Showing posts with label Pad Man. Show all posts
Showing posts with label Pad Man. Show all posts
There were no ego problems between Akshay Kumar, Saif Ali Khan-Priyadarshan
11:22 PM
Filmmaker Priyadarshan opens up about how young actors approach multi-starrers differently than the stars of the ‘90s and 2000s
Akash Bhatnagar (HINDUSTAN TIMES; September 6, 2026)
Filmmaker Priyadarshan reunites with actor Akshay Kumar for their upcoming film Haiwaan, also starring Saif Ali Khan, but the genre marks a shift for the duo known for their iconic comedies.
Talking about taking the different route, Priyadarshan says, “Films should not become repetitive. I believe that when you see films like Pad Man, Rustom, and all those films, you see Akshay Kumar is capable of doing other kinds of movies also, not only comedy and those films are successful. I was not planning to do this film with Akshay, but Akshay himself insisted that he has never played a psycho. I thought he was kidding, but he said I'm serious about it,” he says.
Having two actors of such stature together is a casting coup in today’s time and the filmmaker agrees it couldn’t have been possible in the actors of today’s generation.
“Yes, that is true. I have worked with Akshay and Govinda, Ajay Devgn and Akshaye Khanna, but there were never any issues because there were no ego problems between them. They both knew that they have a lead role and they have enough meat for themselves. But the new generation is very insecure. They always want to know what the other person is doing. They don't want to know what they are doing,” he says.
Haiwaan marks Priyadarshan and Akshay’s ninth film together. Ask him about how their equation has evolved over the course of these films, and the filmmaker says, “It is about our trust in each other. He never questions me. He will just come to the shot and ask what you want me to do and just do it. I am also very careful about what I am doing with him. I think this is what has worked for both of us. He has got a blind belief in me, and it gives me the responsibility that I should not let him down.”
The film also becomes poignant for Priyadarshan to break an image as his name has become synonymous to the comedy genre.
“I started my career with serious films like Virasat (1997), after Hera Pheri (2000), this comedy brand came on my head. But at the same time, fortunately, I have been making serious movies too in the South. Something unusual is always attractive, so I thought, this time let me try something different. Haiwaan is not a dark film and there's enough for you to laugh in between too. But it is a very emotional film. I always prefer films for family, so a family can watch Haiwaan together too,” he ends.
Akshay Kumar's biggest contribution to my writing is 'saying 'Mat karna'-Twinkle Khanna
10:50 PM
Medha Shri Dahiya (HINDUSTAN TIMES; April 23, 2026)
Self-aware, sharp and gently irreverent, she moves between insight and humour without missing a beat. This World Book Day, author-filmmaker Twinkle Khanna, known for writing Mrs Funnybones (2015), The Legend Of Lakshmi Prasad (2016), Pyjamas Are Forgiving (2018), and Welcome To Paradise (2023), offers a glimpse into the perceptive lens through which she sees the world.
You are known to put your views bluntly. If your next book offended everyone a little, would you consider that success?
I have a feeling that it will offend quite a few people, but my job is not to go around offending people. My job is to make people reflect on the things that are visible. But our own conditioning blinds us to those factors. It might make people uncomfortable and they might call it offensive... (But) I think about how I will unravel the layers of conditioning, not just around them but also around me because I also find my way through life as I write.
What is the most uncomfortable truth you’ve written that made people squirm or has made you rethink your stance?
Once in an interview in the United Kingdom, I said sanitary pads were taxed and Viagra was tax-free because policies were made by 65-year-old men. I was really talking about UK because in India, Viagra was also taxed. When I came back to India, a few politicians did not come for the premiere of Pad Man (2018 film produced by Khanna) because they felt it was targeting them because, unfortunately, they were also 65.
You were an actor and now you are a celebrated author. What have the books given you that cinema didn’t?
I don’t think either of them have given me anything. It is what I was able to give that medium, and books have always been my life and actually so has cinema. Both of them have very important places in my life. So much of what I write has been because of the experiences that I also had as a young actor, whether it was seeing the basic inequalities between men and women, which I only realised much later in life.
I feel that my skill set is more suited to the world of books because, I love the poetry, words, and I love language. It comes a little bit from, perhaps, my father (late veteran actor Rajesh Khanna), because I have a distinct memory when I was very young and I said, ‘Will you pick me up from school?’ And he said, ‘Are you a pickup? I will fetch you from school.’ That kind of just set my parameters of what language can do.
And I grew up in a family of readers. My sister (Rinkle Khanna) reads more than I do.
My late uncle read science fiction extensively, and science fiction has shaped my entire perception of life. So when people talk about religion or ideology or borders or race, I’m thinking in my head, I live in a galaxy where there are tentacled creatures who are breathing methane... These little diversities don’t seem to matter.
Speaking of family, does your husband, actor Akshay Kumar, give suggestions?
This morning, I was discussing the topics I plan to touch upon in my next column, and he told me, ‘Mat karna... do not get into this issue’. Mat kar is basically his only and biggest contribution to my writing career (laughs).
You write about things, but what’s the most bizarre thing that you’ve read about yourself?
The most bizarre thing that I read was that I had some eye operation. I don’t know why it was on some Wikipedia page for the longest time, and I’ve never had an eye operation. Bizarre.
If Twinkle Khanna the author could meet Twinkle Khanna the 20-year-old what would she say to her?
I would say it all works out in the end! Just keep doing what you’re doing and finish the book you started when you were 18. I’m 52, and that one book I haven’t been able to finish yet.
Are you planning to finish it?
I’ve tried three times in my life, I’m just unable to write that particular book. Maybe it’s too close to home, so my emotions get in the way of transferring that onto the page.
Any books you’d give 20-year-old Twinkle to read?
Oh! She was reading much more than I do now.
Will you come back to acting?
I don’t think I will. The camera actually has always terrified me. I am not really happy in the spotlight. It gives me a bit of a sunstroke, let’s put it that way.
Give us a reading list or books you recommend.
