Showing posts with label O'Romeo. Show all posts
Showing posts with label O'Romeo. Show all posts
Nana Patekar loved talking about food-Suresh Triveni
10:56 AM
Posted by Fenil Seta
Natasha Coutinho (HINDUSTAN TIMES; October 9, 2026)
Director Suresh Triveni and Nana collaborated on the 2026 action-drama film Subedaar. Patekar made a striking retro special cameo appearance in the film as Lance Naik Nana Waghmare.
Suresh tells us, “I was fortunate to work with him and he readily agreed. His bond with Anil Kapoor was incredible and he told me clearly, ‘Main yeh karunga toh Anil ke liye karunga.’ It was honourary, he did it as a favour to us. We shot his scenes in Mumbai rather than Chambal. We shot at J W Marriott, while he was also shooting for Vishal Bhardwaj's O'Romeo. He had got his dabba and was eating it in between speaking to me. He loved talking about food. He wrapped his portions in two-and half hours. He had to stand on a tall surface because we were to add VFX. He played a soldier and knew how to uncock the gun. He said ‘yeh mujhe mat sikha main jaanta hoon’ and just did it quickly. "
On an emotional note he says, “There was a certain warmth and for me it was a bucket list tick to see him and Anil sir together. Anil sir gave him cues for the shot though he was not needed there. That scene echoed in the climax and a lot of people reached out to me that they were surprised. The idea was to have multiple cameos in that scene but once he came on board he is equivalent to many.”
2026 January to June: Bollywood finds its mojo again
8:44 AM
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Vinay MR Mishra (BOMBAY TIMES; July 4, 2026)
Just six months ago, Bollywood was staring at another uncertain year. Today, the mood is noticeably brighter. Driven by the record-smashing success of Dhurandhar The Revenge, strong performances from the war action film Border 2, followed by the horror comedy Bhooth Bangla, and now the sleeper hit Main Vaapas Aaunga, the Hindi film industry finally has something it has lacked for years: momentum.
Yet beneath the celebrations lies a reality check. While a handful of films have soared, many others have struggled to survive, making 2026 a story so far, one of spectacular highs and equally visible lows. As trade analyst Taran Adarsh puts it, "It has been a case of kam khushi zyada gham. We've had successes, but very few that you can count on your fingertips."
'The biggest hit of 2026 is the word of mouth’
If the first half of 2026 proved anything, it is that Bollywood's audience has become more discerning than ever. Films that connected emotionally and generated strong word-of-mouth continued to grow beyond their opening weekend. Films that relied solely on star value found the road much tougher.
"The biggest trend in the first half of 2026 was the power of word-of-mouth," says trade analyst Ramesh Bala. "Films like Main Vaapas Aaunga, Border 2, Bhooth Bangla, and Dhurandhar The Revenge sustained because audiences connected with them."
Akkshay Rathie, Director - Ashirwad Theatres Pvt Ltd, adds, "To see Main Vaapas Aaunga open small but grow day by day purely on the merits of word-of-mouth is extremely encouraging.”
Novelty is winning. Formulas aren't
One of the clearest shifts this year has been the audience's appetite for fresh storytelling. "I don't think audiences are rewarding the repetition of a genre or style that has worked before. What people really appreciate is novelty and bravery from filmmakers. The repetition and herd mentality of trying to replicate success is something that we should put well behind us and we should have filmmakers staying true to their conviction to the stories that they really want to tell and to genres that come very naturally to them. And the more we see that happening, the more successful we'll be as an industry at the box office," says Rathi.
The Dhurandhar Effect
The biggest winner of the year was undoubtedly Dhurandhar The Revenge, which shattered box-office records and redefined the upper ceiling of Hindi cinema's theatrical potential.
Rathi shares, "One movie that really towers above every other movie in the last six months is of course Dhurandhar The Revenge. The box-office collections that we witnessed were truly historic. We realized that the glass ceiling we thought existed at the Rs. 500-600 crore benchmark has been shattered. The potential of the Hindi-speaking market is humongous."
He adds, "I hope more films attempt to build the intrinsic value that allows them to go closer to those numbers."
'Average films won't survive'
While the industry celebrates its winners, films like O'Romeo, which was highly anticipated due to the reunion of Kaminey duo Shahid Kapoor and Vishal Bhardwaj, and Chand Mera Dil starring Ananya Panday and Lakshya that looked promising didn’t quite shine at the box office.
While Hai Jawani Toh Ishq Hona Hai may have recovered its budget, the film's poor reviews and underwhelming box office performance have left a lingering sense of disappointment. Do Deewane Seher Mein, won appreciation from critics and the audience, but the film couldn’t draw in the crowds. Ikkis, Ek Din and Pati Patni Aur Woh Do also failed to attract the kind of audience they were expected to.
"The gap between films that work and films that don't has become very evident," says Taran Adarsh. Ramesh Bala echoes the concern. "Audiences have become far more selective, making it difficult for average films to survive."
The second half could be even bigger
The industry now turns its attention to a packed second-half slate. From King and Toxic, Dhamaal 4 and Ramayana, the coming months are loaded with franchise titles, star vehicles and large-scale spectacles.
"With the kind of movies lined up in the second half, 2026 is well on its way to being an iconic year," says Rathi.
Bala adds, "If these films live up to expectations, the second half could be even stronger than the first."
