all sorts of actors could co-exist, and we're heading there."

Yet, the eventual exhaustion of commercial cinema is unlikely, given the far-reaching effects of mainstream films. "It [commercial cinema] is a genre that is important. It reaches small towns, villages and multiplexes too. But, because of the changing world, especially the growth of the internet, there's a large audience looking for great content as well. As a result, you get to see films like Aligarh and Budhia Singh." The demand for great content, he says, is coupled with the desire to see stronger performance from actors of his kind. "Viewers want actors who are known to deliver with their performances to be at par with Western artistes. Also, their demand from every actor is different. They want to see a Salman Khan in a [film like] Tiger Zinda Hai. When they come to see Manoj Bajpayee, they want him [Bajpayee] surprise them with new acts. So, our job is to be really good in every role. And fortunately, while a Tiger Zinda Hai is working, a Newton is too. And this is healthy. There has always been a Robert De Niro and an Al Pacino, but there has also always been a Tom Cruise."

While his fans would be up for a debate, Bajpayee insists, he has never been a talented actor. Harbouring the love for the craft since childhood, he says he knew he would need to off-set his perceived lack of flair with toil. "I need to work hard to recite every single line. I keep practicing it quietly before I'm required to deliver it. Also, I work on understanding the back-story of my character. If there isn't one, I try to create it. Because I hold on to it for long. I can't switch on and switch off. For me, if it's switched on, it is on for a long time."

A busy schedule sees Bajpayee neck-deep in work until August. But, after that he intends to take a four-month sabbatical to "refuel" himself for his forthcoming commitments. "It's an essential for an actor if s/he wishes to be ready for every venture," says the actor, as he goes on to spill the beans on how he intends to unwind. "I have already started learning to cook. I've realised that it is something that I am slowly growing interested in. I want to cook meals for my daughter and surprise her with one dish or another. I want to give her the memory of her father's dishes."

Taapsee Pannu responds to criticism of picking frivolous comedy Judwaa 2 after acclaimed women-centric outings like Pink and Naam Shabana
Mohar Basu (MID-DAY; January 29, 2018)

A scan at her repertoire of films is sufficient to ascertain that Taapsee Pannu has made calculative choices to ensure she gains recognition among a wide range of audiences. The actor came under the scanner for picking a frivolous comedy like Judwaa 2 (2017) after her notable acts in women-centric films like Pink (2016) and Naam Shabana (2017). But Pannu is certain that her stint in the Varun Dhawan starrer exposed her to a different set of eyes, the kind that “wouldn’t understand Pink”. “With Judwaa 2, I captured the kind of market that I could have never penetrated into on another occasion. There is an entire audience that doesn’t understand the theme of Pink. That is the base that I have to capture. I would want to ask the people who lashed out at me for choosing this film why is it that Pink or Naam Shabana did not earn Rs 100 crores. If those films made as much money as Judwaa 2 did, I would not need to do the latter,” Pannu tells mid-day in the midst of promotions of her next, Dil Juunglee.

The actor’s urge to “be seen” stems from her desire to draw a bigger audience towards the kind of cinema she wishes to be part of. “I need people to see me and like me so that I can get the chance to do more empowering roles. It’s math. By being part of films like Judwaa 2, I can ensure that I garner more fans, who’d then want to watch me in other powerful films. I need to be bankable for those movies to reach the right audience too.”

Giving the nod to a frivolous comedy was also essential as Pannu was wary of being pigeonholed early into her career. “This industry is quick to stereotype. People had started talking about how I was primarily being part of women-centric movies. I didn’t want to be labelled as part of a mahila morcha. I would want to have the option of singing and dancing as well.”

Slipping into de-glam roles also implies that viewers were quick to distance the notion of beauty from Pannu. “People now tell me, ‘Aap real mein toh kaafi sundar dikhtey ho’. It’s evident that they don’t count your work as legit unless you appear glamorous. And these people comprise a huge market.”

Chaya Unnikrishnan (DNA; January 22, 2018)

Fresh from the success of Judwaa 2, Taapsee Pannu is glowing. Having lost oodles of weight, she is looking svelte, charming and confident. Not only has she established herself as an actress of substance but she is also straddling hard-core commercial films and different cinema. While she delivered power-packed performances in Pink and Naam Shabana, she added the glam quotient to a masala entertainer like Judwaa 2. Even her upcoming movies are a mixed bag — she is balancing a romantic comedy, Dil Juunglee, with a social thriller, Mulk, which is based on real incidents and Manmarziyan, an intense romantic drama. In a candid chat, Taapsee looks back at her journey in Bollywood and opens up about her struggle and choices.