I would say, Fredrik Backman’s A Man Called Ove is a book that I love. Arundhati Roy’s The God of Small Things is something that I have read several times and I continue to read it . Kiran Desai’s The Loneliness of Sonia and Sunny; Haruki Murakami’s Men Without Women; Octavia E Butler writes fantastic feminist science fiction; anything by Ursula Le Guin; short stories by Jhumpa Lahiri... F Scott Fitzgerald, PG Wodehouse... My god! I mean I am standing in front of my bookshelf, so tell me when to stop!
I told Akshay Kumar that though he was the hero of Pad Man, the actual hero was a sanitary pad-R Balki
9:47 PM
Renuka Vyavahare (BOMBAY TIMES; March 5, 2024)
The Fifth anniversary of the National Museum of Indian Cinema (NMIC) in Mumbai was graced by the presence of notable dignitaries, including the Consul General of the Republic of Belarus, Aliksandr Matsukou, and Consul of Belarus, Anton Pashkov. The day saw an array of events including a guided tour for visually impaired students from The Happy Home & School for the Blind as well an enriching masterclass by acclaimed director R Balki, in conversation with D Ramakrishnan (GM NFDC).
Following the insightful conversation, cinema enthusiasts enjoyed the screening of R Balki's 'Ghoomer’. The highlight of the event was Balki’s unabashed take on content clutter, not undermining one’s talent and his penchant for addressing social issues without resorting to social messaging. Over the course of the two-hour session the Cheeni Kum director shared some wonderful insights, funny anecdotes and inspiring words for aspiring actors and filmmakers. Excerpts…
‘You can’t learn the art of scripting’
I don’t think there is a better film school than going to the set and working with several filmmakers. You learn about life. I was fortunate that I was able to get these experiences, so I didn’t feel the need to do a film school. It’s not that I did it without knowledge, I gained the knowledge. If you can go to a film school, you might probably learn things faster than I did but what you can’t learn is the art of scripting. Scripting doesn’t happen by going to a scripting school because there are a hundredth ways in which you can communicate a story.
‘If you are confident about yourself, you will celebrate your enemy’
Cinema is a tool to express a thought or a story that you have. Nobody is going to see the scale or grandeur of your movie if your story doesn’t touch them, isn’t relatable or doesn’t make them think. I prefer the term engaged, over entertained. There has to be an emotional connect. I don’t want people to be bored or switched off or be distracted while watching a film. Entertainment can be mistaken for laughing, dancing, jumping. People want to be engaged while watching a film.
When I did the Surf Excel commercial, people told me, ‘Everyone’s preaching hygiene and you are saying get dirty (daag acche hai)’! I feel if you are confident about yourself, you will celebrate your enemy. If you have the ability to defend yourself and remove the stains, why would you curse the stains? I am confident enough to celebrate my enemy which is dirt here so come get dirty. I believe cinema is also like that.
Thought behind the role reversal in Paa
I remember I had gone to Amitabh Bachchan ji’s house during Cheeni Kum. Abhishek was there with him, and he was saying some extremely wise things, which is rare (smiles). He is usually the one who cracks jokes. Amit ji was pulling his leg by saying ridiculous things. They were completely opposite to their (father-son) character. I looked at them and said, “who is whose dad!” That thought stayed with me. I knew I wanted to make a film where I will reverse their roles. That’s how Paa happened.
I don’t have a single social cause bone in my body
Terms like ‘meaningful messaging’ scare me. If you want to look for meaning in life, go to a meditation app. Why watch a film? You need to be clear about your ambition from the beginning. My thoughts in cinema have been far more frivolous than my thoughts in ads. I always think cinema is serious so why not start with a frivolous thought? Even in Pad Man, my thought was not to convey a social cause. I don’t have a single social cause bone in my body. The film did a lot for menstrual hygiene and awareness, but I didn’t make it for that. I got to make a commercial feature film where the hero of the film was a sanitary napkin. I told Akshay Kumar that though he was the hero of the film, the actual hero was a sanitary pad.
A filmmaker needs to be honest. I am not here to change the world. I am here to explore an idea that doesn’t destroy the world and gives me happiness. Even a Ghoomer wasn’t about showcasing the infallible spirit of a woman who loses her right hand in an accident and learns to bowl with her left. That’s a cinematic given. People tend to glorify anything that’s social as inspirational. It is an inspiring film; yes, but what’s the speciality in this inspiration? What new can you bring to the table is the trick. I believe when you are down and out you tend to be most creative. The biggest joy in Ghoomer was discovering that new bowling delivery in cricket.
‘I love the arrogance of artists who have faith in their abilities’
I don’t agree with this notion that everyone must work for the film and no individual should want his/her talent to stand out because filmmaking is a group work. I like working with a cinematographer like P C Sreeram because he is a rebel who likes to show off. How can you be a craftsman if you don’t want to show your craft off? How can you hire the best man for the job and tell him to listen to you and expect him to curb his instincts for the sake of the story? The story is not driving him. It’s driving the film. I love the arrogance of artists who have faith in their abilities and put their craft first. As long as your craft doesn’t destroy me, please show off your craft. As a director if I ask you to not show off your talent then I am the devil. I am killing your abilities. I love people who are determined to show their abilities. I want people to notice a cinematographer, music director, choreographer, sound-production designer for the right reasons. If people remember you for the wrong reason, then you are doing a shoddy job. You can’t expect the artists to be submerged in the film. If you look at The Godfather, it works because everybody is showing off and delivers their best. That’s why I like working with P C Sreeram sir and Ilaiyaraaja sir. They are gifted with originality, and they know it. Cinema is all about 'look at me'. When anyone says we need to work as a team and the cause is bigger than individuality, that’s the biggest bull s***. Only when all eleven players try to play their best, will a cricket team succeed.
OTT has lovely stories about common people
The presentation is a bit understated and subtle but OTT has some lovely stories about common people. I want these films to cut the walk though. I see content where people just keep walking endlessly long after the scene is over. Cut the walk! Someone is standing on a terrace and watching people aimlessly, thinking. Some filmmakers believe this creates an atmosphere. I get it and it’s their presentation but cut it faster.