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Rishabh Suri (HINDUSTAN TIMES; July 2, 2026)
The first half of 2026 has delivered a much-needed boost to the film industry, with audiences backing films across genres, languages and budgets. Strong theatrical footfalls, breakout regional successes and the return of comedy have helped restore confidence in the business after a volatile few years.
“For the industry, admissions are up by at least 10%, and the box office, our estimate is, would be up by at least 16-17%, if not more,” says Kamal Gianchandani, president of the Multiplex Association of India.
What worked
From patriotic dramas and comedies to regional cinema, the year’s biggest successes came from varied genres. Sunny Deol’s Border 2 emerged as one of the biggest hits of the year, while Dhurandhar The Revenge became the highest-grossing Hindi film of 2026 so far.
Comedy also found favour with audiences. Akshay Kumar’s reunion with Priyadarshan in Bhooth Bangla paid off at the box office, while his latest release, Welcome To The Jungle, has continued the momentum, netting over Rs. 80 crore within five days of its release.
For Devang Sampat, managing director, Cinepolis India, the biggest takeaway has been the diversity of successful films: “Dhurandhar The Revenge, Border 2, Bhooth Bangla all did well, but for me the real takeaway is how broad the success has been. The business has come from all kinds of films, across languages and across budgets, not just the big titles.”
One of the biggest surprises of the year has been Imtiaz Ali’s Main Vaapas Aaunga. Despite a modest opening, strong word of mouth helped the film steadily gain momentum and move towards hit status.
Reflecting on the film’s journey, Imtiaz had earlier told us, “It’s the audience who has embraced the film. Somewhere, the industry had started saying ki ‘Arre kuchh bhi halka phulka de do audience ko, chal jaayega, emotional mat do’. But the people proved this wrong.”
What didn’t
Yet, not every well-reviewed film translated into ticket sales. Vishal Bhardwaj’s O'Romeo, Ananya Panday and Lakshya’s Chand Mera Dil, Anurag Kashyap’s Bandar and Kangana Ranaut’s Bharat Bhhagya Viddhaata failed to generate the expected box-office momentum despite positive reviews and strong subjects.
Trade analyst Atul Mohan believes financial discipline is becoming just as important as content in determining a film’s fate. “The first half has been so far, so good. Like Akshay Kumar and Ranveer Singh, actors need to shoulder the responsibility of a film, and not burden it with their high fees,” he says.
The message from the first half of 2026 is clear: audiences are showing up for good stories, regardless of genre or budget. But they are also more selective than ever, making strong content and positive word-of-mouth Bollywood’s safest bets.
Western Railway earns record Rs 1.72 crore from film shoots
4:16 PM
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Rajendra B Aklekar (MID-DAY; February 21, 2026)
Western Railway (WR) has earned a record Rs 1.72 crore from film and advertisement shoots on its premises from April 1, 2025, to February 15, 2026. According to officials, the process of granting shooting permissions has been simplified and streamlined, enabling production houses and filmmakers to obtain necessary approvals in a time-bound manner.
An official said this is one of several innovative initiatives to boost non-fare revenue, while consistently striving to increase revenue from passengers and freight business.
“Through a single-window system, production houses have to submit an application for shooting, and every other railway clearance is managed by the PR department, and permission is issued. At the same time, utmost priority is given to safety, operational requirements and passenger convenience while conducting such shooting activities,” a WR official said.
How much money?
The Rs 1.72 crore raked in by WR is almost 25 per cent more than the previous financial year’s earnings. The previous best performance was in 2022-23, when WR earned approximately Rs 1.64 crore from film shooting, reflecting steady growth in this segment and placing WR among the leading railway zones in the country in generating such revenue
Films shot on locations
O'Romeo - 2026
Fateh - 2025
Sikandar - 2025
Vande Bharat for film shoots
For the first time, film shooting inside India’s modern and premium train, Vande Bharat, has been permitted by WR. This achievement provided the film industry with an opportunity to utilise world-class railway infrastructure, highlighting the progressive and innovative approach of WR
Fenil's Bollywood Talk # 922
4:33 PM
Posted by Fenil Seta
WILL THE COURTROOM DRAMA AND LOVE STORY BRING CHEER AT THE BOX OFFICE?
Last week’s releases, O'Romeo and Tu Yaa Main, have underperformed. As predicted last week, O'Romeo opened at Rs. 7.50 crores. It saw a huge jump on Saturday, when it earned Rs. 11 crores. The Valentine’s Day holiday came to its rescue and also, many preferred to see the film on Saturday than Sunday. The crucial India vs Pakistan T20 match was held on the third day and it impacted collections. Usually, Sunday collections are higher than Saturday. But O'Romeo earned Rs. 8.25 crores on its third day.
From Monday, the makers opted for Buy One Get One (BOGO) Ticket offer. The next day, the discounted Tuesday offer was also implemented. The collections on fourth and fifth day, thus, were Rs. 4.25 crores. The first week collections are expected to be around Rs. 42-43 crores. With barely any competition, the film should aim to at least cross the Rs. 60 crore mark.
Meanwhile, Tu Yaa Main collected just Rs. 50 lakhs, which was way below the expectations of Rs. 1 crore-1.50 crore. Like O'Romeo, this film also jumped on Saturday, collecting Rs. 1.35 crore. On Sunday, the collections slipped to Rs. 75 lakhs. On Monday and Tuesday, Tu Yaa Main earned Rs. 40 lakhs and Rs. 45 lakhs respectively. At this rate, the first week collections are expected to be around Rs. 4.50 crores. Hopefully, the film will remain steady from here on but it won’t help much as the collections are so low. Interestingly, the word of mouth is very positive and yet it hasn’t translated into respectable collections.