You made your debut five years ago with Chashme Baddoor, but it is only in the last one-and-a-half years that you have got recognition in Bollywood. What took you so long?
It’s difficult to make your presence felt with a film like Chashme Baddoor that is an out-an-out comedy mainly because it’s a common genre. There are so many girls out there who are trying to make an entry with big commercial comedy films. I’m neither the most drop dead gorgeous looking girl, nor am I a diva. All I can say is that I’ll help the layperson, who is buying a ticket, feel that I’m one among them. That’s my USP. I’m not that larger-than-life looking character, so it’s difficult for people to imagine me doing a film like Judwaa 2 immediately after Chashme Baddoor. It took a while for me to establish myself, for the audience to like me and for makers to feel that, ‘Okay, here is someone people would like to see, it will be interesting to put her in those shoes and see how they react.’ Now that the audience loves me, I’m trying to experiment and see in what all shapes and sizes do they like me (laughs).

You are the only actress to have played a small role in a film, Baby, which led to an entire movie revolving around your character in Naam Shabana...
Yes, I’m very lucky to do Baby in which I had a 10-minute role that ended up with me getting the title role in another movie. It wasn’t planned. With Akshay Kumar, Neeraj Pandey supporting it and Manoj Bajpayee playing an important role in Naam Shabana, who would have thought that within three years, I would get a project like that! Then I got to work in Pink where initially people thought it would be an Amitabh Bachchan film. I’m lucky to get such a beautiful role to essay. The only credit I give myself is having made sure that I used the opportunity to my best. I didn’t let it pass or take it lightly. I exploited the opportunity to deliver my best. A lot of directors if you have noticed have repeated me.

How did you exploit the opportunity to your best?
Beggars cannot be choosers. When I did Baby I was told, Akshay ke film mein vaise hi kisi aur ko koi dekhta nahi hain aur 10 minutes ke role mein kya dekhenge? I was not even paired opposite Akshay. It was very convenient to not realise my presence (in the film), but that’s what worked in my favour because people didn’t expect me to do what I did. Whenever I have done something people didn’t expect me to do, it has worked for me. The same thing happened with Pink. They didn’t expect me to have an equal role as Mr Bachchan’s but were shocked to see me have one. Then they never thought I would do a Judwaa 2 after this. It’s fun when I change gears. I do one Pink and Dil Juungleee, a Naam Shabana and Judwaa 2. If I do one genre back-to-back, it will get boring.

What prompted you to take up a film like Judwaa 2 after being hailed as an actress of substance?
There were a couple of things. Firstly, I was sick and tired of hearing that you look really beautiful in real. I was like, ‘Do I look ugly on screen?’ I guess just because I don’t do glamourised roles like a lot of other actresses, people don’t realise that there is beauty in simplicity as well. My take was if you think that’s not beautiful, let me show you this side as well. I tried to showcase that glamourised aspect of me which they think is beauty. I had done this exact same thing for years in South cinema, so it was just revisiting where I started. Secondly, my audience didn’t make Pink or Shabana a Rs 100 crore film. The idea for an actor to grow is to get more and more audience. This is my way to get viewers to see me, like me and come to watch my other movies also. If Pink and Shabana were Rs 100-crore films, I would have done only that type of cinema. But because the audience is still waking up and warming to that kind of films, I need to do something like Judwaa 2 every year.

But it wouldn’t be challenging for you...
No, as I said I have done it in my South films, but the challenge for me here was to look as hot as or at least be worthy of standing in the same frame next to Jacqueline (Fernandez) who has the hottest body in the industry. That for me was the toughest part!

Which is the one role you would you like to essay that people don’t expect from you?
I would love to do a dark character. I think people don’t see me as one, but that’s something I want to do. Gone Girl is an ideal reference.

Roshmila Bhattacharya (MUMBAI MIRROR; January 6, 2018)

AIYAARY (January 26, 2018)
While shooting for a long sequence of Naam Shabana with Taapsee at night, Neeraj and I got chatting while the shot was being set up. “Panditji, mazaa aa raha hai?” he quizzed, and I had to admit that of late work hadn’t been a lot of fun. He acknowledged that even he was beginning to feel that way and requested me to keep March and April of 2017 free for him.