Cape of Good Films, a production house that has been silently succeeding
8:01 AM
The content house believes in creating content that challenges norms
HINDUSTAN TIMES (January 3, 2022)
Cape of Good Films, a logo sitting quietly on the poster of many successful films, actually has a lot to boast about with the success that the production house has seen over the last few years. Founded in 2009, this boutique content house started working its way up to making films that are meaningful, yet commercial in nature.
The company’s partner, Rana Rakesh Bali, says, “Every story can be told through the medium of cinema, provided it is treated sensitively, keeping in mind the audiences you are making the film for. No one comes to the theatre, paying their hard-earned money to be taught a lesson. If you want to say something serious, say it in a way that educates them while still making them smile. That is the mantra Cape is run by.”
In the last six years, through its associations with massive hits — from Airlift (2016), Toilet: Ek Prem Katha (2017) and Mission Mangal (2019) to National Award-winning and critically acclaimed films such as Rustom (2016), Pad Man (2018), Chumbak (2017), and commercial grossers such as Kesari, Good Newwz (both 2019), and 2021’s biggest hit Sooryavanshi — Cape of Good Films has had it all.
Path-breaking films by Cape also include Naam Shabana (2017) and Durgamati: The Myth (2020), which were headlined by strong female protagonists. Its films, such as Laxmii (2020) and the recently released Atrangi Re (2021), are breaking new records for the highest viewership on OTT platforms too. The content of these diverse films by the content house spans genres like no other. Their foray into producing music videos also struck a chord with Filhall and Filhall 2 shattering records.
What stands out about Cape is that there is no face to it. “It is just a team trying to make what they believe in and want to keep it such. The feeling emanates from the fact that the films that we make are larger than an individual and an entity, and should be preserved that way,” Bali shares.
The content house now looks forward to dishing out sought after films such as Raksha Bandhan, Ram Setu and OMG 2. It enters 2022 with a firm belief in backing and making content that breaks stereotypes, challenges notions, and makes the audience fall more in love with what they have always loved — movies!
Akshay Kumar completes 30 years in Bollywood; filmmakers speak up about his illustrious journey in films
8:13 AM
Action, comedy, romance — you name it, he’s done it, and broken box office records along the way, too! We talk to some filmmakers the actor has worked with on his illustrious journey in films
Juhi Chakraborty and Rishabh Suri (HINDUSTAN TIMES; January 25, 2021)
Playing intense roles with ease: Sangharsh (1999), Joker (2012), 2.0 (2018)
Director Tanuja Chandra says, “Akshay was considered an action star when I cast him for Sangharsh, much to the surprise of people... He was a very keen listener and rehearsed tirelessly. It was fulfilling for me to watch him evolve through the making of the film and deliver a touching performance.”
Dream to direct him in action films: Khiladi franchise, Mohra (1994), Sapoot (1996), Sooryavanshi (upcoming)
“It was a wonderful experience to work with him in Chandni Chowk To China (2009). He’s one of the fittest actors and has the energy to be termed an action star. In the 90s when Akshay had come, no one in Bollywood looked like he did. That space of an action star was vacant; he totally owned it. Even today, I think he remains one of the top draws when it comes to action,” says filmmaker Nikkhil Advani, who has also produced Airlift (2016) and the upcoming Bellbottom.
Couldn’t see anyone else as social activist Arunachalam Muruganantham: Airlift (2016), Pad Man (2018)
“Of course Akshay is a big star, but more importantly, I can’t see anyone else playing Muruganantham. I looked at him and said nobody else can play it... It was an absolute dream working with Akshay. I can’t see anyone else doing a 13-page dialogue in one take. It was mind-blowing,” says Pad Man director R Balki.
Casting the action hero in a comedy: Hera Pheri (2000), Phir Hera Pheri (2006), Housefull franchise
Filmmaker Priyadarshan, with whom Akshay’s had an impeccable track record, says, “He’s available for anything, he’s always willing to learn. In the South, it’s Mohanlal and in the North, it’s Akshay - these are two people I’ve not made flops with. Maybe, it’s destiny.“
Only actor open to bringing up social issues: OMG Oh My God (2012)
“Everyone talks of Akshay sir’s professionalism and punctuality, but what moved me the most was his humility in submitting to the role. He’s the only actor who I felt was open to bringing social issues to the forefront, but in an entertaining way,” says Toilet - Ek Prem Katha (2017) director Shree Narayan Singh
Knew he’d do great as a romantic hero: Dhadkan (2000), Haan Maine Bhi Pyaar Kiya (2002), Humko Deewana Kar Gaye (2006)
Filmmaker Vipul Shah says, “When I cast Akshay for Namastey London (2007), people said to me, ‘He’s never done a successful love story, why would you do this with him?’ I just had the faith in him. I went with my gut feeling, which was that here is an actor who is completely honest about his work, and whatever people talk about image and all, that is incorrect. I believed that Akshay was the best choice for the film and that worked. He delivered.”
Having a transgender protagonist normalises and reinforces the rights of the LGBTQ community-Akshay Kumar
8:30 AM
Unfazed by harsh reactions to Laxmii, Akshay Kumar says he played the transgender character to make a case for the marginalised community
Mohar Basu (MID-DAY; November 13, 2020)
"Can you believe I will finish my second film tomorrow amid the Coronavirus pandemic," asks Akshay Kumar, who hasn't let the unusual circumstances come in the way of his work. Having shot for Bellbottom in the UK, the actor is currently wrapping up the period drama, Prithviraj.
The excitement in his voice, however, has to do with his latest release, Laxmii. While the Raghava Lawrence-directed venture may have been slammed by a section of the audience, Disney+ Hotstar announced that it broke the viewership record previously held by Dil Bechara to register the highest opening on the platform, on Monday. "I feel great. I know a lot of critics don't like my films, and I understand it. But my focus is on my audience. I am told it's the biggest opening of my career. The film achieves something pivotal. Having a transgender protagonist normalises and reinforces the rights of the LGBTQ community. Be it with Pad Man [2018] or Toilet: Ek Prem Katha [2017] or Mission Mangal [2019], the idea is to do more than just entertain or deliver a box-office success. I want to make a difference," states the actor.