This week will also see the release of two films. Assi sees the return of Taapsee Pannu in a hard-hitting role. It is directed by Anubhav Sinha; both had collaborated earlier in Mulk and Thappad. The trailer of Assi packs a punch and has caught attention due to its content and dialogues.
The makers came up with an interesting strategy for promotion. Last month, it was revealed that a film named Assi is coming; it had no mention of the makers, cast, director etc. The next poster mentioned that the highest paid crew member on the film is the writer! Its trailer was attached with Border 2 and that’s where viewers came to knew what the film is about and who is involved.
However, Assi seems to be disturbing and for a niche audience. Taapsee-Anubhav’s last film, Thappad, opened at Rs. 2.76 crores. It was one of the last films before the pandemic hit and since then, things have changed for such films. The best-case scenario is that the film opens at Rs. 1-1.25 crore.
The other release of the week is Do Deewane Seher Mein. It stars Siddhant Chaturvedi and Mrunal Thakur in leading roles. It is directed by Ravi Udyawar who made Mom and who also directed Siddhant in Yudhra. Sanjay Leela Bhansali is involved with the film as a producer.
The trailer of Do Deewane Seher Mein is sweet and it looks like a clean, non-toxic love story. However, the hype is limited while the songs haven’t worked. Like Assi, Do Deewane Seher Mein will also open in the range of Rs. 1 crore and Rs. 1.25 crore. It remains to be seen which film manages to do better on the first day.
Last week’s releases, O'Romeo and Tu Yaa Main, have underperformed. As predicted last week, O'Romeo opened at Rs. 7.50 crores. It saw a huge jump on Saturday, when it earned Rs. 11 crores. The Valentine’s Day holiday came to its rescue and also, many preferred to see the film on Saturday than Sunday. The crucial India vs Pakistan T20 match was held on the third day and it impacted collections. Usually, Sunday collections are higher than Saturday. But O'Romeo earned Rs. 8.25 crores on its third day.
From Monday, the makers opted for Buy One Get One (BOGO) Ticket offer. The next day, the discounted Tuesday offer was also implemented. The collections on fourth and fifth day, thus, were Rs. 4.25 crores. The first week collections are expected to be around Rs. 42-43 crores. With barely any competition, the film should aim to at least cross the Rs. 60 crore mark.
Meanwhile, Tu Yaa Main collected just Rs. 50 lakhs, which was way below the expectations of Rs. 1 crore-1.50 crore. Like O'Romeo, this film also jumped on Saturday, collecting Rs. 1.35 crore. On Sunday, the collections slipped to Rs. 75 lakhs. On Monday and Tuesday, Tu Yaa Main earned Rs. 40 lakhs and Rs. 45 lakhs respectively. At this rate, the first week collections are expected to be around Rs. 4.50 crores. Hopefully, the film will remain steady from here on but it won’t help much as the collections are so low. Interestingly, the word of mouth is very positive and yet it hasn’t translated into respectable collections.
This week will also see the release of two films. Assi sees the return of Taapsee Pannu in a hard-hitting role. It is directed by Anubhav Sinha; both had collaborated earlier in Mulk and Thappad. The trailer of Assi packs a punch and has caught attention due to its content and dialogues.
The makers came up with an interesting strategy for promotion. Last month, it was revealed that a film named Assi is coming; it had no mention of the makers, cast, director etc. The next poster mentioned that the highest paid crew member on the film is the writer! Its trailer was attached with Border 2 and that’s where viewers came to knew what the film is about and who is involved.
However, Assi seems to be disturbing and for a niche audience. Taapsee-Anubhav’s last film, Thappad, opened at Rs. 2.76 crores. It was one of the last films before the pandemic hit and since then, things have changed for such films. The best-case scenario is that the film opens at Rs. 1-1.25 crore.
The other release of the week is Do Deewane Seher Mein. It stars Siddhant Chaturvedi and Mrunal Thakur in leading roles. It is directed by Ravi Udyawar who made Mom and who also directed Siddhant in Yudhra. Sanjay Leela Bhansali is involved with the film as a producer.
The trailer of Do Deewane Seher Mein is sweet and it looks like a clean, non-toxic love story. However, the hype is limited while the songs haven’t worked. Like Assi, Do Deewane Seher Mein will also open in the range of Rs. 1 crore and Rs. 1.25 crore. It remains to be seen which film manages to do better on the first day.
In O'Romeo, I was the heroine. Triptii Dimri used to take just 2 minutes to get ready-Shahid Kapoor
3:25 PM
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Shahid Kapoor has defined the conflicted hero. Now, he talks creative honesty, family validation and bridging the gap between mass and meaningful cinema
Sonal Kalra (HINDUSTAN TIMES; February 13, 2024)
Actor Shahid Kapoor has played brooding men before, but as O'Romeo releases today, he appears surprisingly at ease. Calm, measured, almost detached from the chaos his character brings to screen. Excerpts...
O'Romeo is your fourth outing with filmmaker Vishal Bhardwaj. Does the script even matter now, or when he calls, is it an immediate yes?