“There’s a subject but I haven’t had time to develop it, so far,” he told me. I had learnt early not to prod him for details, knowing he would reach out when he was ready.

Soon after he sent me the first half of the script and I was blown away, eager to know what happened next. It took its time coming because even though Neeraj took off to different parts of the globe with the intention of stitching up the half complete script, he was finding it difficult to wrap it up.

Then, one day, out of the blue, he called and asked me where I was. When I told him I was in Delhi, Neeraj, who was also in the Capital, set up a meeting that evening at his suite in Hotel Shangri-La. I reached to find his production partner, Shital Bhatia also there. He handed us some pages which I soon discovered was the second half of the story I had begun to read, and took off to visit his family. Shital and I finished reading it and looked at each other silently, knowing we had something fantastic here. When Neeraj returned, we discussed the script for an hour or two. I was gratified to be offered a character that I know could’ve easily gone to another actor but I have learnt not to question Neeraj’s choices. He can be really curt and short. So, I just thanked my lucky stars I had one more chance to work with Neeraj Pandey.


NAAM SHABANA (2017)
Neeraj sent me this script saying it was a prequel to Baby which he wanted to make with Taapsee (Pannu). After I had read it, he asked me if I could see myself in any role. I picked the one of an intelligence guy on the phone who you never see, have no idea where he comes from, his family background or qualifications. But from the robotic way he speaks and assists with Shabana’s training, I imagined him to be ruthlessly cold professional. What excited me about this particular character was that while all this time my craft has drawn out many emotions from me on screen, this one demanded that my voice remain completely expressionless. When I told Neeraj my choice he gave this guy a face and Ranvir Singh remains one of the most interesting and challenging roles I have played.


OUCH (2016)
We were at a cosy get-together, waiting for dinner to be served, when I told Neeraj that he should direct a short film. He admitted that the thought had crossed his mind. One day he surprised me with this script that made me fall over laughing. The similarity between Neeraj and Anurag Kashyap is that they are both fantastic writers who might take their time getting into the right frame of mind, but when they sit down, they have the talent to finish a script overnight and floor you with it.

What happens between this man and woman in a hotel room over just 15 minutes of runtime was a laugh riot, but it was black humour, nasty and scary in its own way, because this man who’s so macho and self-assured on the surface is at his most vulnerable, having walked out of his marriage, only for the other woman to have second thoughts. It was truly Ouch, for him.


MISSING (Still to release)
This suspense thriller redolent with romance and scares, thrills and chills, is produced by Neeraj and directed by Mukul Abhyankar. Set in a resort, it features Tabu and me in the first half, with Annu Kapoorji joining us post interval. Missing took a long time to complete but now we are hoping to take it to theatres in a few months. It is a rollercoaster ride which leaves you guessing with every twist. I can’t wait for the audience to see it.


SAAT UCHAKKEY (2016)
I had never played a character like Pappi before. He’s a good-for-nothing loafer who is suddenly in a situation where if he doesn’t make some money overnight he is in danger of losing his fianceé to the thana in charge. So he rounds up a group of wastrels to rob a haveli that will make him rich overnight. What I liked about him was that this badmash is a lover though not the mushy kind and at his most vulnerable when nothing seemed to be working right. It was a comedy without trying to be comic and that’s what set the story apart.

Neeraj, who produced the film, gave the director, Sanjiv Sharma, the liberty to shoot it the way he wished in Delhi. It was a very satisfying experience because I got to film with Kay Kay Menon, a man I admire for his integrity and histrionics. But then, unfortunately, it ran into censor problems and was delayed by over two years. When it finally released, it did not get the right promotion and distribution and without that it’s hard to make an impression in today’s market. But I would recommend digging out this little gem and watching it. I promise you won’t be disappointed.



SPECIAL 26 (2013)
Some years ago, I was suddenly struck by an ailment that left my shoulders and arms immobile, my eyes watering. I took up whatever work that came my way. Between jobs, I spent a lot of time in my native village or Delhi when I’d watch films by young directors and if they impressed me, I’d call them up to express my appreciation and tell them I was available if they had something for me. It was at this time that I saw A Wednesday and the script with all its mainstream ingredients managed to wow me completely. I hunted out Neeraj’s number and gave him a call. We spoke for a long time on the film and then he invited me to drop by his office at Oshiwara. When I did, I was overwhelmed by the respect he accorded me as an actor at a time when the film industry and the media were writing me off. It boosted my sagging morale and failing strength.