The film's team hosted a screening in Delhi with transgender activist Laxmi Narayan Tripathi, who has lent support to the horror-comedy. "Her words of appreciation mattered to me. She lauded me for playing the character. There were 100 transgender women. They all stood up and clapped at the end of the film. The ostracization of the community has been horrific, and it's time we collectively stood up and promoted equality."
Kesari gets huge television premiere numbers
8:23 AM
Box Office India Trade Network
KESARI has got huge television numbers on its premiere with 1.5 crore plus impressions. It is the highest for Akshay Kumar starrers in recent times if we don't count 2.0 (Hindi) which is on fire on satellite racking up around 5 crore impressions on 6 peak time viewings.
The numbers are higher than films like TOILET - EK PREM KATHA, PAD MAN, HOUSEFULL 3, GOLD, AIRLIFT etc. The best of this lot was TOILET - EK PREM KATHA with around 1.1 crore impressions. KESARI ranks third for the year after TOTAL DHAMAAL and 2.0 (Hindi) but its minimal margins and KESARI would not have been expected to put up these numbers as its not in that comedy or action genre but a war drama.
It remains to be seen where it goes on the television circuit and maybe the numbers of TOTAL DHAMAAL or 2.0 (Hindi) may be difficult to match but its a HIT for sure on satellite. In the all time list of television premieres it will be among the top ten.
The top ten television premieres of 2019 are as follows.
1. Total Dhamaal - 1,67,93,000 (Star)
2. 2.0 (Hindi) - 1,65,13,000 (Zee)
3. Kesari - 1,56,66,000 (Zee)
4. Luka Chuppi - 1,25,00,000 (Star)
5. Junglee - 1,11,77,000 (Star)
6. Simmba - 1,11,02,000 (Zee)
7. Zero - 92,60,000 (Zee)
8. Kedarnath - 72,88,000 (Zee)
9. Race 3 - 70,85,000 (Zee)
10. Uri - The Surgical - 61,37,000 (Zee)
66th National Film Awards react to the honour with surprise and joy
8:56 AM
Some of the winners of the 66th National Film Awards react to the honour with surprise and joy
As told to Hiren Kotwani, Avinash Lohana, Akash Bhatnagar (MUMBAI MIRROR; August 10, 2019)
Andhadhun BEST HINDI FILM
Sanjay Routray (Matchbox Pictures Pvt. Ltd):
I am delighted that Sriram (director Sriram Raghavan) and Tabu (leading actress) were with me in Melbourne when the awards were announced. The news has yet to sink in.
Ajit Andhare (COO, Viacom18 Motion Pictures):After Bhaag Milkha Bhaag, Mary Kom and Queen, Andhadhun winning Best Film makes me feel deeply honoured and humbled, and also reinforces the belief that we are doing something consistently right with our films. Padmaavat winning also gives me a great sense of fulfillment given the tough journey we had with it. My compliments to Sriram Raghavan, Sanjay Leela Bhansali and the stellar cast of both the films and the teams that made this possible.
Ayushmann Khurrana - BEST ACTOR FOR ANDHADHUN
Today’s honour is the validation of my hard work, belief system, my journey in movies and my reason to be an actor in the first place. Above my personal win, I’m thrilled that both my movies, Badhaai Ho and Andhadhun won. I have been fortunate to be a part of Sriram Raghavan’s (writer-director of AndhaDhun) vision, and he deserves all accolades for creating a new genre of Indian cinema. Sriram sir is the quintessential rule-breaker. There’s no fixed bound script. Everything is there in his head and all you get is a screenplay written in English. A lot of improvisation in terms of lines and scenes happens on the sets. The film challenged me and made me a better actor. I would like to thank Sriram sir for that. I’ll continue on this journey to discover and back cinema that stands apart and brings people back into the theatres.Sriram Raghavan, Arijit Biswas, Yogesh Chandekar, Hemant Rao and Pooja Ladha Surti - BEST SCREENPLAY (ADAPTED)
Sriram:I am happy for my entire team, especially for Ayushmann as he was the one who came to me wanting to listen to the script, auditioned and trained extensively for the part. We were watching Bulbul Can Sing at a film fest in Melbourne when I was flooded with a barrage of text messages informing me about the win. I am going straight to the hotel to give Tabu a big hug and will speak to Ayushmann too.
Badhaai Ho - BEST POPULAR FILM PROVIDING WHOLESOME ENTERTAINMENT
Vineet Jain (Producer, Junglee Pictures):
Junglee Pictures has always believed in telling impactful stories in the most engaging manner. This recognition in the form of a National Award is truly gratifying. I am proud of the team for putting together such a delightful yet meaningful film.
Amit Sharma (Producer, Chrome Pictures):When I heard the news, I had to reconfirm with three-four people who assured me that it was true. This is truly overwhelming. While I was shooting the film, every day was amazing. Success is in no one’s hands, what we can do is work hard and hope for the best. Every day we were thinking about how to make the scenes better.
Surekha Sikri - BEST SUPPORTING ACTOR FEMALE (BADHAAI HO)
To be honest, I never expected this award. The script, written by very young people was amazing. My character was so well etched, that it would be a dream role for any actor. It had memorable dialogue too. My director is really good and happy with my performance.
Vicky Kaushal - BEST ACTOR, URI: THE SURGICAL STRIKE
Words fall short to describe the happiness I’m feeling right now. For my work to be recognised by the honourable National Film Awards jury makes it a truly moving moment for my family and me. I wish to thank each and every member of the jury committee for finding me worthy of the prestigious Best Actor Award for my work. I’m also very happy to be sharing the award with someone whom I admire, both as a person and as an actor. Ayushmann, congratulations, brother! I wish to dedicate this award to my parents, to every member of Team Uri, to our nation and to our armed forces who put their lives on the line each day, come rain or storm.