In spirit, I would say yes to the latter! But from a professional POV, no. I don’t think any artist can give themselves to something unless they connect with it. When the connection is not there, there is always something missing in the product. In O'Romeo, of course it’s the titular part; I play Ustraa. And with Vishal Bhardwaj, it’s always a world that he creates. Ustraa’s attitude is that of Romeo. If, as creative people, you don’t connect, it is wrong for you to do the film. If you won’t be honest, it is unfair for everybody else. I very much connected with this film. I had one preset in my head before I met him, and I was very clear that at this stage in my career, I don’t want to do a film that is too experimental or a film meant for a smaller, intellectual audience and not for a wider audience, who have a simpler mindset and whose approach to filmmaking is that they go to theatres to get entertained. There’s the cinema you love and the cinema that people love. The whole endeavour has been for years to find a Ganga-Jamuna moment between them, to meet a middle ground. This film is an attempt at achieving that; it’s meant for an intelligent audience but also very much like a typical, mass audience.
In terms of intensity, where would you rank Ustraa, alongside Haider and Kabir Singh?
I wouldn’t place him in the same space as Haider and Kabir. Ustraa is a very entertaining character. What’s unique about him is that he is dark yet soft, and can also be very funny. He is a complete laundiyabaaz, yet falls in love to a degree that he loses himself. He’s a gangster but scared of his grandmother, played by Farida Jalal ji.
You want to be thrown into something that challenges you. My scenes with Nana Patekar sir are also special.
Which sequence in O'Romeo was the toughest or made you feel proud?
The toughest real estate in this film was actually my body! It was covered in tattoos; it would take two and a half hours to put them on before I got on set. Triptii Dimri, my co-star, had a no-makeup look. I told her, “In this film, I am the heroine. Tu toh do minute mein ready ho kar aa jaati hai set pe!”
O'Romeo isn’t like a superhero film where 75% of the work is done by costume and VFX. Then we had action sequences at night. I had undergone major hip surgery during one such sequence. That was very challenging.
Whose approval matters the most once they see your film?
First, I need to be happy with what I have done, which is always a challenge. Even above me, it’s the filmmaker. If they are not satisfied, there’s no point to the entire experience. I should be able to add more value than they expected. For me, the filmmaker comes first.
Beyond that, I have a very talented family, whether it’s my mother Neliima Azim, father Pankaj Kapur, brother Ishaan Khatter, or wife Mira Kapoor. They support me unconditionally, and I am always curious to know their views. They’re all very different from each other.
How affected are you by social media today?
Anybody who says they’re not affected, I don’t know... I wonder if they’re living under a rock. But anybody who says it deeply affects them is putting themselves in a dangerous place.
When you go on social media, you don’t know who is writing, under what name, or under what circumstances. It’s important not to live in a bubble. People around you will praise you. You live a privileged life. But you don’t know what the wider audience feels. It’s a difficult journey. Open up, but be mindful of how much you allow to sit in your system.
Main hamesha yeh kehta hoon – aapke bolne ki aukaat honi chahiye, tabhi mooh kholna chahiye. Yeh maine bachpan mein seekha tha.
What trait angers you?
In this profession, people can be very dual-faced with stars. Saamne kuchh, peeche kuchh. I don’t like that. I respect people who disagree and have a reason for it. There are rebels without a cause. Then there are those who stand by what they believe. Honesty and authenticity are very important.
Do your kids know they’re children of a star? Do they watch your movies?
The minute their dad stops doing adult films, I guess! When he decides to do frothy stuff. The next one is Cocktail 2. I did Teri Baaton Mein Aisa Uljha Jiya (2024). What ignites me as an actor are shades that aren’t just white.
(Crisp) Movie Review: O'ROMEO by FENIL SETA
3:03 PM
Posted by Fenil Seta
O'Romeo begins on a fine note. The intro fight scene sets the mood. The plot is also laid out soon enough. Despite a runtime of 178 minutes, the film doesn't get boring or stretched. The intermission point and a few scenes are very well executed. On the flipside, the love story which is central to the plot, loses steam in the second half. A few developments are very convenient and even silly. Lastly, when it's a Vishal Bhardwaj film, one expects a killer soundtrack. But the music of O'Romeo is hardly memorable. However, like every time, Vishal extracts fine performances from his actors. Shahid Kapoor is terrific as Ustara. Despite his build, he looks like someone who can finish off several goons single-handedly and this is truly a mark of a great actor. His hideout on the ship is quite unique. Triptii Dimri carved a niche with films like Laila Majnu, Bulbbul and Qala. A performance of that stature was missing from her side. But in O'Romeo, she once again delivers a stupendous performance. Avinash Tiwary has limited screen time but makes up for it with his superb act. Nana Patekar is entertaining while Farida Jalal and Hussain Dalal (Chhotu) deliver adorable performances. Vikrant Massey (Mehboob) and Tamannaah Bhatia (Rabiya) do well in cameos. Disha Patani (Julie) and Natasha Bharadwaj (Nargis) add to the glam quotient. Rahul Deshpande is too good as the cop who is also into classical singing. All in all, O'Romeo is a decent entertainer.
My rating - *** out of 5!
My rating - *** out of 5!
Fenil's Bollywood Talk # 921
9:50 PM
Posted by Fenil Seta
WILL O'ROMEO AND TU YAA MAIN MANAGE TO CASH IN ON THE VALENTINE WEEKEND?
The last big film of the season, O'Romeo, will release tomorrow, February 13 and its fate is keenly awaited by the trade and industry. It stars Shahid Kapoor and Triptii Dimri in the leading roles while Avinash Tiwary plays the villain. The other actors in the film are Farida Jalal, Nana Patekar, Tamannaah Bhatia, Disha Patani and Vikrant Massey in a special appearance. It is directed by Vishal Bhardwaj and produced by Sajid Nadiadwala.