We continued to meet and after a year-and-a-half he sent me a script and asked if I’d be interested in playing this CBI officer. After reading the script I wondered why he would come to me with this role when he could have got any other actor to play Waseem Khan. But being desperate for good work I did not dare to voice my thoughts to him. Through the making and promotion of Special 26, I discovered in Neeraj not only a director who could bring out the best in me as an actor but also a straightforward, non-nonsense man of few words whose “good” meant “fantastic”. It took us a while to open up to each other through conversations about cinema and more but eventually we realised how much in-sync we were.

Divya Kaushik (BOMBAY TIMES; September 29, 2017)

As told to Natasha Coutinho (MUMBAI MIRROR; September 4, 2017)

Natasha Coutinho (MUMBAI MIRROR; July 31, 2017)

He has consistently done a variety of roles over the years. But Bhuvan Arora has been noticed widely after a powerful performance in Naam Shabana. The Delhi-born actor played Karan (pictured above) responsible for killing Shabana’s boyfriend in the film. In this exclusive interview, Bhuvan speaks about the feedback that he received for his performance, his experiences as a student at Pune’s prestigious Film And Television Institute Of India (FTII) and a lot more! He also shares an interesting anecdote that occurred in 2001 thanks to his ‘iconic’ name!

What kind of reactions have you got post Naam Shabana?
Whenever I have done a film, I always get recognition for it for 3-4 months. But Naam Shabana has been an exception. The reactions have been fantastic and something else. This is the first time I have done a negative role. I went to see the film with my friends and they found me convincing.

How was it working with Taapsee Pannu? The action scene with her before the intermission was one of the highlights of the film.
She is very jovial and we bonded as we both are Punjabis. Hence, we bonded a lot over food. Also, she is quite dedicated and it’s commendable how she put her heart and soul into the film. I have done martial arts before and so for me, it was not that difficult. But she managed to shoot some of the difficult action shots in just one go.

How was it working with Neeraj Pandey who has produced and written the film?
Neeraj Pandey was present on the sets though it was director Shivam Nair who called the shots. But for Neeraj, this film was quite special as it’s a prequel to one of his much loved films, Baby. He told me that he doesn’t want my character to talk a lot and that I should express merely with my eyes. Hence, I’ve hardly spoken any dialogue in the film. Also, he gives some very precise instructions which made my life easier. For instance, he explained to me the difference between being intoxicated and stoned. He told me exactly how to perform when my character takes drugs or is high on alcohol.

Were you always interested in acting? And how was your experience at FTII?
I used to do theatre in school a lot. I was mediocre in studies and hence to skip that, I pursued dramatics. It gave me a lot of popularity which was quite a great feeling. At that time, we used to do nukkad theatre in Delhi. We used to enter Central Park and start performing without permissions. Once cops came to shoo us away. But they enjoyed our play so much that they ended up sitting and watching the entire performance! After the performance, they told us how much they loved the play and praised me more since I had directed the play.

Later a friend told me that I should apply at FTII. I had never heard of it and asked him what it is. He replied that it’s the IIT of film studies! I then enquired whether one can get into by simply paying the fees. To which he said that the process of getting into it is quite rigorous. I filled the form and luckily I got into it. It’s only after getting into FTII that I realized that what it’s actually all about. They taught us the craft of acting and this is something I’ll never forget. Even if you bunk, you’ll end up learning something at the institute.

Tell us something about your upcoming film, Bank Chor.
It’s finally releasing on June 16 and it’s a story about three morons trying to rob a bank. I play one of the morons in the film apart from Riteish Deshmukh and Vikram Thapa. The trailer will be out on May 1.


You are also a part of the web series The Test Case. From the promos, you seem to be playing a negative character who’s not happy with Nimrat Kaur’s character. So after Naam Shabana, once again you are creating obstacles for the lead female character I guess?
Well, not exactly. I play a character who feels that men are superior. He respects women but he feels that women should be protected. He’s not someone who would eve tease a girl. His dad is a General in the army and he’s brought up in a family who believe in male superiority. His grouse with Nimrat Kaur’s character is that she shouldn’t be trying for the Special Forces. Otherwise, he has no problems with her joining the army.