Aditya Dhar - BEST DIRECTION, URI: THE SURGICAL STRIKE
I am in LA, it’s 4.30 am and it feels amazing. A year ago, nobody knew me, now suddenly people are appreciating my work and I’m getting so much love. If you love cinema, your ultimate dream is to win a National Award. But in the case of Uri, it seemed unachievable as it was my first directorial and most of us were a new bunch of kids. What we had in common was the earnestness. And since it was on the Indian Army and its sacrifices, we had to give our 100 per cent. After the announcement, Vicky and I Face-Timed, with both of us yelling and screaming. It’s beautiful!Bishwadeep Chatterjee - BEST SOUND DESIGN FOR URI: THE SURGICAL STRIKE AND CHILDREN OF THE SOIL IN NON-FEATURE FILM CATEGORY
The award was not expected but the excitement is double as I’ve won two of them. Aditya Dhar called me to tell me that he was making Uri and said I had to be part of the film. When I read the script, I was excited as I could see the scope and scale for sound designing and gave me a chance to work on the minutest details.While, with Uri, there were some expectations, the win for Children Of The Soil came as a total surprise. When the directors, Ranadeep Bhattacharyya and Judhajit Bagchi, approached me, they didn’t have a sound design in mind so, it was like composing the soundtrack from scratch. But it’s a very powerful clay animation film and winning this award is like icing on the cake.
Shashwat Sachdev - BEST BACKGROUND MUSIC, URI: THE SURGICAL STRIKE
Being the youngest on set, I was really pampered and Aditya gave me complete freedom. It was such a proud feeling to create music for a film that is for the country, and then getting recognised for it. Aditya called to inform me that I had won, then, I spoke to Vicky and Yami. The whole team is celebrating.
R Balki, PRODUCER-DIRECTOR OF PAD MAN - BEST FILM ON SOCIAL ISSUES
It’s a great feeling that Pad Man has been chosen as the Best Film on Social Issues at the National Film Awards. More important is the issue that it has handled, of menstrual hygiene. I don’t think any mainstream film has spoken about an issue like this anywhere else in the world. Though the film is based on Arunachalam Muruganantham, who made the low-cost sanitary pad making machine, I wanted to make it because I believed in the subject. I was sure it would become a talking point. Now, to be recognised all across India, is great. You have to celebrate that someone recognised your work and be happy about it.Akshay Kumar - LEADING MAN OF PADMAN
I was in the midst of Mission Mangal promotions when Tina (wife Twinkle Khanna who produced the film with Balki) called me asking if Pad Man had actually won a National Award. All my tiredness vanished on hearing this news. I remember it was on the sets of Pad Man in 2017 when Sonam (Kapoor) and I got the news of our respective National Awards win (He bagged Best Actor for Rustom and Airlift and she got a Special Mention for Neerja). Life has come a full circle and I couldn’t be happier for Tina for winning the award with her debut production, and of course for R Balki for putting it all together and the team behind Pad Man. Not just that, Chumbak, a Marathi film I presented, won Swanand Kirkire the National Award for Best Supporting Actor. Overall, it’s been a rewarding day.
Kruti Mahesh, Jyoti Tomar - BEST CHOREOGRAPHY FOR GHOOMAR, PADMAAVAT
Kruti:
The feeling that I have won has yet to sink in yet. I was in midst of a rehearsal when Sanjay Sir (producer-director Sanjay Leela Bhansali) called to inform me. Working with him is an achievement in itself, he is a genius and Deepika (Padukone, actress) is amazing. It was surreal working with both and I hope the opportunity presents itself again.(Padmaavat also bagged the award of Best Music Director for Sanjay Leeela Bhansali while Arijit Singh was adjudged Best Male Playback Singer for “Binte Dil” from the film(
Madhu Chopra - BEST FILM ON ENVIRONMENT CONSERVATION, MARATHI FILM PAANIIt’s such a proud moment for us. Priyanka (Chopra, producer) has great creative acumen, Adinath is a talented actor. The team, led by Siddharth Chopra, has made a brilliant film. We are committed to making more films on subjects relevant in today’s scenario and giving opportunities to new talents.
Chalo Jeete Hain - BEST FILM ON FAMILY VALUES, (PRODUCERS AANAND L RAI, BHUSHAN KUMAR, MAHAVEER JAIN)
Mahaveer Jain:
Director Mangesh ji (Hadawale) came to me with an inspiring story of the Prime Minister Narendra Modi’s childhood which not only defined his persona but also his service to the nation. We thought the film will inspire children. Meeting his family, seeing their simplicity and humility, was an eye-opener.
Periods is common to Meghan Markle, me and every other woman-Taapsee Pannu
7:51 AM
Taapsee Pannu on the need for menstrual education and why just making films on the subject is not enough
Himesh Mankad (MUMBAI MIRROR; July 26, 2019)
Meghan Markle has often spoken about how their initiative of empowering women in slums drew her to a Mumbai-based foundation. Now, Taapsee Pannu has joined hands with the same NGO to impart menstrual education. “Even in a regular middle-class household in Mumbai and Delhi, periods are discussed using furtive gestures and awkward eye contact,” she points out, saying it’s important to address such cities first before moving to the smaller towns and interiors.She adds, “Having periods is common to Meghan Markle, me and every other woman in the world. With great power comes great responsibility, and if people like her contribute and support this kind of initiative, it widens its reach, as she is in a power position.”
The feisty actress maintains that children should be educated about the right period cycle before adolescence hits them. “There’s a chapter about menstruation in biology, but by the time you deal with it, you have already heard about it from sources in a weird way, and you’re hushing the topic and getting awkward in the class,” she sighs, asserting that we need to cut off the awkwardness to begin with. “The first step should be to talk about it, as regular period determines the health of a female. It is because we don’t talk about it, a lot of health hazards are not addressed,” she points out.
Chemist shops in our country often hand over sanitary pads in an opaque black polythene bag and she believes this is a part of the years-old conditioning that nobody has questioned. “For the longest time, I made my mother buy me sanitary pads because growing up even I thought it was not normal to carry it around openly and it had to be smuggled home. Today, I have the courage to tell the chemist not to wrap it up. The change will come when everyone starts doing this,” she asserts.
Taapsee concludes saying that it’s not possible to keep making films on menstruation awareness one after another. “Akshay Kumar made a film (Pad Man) entirely on periods. A film on this topic is not the only way forward, making it normal in films is probably what’s needed. Talk about period can be incorporated organically, if need be,” she signs off.