O'Romeo is said to be inspired by the life of Sapna Didi, who fought against the dreaded fugitive gangster, Dawood Ibrahim. The teaser was energetic, while the trailer was intense. The ensemble casting and the association of Vishal Bhardwaj as the director have caught attention.
Sadly, the buzz is limited. None of the songs has worked. Therefore, as it happens now almost every week, viewers have adopted a wait-and-watch strategy. The film is expected to open around Rs. 7-8 crores. Ideally, a big-budget film should open in double digits but possibility of that happening seems remote unless a positive word of mouth spreads quickly. If reports are encouraging, the film will see a jump on Saturday due to Valentine’s Day.
The other release of the week is Tu Yaa Main, starring Adarsh Gourav and Shanaya Kapoor. It is the story of two lovers stuck with a crocodile in a pool. It is directed by Bejoy Nambiar of Shaitaan fame and produced by Aanand L Rai.
The trailer is stylish and the songs are quite funky. Sadly, there’s hardly any hype for the film and this is reflected in the ticket sales. The film will open at Rs. 1-1.50 crores. It needs a strong word of mouth and if that happens, Saturday jump can be huge. This is because the genre is extremely youth friendly, at least in the urban areas.
The last big film of the season, O'Romeo, will release tomorrow, February 13 and its fate is keenly awaited by the trade and industry. It stars Shahid Kapoor and Triptii Dimri in the leading roles while Avinash Tiwary plays the villain. The other actors in the film are Farida Jalal, Nana Patekar, Tamannaah Bhatia, Disha Patani and Vikrant Massey in a special appearance. It is directed by Vishal Bhardwaj and produced by Sajid Nadiadwala.
O'Romeo is said to be inspired by the life of Sapna Didi, who fought against the dreaded fugitive gangster, Dawood Ibrahim. The teaser was energetic, while the trailer was intense. The ensemble casting and the association of Vishal Bhardwaj as the director have caught attention.
Sadly, the buzz is limited. None of the songs has worked. Therefore, as it happens now almost every week, viewers have adopted a wait-and-watch strategy. The film is expected to open around Rs. 7-8 crores. Ideally, a big-budget film should open in double digits but possibility of that happening seems remote unless a positive word of mouth spreads quickly. If reports are encouraging, the film will see a jump on Saturday due to Valentine’s Day.
The other release of the week is Tu Yaa Main, starring Adarsh Gourav and Shanaya Kapoor. It is the story of two lovers stuck with a crocodile in a pool. It is directed by Bejoy Nambiar of Shaitaan fame and produced by Aanand L Rai.
The trailer is stylish and the songs are quite funky. Sadly, there’s hardly any hype for the film and this is reflected in the ticket sales. The film will open at Rs. 1-1.50 crores. It needs a strong word of mouth and if that happens, Saturday jump can be huge. This is because the genre is extremely youth friendly, at least in the urban areas.
I am sure Arijit Singh must have made this decision after giving it good thought-Javed Ali
8:55 AM
Posted by Fenil Seta

Dnyaneshwari Katkar (BOMBAY TIMES; February 8, 2026)
Javed Ali has been constantly travelling for his concerts in the last couple of weeks. But there’s a sense of calm and focus when he meets us for a chat. The singer slips between anecdotes and musings, occasionally humming a phrase to make a point, as he talks to us about making choices and how to keep things interesting for himself and the listeners.
‘I DON’T BELONG TO A PARTICULAR GENRE’
The first listen matters more than the banner or the buzz around a film for Javed. “This instinct has kept me anchored,” he says. From the soft romance of Jashn-e-Bahaara, Tum Tak and Saudebaazi, to the playful energy of Tinku Jiya, Nagaada Nagaada, Kajra Re, and the spiritual depth of Arziyaan and Kun Faya Kun, the singer’s discography is varied. “I don’t belong to a particular genre. For me it’s all about versatility,” he adds.
‘ARIJIT IS ONE OF MY FAVOURITE SINGERS’
The conversation inevitably turns to the current playback landscape and the singers defining it. When Arijit Singh’s name comes up, Javed speaks with both admiration and caution about the singer’s decision to step back from playback singing.
“I am sure Arijit must have made this decision after giving it good thought. I don’t think this is something he decided on a whim, especially at the peak of his career.”
The Kun Faya Kun singer adds, “I don’t really think he should have done this. He is a brilliant singer and one of my favourites. I’m sure his fans everywhere must be disappointed.”
On hook steps and social media
Bringing up the song Aashiqon Ki Colony from the upcoming O'Romeo as an example of how songs travel today, Javed shares, “The song has gone viral. At the same time, I feel that the virality is not just about the audio. One of the big reasons that song has become so popular is Shahid Kapoor’s hook step.”
The visual, he acknowledges, can push a song into people’s feeds, and from there into their playlists. “There are benefits to songs trending on Instagram because they reach more people,” he says. But he draws a line at letting it define creativity. “I don’t think artists should take a lot of pressure for that, though. A song has to work beyond a 30-second reel,” he adds.
On AI’s appropriate use in music
Javed says that technology, if wielded appropriately, isn’t a threat, but an advantage. For him, AI in music is a new space to explore. “When AI is used properly, like the way Sonu Nigam did by bringing Rafi sahab’s voice alive for a duet recently, it can be a great tool for music. I will probably do something like that too,” he says.