What kind of prep did you undergo for The Test Case?
It was a lot as we had to understand what these jawans go through. We were taught how to hold the gun and how to shoot. Also, the research was massive. What we have seen in films is not even 10% of what all happens during the prep for Special Forces. The jawans are tortured. In the end, they have to undergo Stress Test in which they are told to be awake for 36 hours. Then they are dipped in water, garbage and what not. If anybody gives in or faints even in the last minute, he’s out. Moreover, they try to break you psychologically as well – an officer, while you are doing the test, will persuade you to quit and go back to your regiment. But once you pass, you are honoured with a maroon beret which holds a lot of significance and respect. An ordinary soldier can at the most meet his senior to discuss matters. But a Special Forces officer has the authority to even meet the General.

Apart from Bank Chor and The Test Case, which other films or ads are you a part of?
I have done some 20-25 ads and I don’t have time to do more ads now as I’ve been busy with other projects like The Test Case whose shoot is not yet complete. I don’t have any film and waiting for the right project. I have refused a couple of projects but Naam Shabana was something I couldn’t say No to. After all, it was a Neeraj Pandey creation and secondly, I had a very significant role, despite it being there only in the first half.

While talking about nukkad natak, you mentioned that you have directed plays. So any plans to direct films?
 Yes, definitely and I keep writing scripts though I don’t show it to the world! Director Maneesh Sharma once made an observation that I could write well. He in fact told me to share my script with him and if he liked it, he’ll like to produce it. I however am waiting to write a great script worthy of being made into a film. Just because Maneesh Sharma gave me this wonderful offer, I’d not like to get excited. I’d rather work hard on a script and then share it with him.

Your name is Bhuvan, which was also the name of the iconic character of Aamir Khan in the classic film Lagaan. How did your friends and family react to it when the film had released?
You won’t believe this but till today, people joke about my name although it’s been 16 years since Lagaan released. The moment I say my name is Bhuvan, majority of the people say ‘teen guna lagaan dena padega’ and I have to pretend that this is the first time I am hearing this ‘joke’! I still remember that I saw this film in Eros theatre in Jangpura, Delhi. We were sitting next to a group of Sardars and we started talking to them and became friends. After the film was over, they asked me my name and when I told them, they couldn’t believe it. They thought I was joking or that I was smitten by Aamir’s character. I had to show them my school ID card and only then they were convinced!

DNA (April 9, 2017)

It isn’t only Dangal that’s been banned in Pakistan. Neeraj Pandey’s espionage thriller Naam Shabana starring Taapsee Pannu has also been stopped in theatres across Pakistan.

In this case, the Pakistani officials woke up to the theme of international terrorism after the film was released.

A source close to the development says , “The Pakistani authorities seemed fine with the film. But a day after the film released they woke up to the fact that the theme of terrorism could reflect badly on Pakistan.”

A few but significant number of actresses have donned the action avatar in Bollywood in recent times. But Taapsee Pannu’s stint in Baby is the most memorable. It was no surprise hence when the makers decided to come up with a prequel of Baby but with Taapsee’s character as the central protagonist. Titled Naam Shabana, the film is a decent fare but slips when it tries to get into the territory of its predecessor, Baby.

The story of the movie: Shabana Khan (Taapsee Pannu) has had a tragic past and even her present life goes topsy turvy after a shocking incident. But her life changes for the better when she gets contacted by Ranvir Singh (Manoj Bajpayee) who offers her to work as an undercover field agent for the cause of the country.

Naam Shabana has an okayish beginning with a spy movie-kind of a feeling. But it is better than the opening sequence of Force 2, which is also in the same league. The story soon shifts focus on Shabana and from here till the intermission point, the film is a brilliant, emotionally-driven ride. The light romantic moments are just right and Shabana’s struggles and her reason for going all out is terrific. The interval point is fabulous but from here, the film starts slipping a bit. It goes into Baby mode. Baby’s climax went into the zone of impossible but came out with flying colours as it was highly convincing. Naam Shabana’s climax tries to do something similar but it’s not entirely convincing. Thankfully, there are some nice, dramatic moments that keep the interest going.