Revealed: Mission Mangal's director Jagan Shakti is related to a scientist from ISRO team
8:19 AM
Mission Mangal director Jagan Shakti finds inspiration for Akshay starrer from scientist relative who worked at ISRO during Mangalyaan programme
Upala KBR (MID-DAY; July 10, 2019)
Kicking off the run-up to the film's release on August 15, Akshay Kumar launched the teaser of Mission Mangal yesterday. The superstar plays a senior scientist in the drama, that shines a spotlight on India's Mangalyaan mission and the role of women engineers in its success. Few know that Jagan Shakti, who makes his directorial debut with the Vidya Balan, Taapsee Pannu and Sonakshi Sinha starrer, is related to one of the scientists who were part of ISRO's team for the Mars Mission. The director, we hear, spent almost three years conducting his research with the help of the scientist before approaching Kumar with the script.A source from the creative team reveals, "Akshay and Jagan go back a long way -- the latter was an assistant director on Holiday (2014), and they worked together again on PadMan (2018). It was during the shoot of the social drama in late 2017 that Jagan discussed the idea of Mission Mangal with the superstar. Akshay was impressed seeing how he knew the nitty-gritty of the Mars Orbiter Mission and his painstaking research on the subject. Upon prodding, the actor learnt that Jagan knew the subject inside out as his relative was working at ISRO when the space programme was being developed. While Jagan was fascinated to hear his relative's account of how the mission was conceived and realised over two years, it was the director's idea to narrate the story from the lens of the women working on the programme. Seeing his passion for the project, both Akshay and producer R Balki decided to back him as he brought the inspiring story to the big screen."
Luka Chuppi's television is huge; clocks 1.25 impressions
8:06 AM
Box Office India Trade Network
LUKA CHUPPI has garnered a huge television audience on its premiere as it clocked 1.25 crore impressions. This is the third best of the year after TOTAL DHAMAAL and 2.0 (Hindi) and is better than SIMMBA which recorded 1.11 crore impressions.
If we take the last two years then the premeire rating is the eighth best leaving films like PAD MAN, SANJU, RAID and URI behind. There were films lat year which got huge premieres but did not quite follow through like DHADAK and STREE and it remains to see how this one goes. BAAHUBALI 2: THE CONCLUSION dominates the television scenario with the next best being TIGER ZINDA HAI, GOLMAAL AGAIN, JUDWAA 2 and BAAGHI 2 in that order.
The television premieres of above 50 lakhs in 2019 are as follows.
1. Total Dhamaal - 1,67,93,000 (Star)
2. 2.0 (Hindi) - 1,65,13,00,000 (Zee)
3. Luka Chuppi - 1,25,00,000 (Star)
4. Simmba - 1,11,02,00,000 (Zee)
5. Race 3 - 70,85,000 (Zee)
6. Uri - 61,37,000 (Zee)
Akshay Kumar Canadian citizenship row: The joke is on his fans who call him true Indian and consider 3 Khans a traitor
5:37 PM
The expected has happened. I was sure that Akshay Kumar will have to hide his face on April 29. After all, it was the day of voting in Mumbai, the city where almost all Bollywood celebrities reside. Akshay, who has branded himself as the true nationalist and deshbhakt, was conspicuous by his absence at the polling booth. And this was expected since the actor has a Canadian citizenship since a long time. India doesn’t allow a dual citizenship. As a result, Akshay has given up his Indian citizenship in order to secure a Canadian passport.
So what’s the big deal, one may ask. There are many actors who aren’t Indians but are working in Bollywood like Alia Bhatt, Jacqueline Fernandez, Imran Khan etc. So if Akshay Kumar is not an Indian citizen, does it really matter? Well it does and there are many reasons for it. In the last few years, Akshay has branded himself a true nationalist and patriot. It first reflected in his choice of his films. In Baby, he played the role of a secret agent who is ready to do anything for the country. In a memorable dialogue, he tells a communal leader that while filling the religious column in a form, he mentions ‘Indian’! In Rustom, he essays a righteous officer of Indian Navy who makes a huge sacrifice to save the honour of the defence forces. In Gold, witnessing the Indian National Anthem being played when India wins the Olympics was his character’s ultimate goal. In Kesari, he chronicles a brave incident involving Sikh soldiers who fight for India despite being in the British Army. He also shifted towards social dramas like Toilet – Ek Prem Katha and Pad Man and these spoke about women empowerment, importance of sanitation and removal of taboo surrounding menstruation.
These reel life characters were still not a problem. However, it was compounded with the fact that in real life too, he branded himself as a true patriot. He propagated the idea of Bharat Ke Veer, an app through which people can donate to the martyr’s families – a fantastic move without a doubt. At times he went too far. For instance, he endorsed Kajaria Tiles and even here, he infused his patriotism propaganda. In the TVC, he can be seen playing an army man and adjusting the flag on a kid’s coat! So as one can see, in every way possible, the information was hammered that Akshay means true Indian and vice versa.
Akshay Kumar, moreover, became quite close to the ruling BJP government. He made his fondness for Prime Minister Narendra Modi known extensively. During the 2015 intolerance debate, he was among the first ones to say that the movement is hogwash and unfair. He recently did a non-political interview with Narendra Modi and one can see that he is constantly trying to place himself in the good books of BJP. He did everything right – from doing socio-political and patriotic films to spreading Modi’s pet project Swacch Bharat Abhiyaan through Toilet – Ek Prem Katha to talking about the welfare of soldiers to promoting Modi during the crucial elections – each and every move was calculated in order to project himself as a true Indian and deshbhakt. And yes, for those who are confused, being friends with BJP is a bonus point for all those who wants to be known as true patriots nowadays!
So as one can see Akshay Kumar succeeded in all counts except for one – giving up on his Indian citizenship! And then unsuccessfully trying to hide the fact. This is a classic case of how a successful brand can be created easily but can fall like a pack of cards if not managed well. Akshay in no time became a prototype of ideal Indian but when challenges stared him on his face, he faltered and how. For instance, earlier he was asked to comment on his Canadian citizenship, the actor shockingly and brazenly lied that it’s just an honorary citizenship offered by the Canadian government. A quick Google search will tell anyone that very few personalities have been offered Canadian honorary citizenship and Akshay is not on that coveted list. Yesterday, media cornered him for not voting and Akshay refused to answer and walked off. It just makes me wonder – couldn’t he and his team thought of a better way of tackling these queries? Was lying and running away the only solutions?