I think social media is destroying potential actors-Shahid Kapoor
10:37 AM
Posted by Fenil Seta
Madhureeta Mukherjee (BOMBAY TIMES; February 5, 2026)
He has never chased trends, only trusted his own timing. From romance to rage, from comedy to drama, he has built a career on instinct and reinvention. Now in his 40s, he is calmer, more centred, shaped by fatherhood and a sharper understanding of self and cinema.
On the next episode of Rustomjee presents Bombay Times Lounge, Shahid Kapoor speaks with depth and candour – mapping his own journey, his relationship with self-critique, the curveballs life throws at us and what it means to be ahead of the curve. As he reunites with Vishal Bhardwaj for the fourth time in O'Romeo – a partnership that has always created magic – Shahid steps into a gangster’s world on screen, even as off-screen, he seems more at ease with himself than ever before. Here’s a sneak peek into the conversation – with the full episode coming soon on the Bombay Times YouTube channel. The promo drops today.
‘You can’t get affected by what other people have achieved’
Talking about why he never compared his journey in films with his contemporaries, Shahid says, “Everyone’s journey is different; someone starts right next to the finish line because that’s what destiny gave them, and somebody starts like 200 meters before the start line. You start counting your meters from the place you started. You see your own journey and merit yourself with that. You can’t get so affected by what other people have achieved.”
‘I think social media is destroying potential actors’
Speaking about how social media is impacting actors’ skill set, he shares, “We used to learn acting in a film theatre, now people are learning acting by looking at their phones. You know there’s a fundamental difference in the way you view a movie on your phone and on the big screen. Sitting in a theatre, seeing a story being told and having a social experience with so many people around you – there is a huge difference. I think a lot of new-age actors need to go to the theatres; they need to watch purana cinema. They need to go to smaller towns to understand our country. What happens is, globalisation ke saath... duniya ka sab kuch pata hai, lekin rootedness nahin hai, and rooted emotions come from these experiences. Actors really need to think about that… get off social media, go discover the world, experience reality and then get back on it.”
'Vishal and I have always had an unsaid creative understanding'
Speaking about his creative bonding with Bhardwaj, the actor shares, "The funniest thing is that, even though Vishal (Bhardwaj) and I are collaborating after seven or eight years, for O'Romeo, it didn’t feel any different than it was before. It felt like a very natural flow of things. Of course, I can sense that he has also evolved, and I am also at a different stage of my career, but we’ve always had an unsaid creative understanding."
‘I’m pretty obsessed with my kids’
Reflecting on how fatherhood had shaped his perspective, on life and career, Shahid says, “Parenthood has changed me completely. I was just dying to be a papa. I wanted it so badly, and I was consumed by it. Now that my daughter’s nine and my son is seven, I’ve started thinking about myself much more. Till about a year back, I was just very absorbed with them. I am turning 45 very soon, and these are very important years in my career. This is a young person’s job, and to stay relevant for the newer generation, you have to really grow, evolve and adapt. Sometimes these roles that life gives you are so much bigger than any of these things. As a parent, you want to be the best version of yourself. I’m pretty obsessed with my kids, and it’s been amazing.”
'We have to learn to define our own pace'
On charting his own path, Shahid says, "There are three places you can be in your career: You can be ahead of the curve, you can be right at the curve, or you can be behind the curve. The one place I don’t want to be is behind the curve. And if you’re trying to do something that has already been done because it was successful, rest assured, you’re behind the curve. We have to learn to define our own pace. Puri zindagi nikaal doge sochne mein ki yeh trend hai, woh trend hai, toh maza nahin aayega. You can fail, but be original."
'To get better at what you do, you have to be critical'
The Haider actor says if one wants to hone their craft, they have to be critical of their work. He adds, "I’ve learnt not to let negative chatter affect me in my head. I’ve worked very hard on myself to differentiate between what is critical and what is objective. And what is getting over critical and negative – there is a thin line there. To get better at what you do, you have to be critical, and if you get so affected by self-critique, then you’re not strong enough and you won’t progress."
Watch out for the full episode of the Rustomjee presents Bombay Times Lounge with Shahid Kapoor, coming soon on the Bombay Times YouTube channel
Title Sponsor: Rustomjee
Shot at Parishram by Rustomjee, Pali Hill, Bandra, Mumbai
"There can be no music without Arijit Singh": Bollywood responds to singer’s retirement
10:46 AM
Posted by Fenil Seta

For more than a decade, one voice soundtracked Bollywood’s biggest emotions. Now, as Arijit Singh steps away from playback singing, composers, collaborators, and labels reckon with a future without their safest musical bet
Mohar Basu, Priyanka Sharma, Upala KBR (MID-DAY; February 1, 2026)
“There can be no music without Arijit Singh," an emotional Mohit Suri told mid-day, reacting to news that sent Indian music lovers into collective shock. On Tuesday night, in an Instagram post, the two-time National Award-winning singer announced his retirement from playback singing. "There is not one reason behind this. I have been trying to do this since a long time. Finally, I have gathered the right courage. One of the reasons were simple, I get bored pretty quick, that’s why I keep changing arrangements of the same songs and perform them on stage," he wrote.