Naam Shabana rests on Taapsee Pannu’s firm, strong shoulders. It also goes well with the theme of her earlier film, the very hard-hitting Pink. Whether it’s emotional, action-packed, dramatic, romantic or tragic sequence, Taapsee is first-rate and doesn’t give any reason to complain. Surely her best work and hope to see her in many more significant roles! Manoj Bajpayee also does a very good job. The way he commands attention and awe through his mere voice is praiseworthy. He’s not kicking butt but neatly gives back-end support. A great character, played well, and hoping to see him collaborate with Akshay in Baby’s sequel! Akshay Kumar (Ajay Singh Rajput) has 15-20 minute role and as always, gives a terrific performance. His entry is whistle-worthy! Prithviraj Sukumaran (Tony) is quite nice in a negative role. But the surprise factor that is associated with his character doesn’t work. Taher Shabbir (Jay) delivers a stupendous performance. His screen time is limited but he’ll surely be remembered by viewers long after they have exited the theatre. Anupam Kher (Shukla) is lovely and once again, his character raises laughs. The actor playing Karan and Shabana’s mother are decent. Elli Avram (Sona) has a cameo and looks super-hot. Danny Denzongpa (Feroz Ali Khan) is fine. Murli Sharma (Gupta ji) and Madhurima Tuli (Anjali) are just there for a scene. Virendra Saxena is good while the actor playing Mikhail induces fear and how. Zakir Hussain and his 2 colleagues engage audience very well in their 10 minute scene

Songs aren’t needed and most of them are relegated to the background. Rozaana is melodious while Zinda has an exhilarating feel. Zubi Zubi is very well shot and placed while Baby Besharam is needlessly incorporated. Sanjay Chowdhury’s background score is exhilarating and the Baby theme is used as well which works big time. Cyril Raffafeli and Abbas Ali Moghul’s action is very exciting and real. Sudheer Palsane’s cinematography is raw but at the same time, neat. Neeraj Pandey’s story is damn good. The amount of research he has done and put into the film is superb. Dialogues are simple and witty. Screenplay is outstanding in the first half but doesn’t have novelty value in the second half. Shivam Nair’s direction is quite nice and he manages to make it look like a prequel to Baby. He’s always been a good filmmaker and here’s hoping he gets to do better and bigger projects from now on!

Some of the best scenes:
1. Shabana’s entry
2. Shabana celebrates Jai’s birthday
3. Shabana-Jai returning home at night
4. Shabana clears the first test of Ranvir (damn good)
5. Shabana in Goa (excellent!)
6. Tony followed in Malaysia and the scene thereafter
7. The sequence involving Shabana, Sona, Ajay (the musical touch in this sequence is superb!)
8. The climax

On the whole, Naam Shabana has a terrific first half but loses novelty value post-interval. Thankfully, it’s has some nice, interesting moments to keep the audiences engaged. Taapsee Pannu delivers one of the most powerful performances in recent times. Manoj Bajpayee, Akshay Kumar and Anupam Kher are good but special mention should also go to Taher Shabbir – this actor leaves a huge mark in a 20-25 minute appearance. Despite the minuses, it’s a definitely a one-time watch and much better than the other recent spy films like Force 2 and Commando 2!

My rating - *** out of 5!

WILL NAAM SHABANA BRING SOME CHEER AT THE TICKET WINDOW?

Baby was one of the most loved films of 2015. The biggest surprise of the film was 20-minute appearance of Taapsee Pannu. Her fight scene with Sushant Singh replete with some eye popping stunts made for an exciting watch. The makers of Baby then decided to come up with a prequel of Baby featuring Taapsee in a leading role and titled it Naam Shabana. Baby’s main lead Akshay Kumar this time has a very small role. Anupam Kher and Danny Denzongpa from the previous part also feature in this film. Manoj Bajpayee and Prithviraj Sukumaran are additions to the cast. The film comes at a great time – there’s no other major Hindi or Hollywood film releasing tomorrow along with Naam Shabana. Even next week, there’s hardly any competition. The costs of the film too are reasonable and recovering it won’t be a big problem, provided the film gets a positive word of mouth.

Naam Shabana however doesn’t seem very exciting from the trailers. The buzz is also quite limited and hence, the opening will be poor or average. It can grow from Saturday if all goes well. If that doesn’t happen, there will be an extreme draught at the box office since the next major film releasing would be directly 2 weeks later – Begum Jaan on April 14.

WOULD YOU LIKE TO EE NAAM SHABANA AND WHY? DO LET ME KNOW!

Madhureeta Mukherjee (BOMBAY TIMES; March 30, 2017)