Apolitical Akshay Kumar's angry reaction when a reporter asked him reason for not casting his vote. pic.twitter.com/tlycPwWmDh— Mohammed Zubair (@zoo_bear) May 1, 2019
More than Akshay Kumar, it’s his fans that are actually running for cover. His fan following also includes blind BJP fans for whom Akshay is ‘apna aadmi’. They loved for Akshay for all the deshbhakti he tried to project. They went gaga over his interview with Modi, wherein the actor asked the PM amusing questions like whether he consumes mangoes! And these same fans are the ones who abhor the 3 Khans – Shah Rukh, Salman and Aamir. They just wait for them to do anything that can be perceived as an anti-Indian act. Their Muslim religious identity is also something that the fans use to diss them. Remember how these fans went on a rampage when Aamir made the infamous intolerance speech? When nothing works, they resort to rumours. Every now and then, a false narrative is spread that Shah Rukh Khan did a charity show for Pakistani flood victims. Despite telling this lot that the superstar never did such an act, they refuse to listen as this rumour is in sync with their thought that since SRK is a Muslim, he is bound to be anti-India and pro-Pakistan.
Today, these bhakts are silent as all the three Khans came forward to exercise their right to vote. They have no words when Aamir Khan undertakes a massive movement for water conservation. Aamir in fact has made it clear that he was born in India and would even die here. And Akshay Kumar very proudly has claimed that after retirement, he’s going to settle in Toronto, the capital of Canada! My question to the blind bhakts is – imagine if the reverse had happened? Suppose if Aamir had a Canadian citizenship, would you guys have still looked the other way? If this is not hypocrisy and religious discrimination, then what is it?
As for Akshay Kumar, he is sadly in a Catch-22 situation. I guess he can’t go all out and be like ‘Yes I am Canadian…big deal’! If he does so, he might lose out on endorsements and even his upcoming films, which have a patriotic touch, might be affected, as critics and media would tear him apart. Let me make it clear – I still absolutely love him as an actor and his choice of films are exemplary. I see uncut videos of his events as he brings the house down with his laughter. There’s nothing wrong in getting a Canadian citizenship and he has all the rights to do. Also, having a Canadian citizenship doesn’t make him less of an Indian. In his quest of building his brand, he did some very good work like making menstruation conversations normal, spreading the idea of sanitation and helping families of martyrs. One only wishes he had handled the Canadian citizenship row in a better way. Here’s hoping he comes with a fine strategy and ends this controversy once and for all.
As for his anti-Khan fans and bhakts, well, get well soon!
If Salman Khan brings in Rs 200 crore & I bring in not even a crore, it’s obvious he’ll be paid more-Radhika Apte
8:05 AM
Radhika Apte on issues like nepotism, pay parity and airport looks
Himesh Mankad (MUMBAI MIRROR; April 15, 2019)
Last year, you acted in three films—Pad Man, AndhaDhun, Baazaar and three digital shows. Life sure is hectic.
(Laughs) It is, but now I’m on a script-reading break. The hunt is on for interesting content.
Was it a conscious move to associate yourself with indie cinema and off-beat content?
It wasn’t a plan if that’s what you are saying. The reason to do a film is the script, the director and character and what I am looking for at that point of time. It needs to challenge me.
After Badlapur and AndhaDhun, any plans to collaborate with Sriram Raghavan again?
People don’t discuss work without a bound script. He has been writing something for a while now, but I have no idea what his next film is.
Your recently released Hollywood film, The Wedding Guest, met with mixed reactions…
(Cuts in) Every film meets with mixed reactions—some love it, some hate it and some are neutral. It’s their opinion, one can only take constructive criticism in a positive way. (Director) Michael Winterbottom’s films are always been different and so evoke mixed reactions. That’s what prompted me to work with him.
How different is the work culture abroad?
People there are always on time and they pay on time. These are the two significant differences.
Next up, a Hollywood spy thriller set against World War II with you playing Noor Inayat Khan, the first female wireless operator to be flown into occupied France. When can we hope to see it in India?
It’s not a very big film and I’ve no idea if the producers plan to release it in India.
Back home too, many women-centric films are being made.
Yes, things have changed, but it needs to be on a much bigger scale. Even today, there is a yawning gap between films with male and female protagonists.
What’s your opinion on pay parity?
If Salman Khan brings in Rs 200 crore and I bring in not even a crore, it’s obvious that he’ll be paid more since he is adding value to the box-office. I don’t dispute that but I have an issue with actors who don’t contribute to ticket sales. Hey, even the mother of a lead character is paid lesser than the father. That needs to change.
And as an outsider, how do you react to nepotism?
I don’t like the word outsider. If I’m a director and my son wants to be an actor, why shouldn’t I launch him? The industry today is a blend of both worlds. On one hand there’s Ranveer Singh, Deepika Padukone and Kangana Ranaut who were not born into a film family but have made it big and then there are the star kids. I like that abroad you can go to drama school and then for auditions like everyone else for a role. It’s a fair playing ground there. With casting directors in Bollywood, things are changing here too.
What about airport looks, how much of a pressure is it to look good?
I don’t consider that a part of my job. I don’t need to wear fancy clothes to the airport, I’m not at work there.
That’s a honest reply…
(Laughs) I can’t keep my mouth shut when something warrants an honest opinion. There are times when I know I should have kept mum, but I just can’t.
After we won the Oscar, I couldn’t stop crying and shivering for 30 minutes-Guneet Monga
8:14 AM
Rachana Dubey (BOMBAY TIMES; February 26, 2019)
Although it wasn’t India’s official entry to the 91st Academy Awards held in Los Angeles, the documentary Period. End of Sentence, bagged the Oscar in the Documentary Short Subject category, sparking off celebrations and conversations in the country.The film is directed by Iranian-American filmmaker Raykar Zehtabchi and producer Guneet Monga is one of the key figures behind this bold film on the stigma of menstruation. The 26-minute film follows girls and women in Hapur in Uttar Pradesh and their experience with the installation of a pad machine in their village. “I’m not crying because I’m on my period or anything. I can’t believe a film on menstruation won an Oscar,” said Zehtabchi in her acceptance speech.