The voice that became an era
For more than a decade, Arijit was Bollywood's go-to guy for any track in any genre. When a film needed longing, his voice delivered it. When a love story or heartbreak had to feel intimate, his timbre did the work before the lyrics even began. By the mid-2010s, Bollywood leaned heavily on Arijit. Across Hindi and multiple regional industries — including Bengali, Marathi and Telugu — he has recorded over 800 songs, including alternate versions and live-session recordings. Few playback singers in recent decades have occupied that much sonic space.
His dominance carried serious commercial weight. Industry experts estimate his net worth in the range of Rs. 414 crore (roughly $50 million), built on recording fees, tours, streaming royalties and brand associations. Annual earnings reportedly touched Rs. 70 crore in recent years.
Days before announcing his exit, Arijit released Maatrubhumi for Salman Khan’s Battle Of Galwan. A stunned Himesh Reshammiya, who composed the song, told mid-day, "I have always said that Arijit Singh understands the soul of the music composer and the melody; he is fabulous. I wish he changes his stand on not singing for films, love him both as an artiste and a human being."
While he may not take up fresh playback gigs, Arijit still has a few recorded songs lined up for 2026. One of them is Hum Toh Tere Hi Liye The from O'Romeo, composed by Vishal Bhardwaj with lyrics by Gulzar. Another is Sunhari Kirne from Gandhi Talks, composed by AR Rahman.
While he might not be taking up any fresh playback gigs, Singh still has a few recorded songs set to release in 2026. One of them is Hum Toh Tere Hi Liye The from O’Romeo, composed by Vishal Bhardwaj with lyrics by Gulzar, a romantic track filmed on Shahid Kapoor and Triptii Dimri. Another is “Sunhari Kirne” from Gandhi Talks, composed by A.R. Rahman, which is one of the year’s most musically anticipated soundtracks.
Industry confronts a void
A top suit at Sony Music, tells mid-day, on condition of anonymity, “This changes the ground beneath us more than people realize. For years, when a film album came in and there was one song, the one the trailer would lean on the one streaming platforms would push and the first question in the room was always, ‘Can we get Arijit?’ I speak for producers and insiders when I say there was built-in trust. People outside think this is just about replacing one voice with another. It’s not that simple because that's a once-in-a-generation artist. He became the sound of modern Hindi film. When that disappears, you’re filling a big void. And that’s scary when crores are riding on streaming numbers. There’s also habit to undo. Directors, actors, even lyricists were subconsciously writing for how his voice would feel. Without that anchor, the room will be quieter. Everyone second-guesses more. We’ll discover new singers, of course. But it will be hard to replace that voice.”
Industry veterans understand Singh's decision. Mahesh Bhatt, with whom Singh did a large volume of his early work, told mid-day, "I remember the first time I saw Arijit Singh very clearly. It was at the music launch of Aashiqui 2 at Super Sound in Khar—the old place, full of dust, wires, and hope. His name was announced and he was called to the stage to sing Tum Hi Ho. A shy, self-effacing young man walked up, almost apologetically, with no sense of entitlement. He didn’t claim the song; he offered it. And in that moment, something entered the bloodstream of the nation. That song didn’t just become popular, it became personal. What made Arijit Arijit was never just his voice. It was his refusal to perform himself. His singing carried no ego, no demand to be noticed. He stepped aside and let emotion speak. So when someone asks me if I would miss his voice, life has taught me to answer this way: I have learned to say goodbye to people I love without removing them from my heart. Chaplin once said something to that effect, and it has stayed with me. Even if Arijit chooses silence, his voice will not leave us. And I don’t believe he is turning away from music—only from noise. If he sings only for himself now, that is not withdrawal. That is an artist exercising his deepest privilege. Voices like his don’t vanish. They remain long after the song ends."
Inside the mind of a restless artist
Aashiqui 2 director Suri, with whose words we started, gave us an insight into his long-time collaborator's psyche. Singh first fame with the film he made and even in his last hit Saiyaara, Singh had a large role to play Suri tells us.
"I don't remember a time when he wasn't creating something. Before playback, he was an assistant. In some early music sessions of my career, I remember Arijit clicking pictures of Pritam and me at the studio. He would spend a lot of money buying a expensive camera and then tell us, these pictures are for us to remember history. Of course, I am going to miss him a lot but that said, I also understand his decision.
We all evolve as creative people in our journey and step up to find the next phase of our lives and careers. This isn't a man who will be content with himself. He has the itch of an artist. Anyone who has worked with him tell you he would give different iterations, will sit and understand the story of the film and fit his voice to suit the story. I remember during Hamari Adhuri Kahani, we did three versions of the title track. He asked me how does it end and I told him, it ends tragically. He said there needs to be defeat in the voice then. He was such an important collaborator for any director or music composer. But even at that, he was still working on someone else's vision.
May be he wants to create his own vision for himself. He is also such an immensely secure artist, pure artist as they say. There have been times he has been called in to sing a song, he has heard the scratch and said, 'Please retain what you have, I can't do what they've done'. We did Saiyaara's songs across timezones - I was in Japan and he was in Murshidabad. But after the film, his response for the movie was such an honest take. He loved the film more than Aashiqui 2 which gave him his big break. He has evolved into an artist who values the art more than himself. Wherever he goes from here and whatever he does, he will create music because for the close to two decades I have known him, I have never known him without music. That bond will be inseparable."
Not an ending, but a reset
Of course, rumours are rife that Singh has moved to filmmaking and is currently shooting a movie in Shantiniketan that he and his wife Koel have written. The jungle-adventure project features Shora Siddiqui and Arijit’s son, with Nawazuddin Siddiqui. Lyricists Siddharth-Garima, who have collaborated with Singh on several hit numbers, are working on his upcoming directorial. Garima tells mid day that they weren’t shocked by Singh’s decision.
“We met him multiple times in the last one year. We saw it coming because there is a very different kind of burnout that an artist can suffer from in the Hindi film industry,” Garima says, adding that when an artiste is made to repeat his or her previous work, it takes a toll.
“When people repetitively ask you to do the same things or sing similar things, it could get to you. We were seeing that point somewhere. He sings with a lot of sincerity even now. We've seen him record and he would take 100 takes for a line in a song. His process is something else. I'm sure that process tires him out. A burnout is very easy in this industry because you have to work tirelessly and endlessly.”
To Garima, there’s also an expectation from the industry that every song should be sung by Singh. He has enjoyed a monopoly of sorts in Bollywood playback singing for over 15 years now. But it’s not something that the sits right with the singer himself, “When Alia Bhatt just came in, everyone was thinking of scripts in which Alia would play the lead. That's how it is here. Everyone makes songs here, mostly thinking, ‘Arijit gaayega’. The first time you make a really melodious number, you are already imagining how it would sound in Arijit's voice? But the kind of person that he is, he comes from a very just background. He's not the kind of person who will think, ‘Sirf main hi main hoon.’ He thinks this shouldn’t happen and there should be more people who should get a chance,” Garima says, to which Siddharth adds that Singh is “a very secure artiste”.
“People talking about him creating a monopoly has never bothered him. In fact, that is a fuel. He's enabling diversity with this decision. We have that equation with him where we make him listen to every song that we record,” the lyricist says.
Singh has lent his voice to several songs written by Siddharth-Garima, including the chartbusters Yeh Laal Ishq (Goliyon Ki Raas Leela: Ram Leela) and Satranga (Animal). Naturally, it’s a huge loss for them as collaborators.
“Sanjay Leela Bhansali always says that he values a written word and believes a singer's job is to communicate to the listener the voice in those words. that voice. When I say, ‘Yeh laal ishq, yeh malaal ishq,’ how does that line reach you? It's a singer's job entirely. And more often than not, we notice in recording rooms, singers are not really singing, not feeling the line enough. Arijit will take it to that point. That's what his contribution has been. He brings his own imagination to the song.”
So, what does Hindi film music look like without his voice, we ask the duo. “The songs that he's already sung are there as his legacy. But the music scene in Bollywood would change. And it would be a huge change. Of course, it comes as a shock to many people. But I feel this is a natural progression. There’s always space for new people. There won’t be another Arijit but there will be more people, who will get a chance. People will start thinking imaginatively,” she says. And this is something even Singh wants from the industry, shares the lyricist.
“What really irritates him is the fact that people are not thinking imaginatively enough. They are just relying on a set pattern that if we have Arijit, we will get X number of listeners. I think that has put him off from the entire scenario that oh, you want a guarantee hit song, you want him to sing that song. What about experimenting? What about thinking outside the box? It’s great for an artiste to take a step back and take into account that what’s happening around him is not okay. There was no reason for him to say that I'm not going to sing Bollywood songs anymore, but he's an extremely honest and honest person to have taken that step,” Garima shares.
But even as fans express their disappointment over the singer’s decision, Garima is sure Singh will make a comeback sometime in future. “I feel there will at some point be a comeback, like how Sonu (Nigam) ji was ruling the charts in the 90s. And then of course, there was a phase in which he faded out and then now he's back fully. So I feel before that would happen, Arijit has taken the wise call of saying, ‘Okay. Let me not create a monotony with my voice right now.’ Let people yearn for it and then probably he'll make a comeback. I'm hoping he would someday,” she smiles.
But there won’t be dearth of Singh’s music, as he is set to launch his own label. “He is going to keep making independent music. So we are going to hear him a lot more on, his own label and all of that. And not many people know but he is a very m good composer. We've written to some of his compositions. You will see him in a different light,” Siddharth says.
Randeep Hooda, who was to play antagonist in O'Romeo, stepped away from the film just days before shoot
9:20 AM
Posted by Fenil Seta

Mohar Basu (MID-DAY; January 13, 2026)
With the teaser of O’Romeo, filmmaker Vishal Bhardwaj gave us a peek into his action thriller’s world that is populated by Shahid Kapoor, Triptii Dimri, Tamannaah Bhatia, Avinash Tiwary, Disha Patani, and Nana Patekar. But an actor was missing from the teaser — Randeep Hooda. A bit of digging revealed that though he was supposed to play the antagonist in the February 13 offering, he backed out of the film days before his scheduled shoot.
According to sources, the actor exited the project due to personal reasons. A source from the production told mid-day, “Randeep had begun preliminary prep for the role. Unfortunately, a personal crisis emerged right before he was to shoot his portions. This was around the time of Jaat’s [2025] release last April; he was navigating important developments in his personal life and Lin’s [Laishram, his wife] health. Understandably, giving time to his personal commitments took precedence.”
It’s heard that Bhardwaj and producer Sajid Nadiadwala were supportive of Hooda’s decision to exit the project, and the parting was amicable.
With O’Romeo running on a tight schedule, the makers moved swiftly to cast another actor. They zeroed in on Tiwary, marking the actor’s first collaboration with Bhardwaj.
The source added, “The production couldn’t afford a major delay. Avinash fit the brief, and was available to step into the role at a short notice.”
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