BT spoke to Guneet Monga about the win. Excerpts from the interview...
It must be overwhelming to win an Oscar for the documentary, Period. End Of Sentence. What was that moment like when your film was announced as the winner?
It was overwhelming. I couldn’t stop crying and shivering for 30 minutes. My entire team from India is here with me. Sneha, one of the key speakers in the film, was with me when we were declared winners. Mandakini Kakar, my associate who became the voice of the film, did a lot of the ground work with the team. We were screaming so loud that I eventually tweeted to A R Rahman apologizing if we were too loud because he was sitting right ahead of us. This film has been fundraised by school girls from LA and it has been made to support the conversation around menstruation and hygiene. It’s very difficult to produce such a film because it requires a lot of muscle and a lot of thinking, conviction and determination. I’m extremely happy for Sneha. She wanted to make her family, particularly her father proud of her, by becoming a cop in the Delhi Police department. She said, “Mujhe to lagta hai maine aaj hi wo kaam kar diya.” I just wish today that her dream to become a cop gets fulfilled really soon. She’s extremely hardworking.
Over the last few years, the world has started talking about women’s issues and taking cognisance of what they have to say. Your win seems to be perfectly timed, too.
Yeah, there couldn’t have been a better time for this, particularly from India’s point of view. Now, women are loud and clear about what they want to say and they are being heard. Of course, women have been saying these things all along. Like the subject of this documentary. We have been talking about menstrual hygiene for a very long time. Periods are not something new. Action India’s head Gauri Chaudhary made a valid point when we were on stage that this will now get men talking about the subject. We can’t do it alone. It needs everyone’s contribution. The win is relevant today because we’ve put women’s struggles on the map, we’re trying to break the glass ceiling. Women have been the significant others for way too long. Their voices have often been suppressed. This Oscar win will help us make a difference in this respect.
How did you put this project together and how long did it take?
Gauri Chaudhary has been working on creating awareness around menstrual hygiene for about 40 years, but this film was born out of Melissa Berton’s effort. She’s from Oakwood School in LA. The project started off seven years ago when she was trying to donate a pad making machine for which she got in touch with Action India. Gradually, she felt that making a movie could help the conversation reach more women and men. It took the entire team three-four years to start a campaign, pool in the funds, get the logistics in order and crack the documentary.
Arunachalam Muruganantham, a part of your documentary, also inspired Pad Man featuring Akshay Kumar. Did that at any point become a deterrent because both films were talking about the same issue in different formats?
Not at all, in fact we could do with another 100 films around this subject. Pad Man just normalised the conversation around menstrual hygiene. More films will mean more conversations and that will help in a big way. Our film is about women — telling their and other womens’ stories and struggles with this taboo. That makes the narrative powerful. There were women working on our project, on camera and off it. If you see the film, you will realise that women from Hapur feel so liberated now, and the film has won hearts because of that. It has the women’s point of view from the grassroots, from women who have come out of their shells and begun to change things around them. Our previous generations fought so many other taboos; we need to fight the taboo around menstruation. Periods can’t stop girls from pursuing education or doing any other work. Sadly, there are so many schools were they don’t have proper toilets because of which girls slowly stop coming in and then drop out completely. We also have to stop joking and making remarks about periods. ‘Why is she PMSing?’. Periods are as normal as any other function of the body. People need to get that, once and for all.
You haven’t associated with a mainstream Hindi film for a while now. Do you think that decision has paid you dividends?
I have been challenged and questioned for all my choices so far. I have also been told that whatever little that I have achieved is by fluke. It might not happen again. It’s not been an easy journey for me and so I am glad that I have gotten this far. This win is as relevant as it gets.
India has always yearned for an Oscar. You entered your film independently and saw it through. What do you think worked in your film’s favour?
I have spoken about how flawed our system of nominating films for the Oscars is on several occasions. It needs to change. You have to send films to festivals. Period. End of Sentence was screened at so many festivals, it participated in competitions and won at eight festivals. That built credibility. You can’t wake up one morning and decide to start your campaign for the Oscars. You can’t send a film just because a bunch of people like it. It’s a year-long exercise. You have to weigh the film on its strengths and the credibility it has built. It’s important to find the right machinery to get your film noticed at the right places. You have to select a film that has legs to walk in America. The film found overwhelming support once it was put out there for everyone to see. The team, the story, the women in the film — it all worked in its favour.
Indian cinema and filmmakers have always had the desire to win an Oscar, but none of our official entries have brought home the honour. Today, a film that was not officially backed by India has managed to do just that. How do you think people will perceive this?
Back in the day, I wrote to so many people wanting to show the film to them, including the PMO. But that’s in the past. We make simple films and take them where they will be appreciated. Today, we hope that India embraces this film and we can show it at colleges and schools. We want to involve the ministries of education and health and get this documentary out to as many young people as possible.
Does the Oscar victory put the pressure on you for your future projects?
Not at all, you show up every morning and keep at it. Who thinks about the rest? We set out to make this film with integrity and passion. It’s such a fantastic collaboration with so many people. Stacey Sher and Lisa Taback have taught me what it takes to get a film out there. They and many others have supported us to put India on the map. The academy recognised that effort and the fact that the time is so relevant for this film.
--------------------------------
MUMBAI MIRROR (February 26, 2019)
Guneet Monga, one of the executive producers of the documentary Period. End of Sentence, is elated with the film’s Oscar win in the Best Documentary Short Subject category. Directed by Rayka Zehtabchi, it is about the women of Hapur, Uttar Pradesh, and how low-cost sanitary pad machines changed their lives. Recounting the win, Guneet says, “The moment the first alphabet of the title was announced, we started screaming and crying. All I remember is A R Rahman was sitting in front of us.”
Guneet wore a Tarun Tahiliani dhoti-saree for the big day. “I always wanted to wear a saree to the Oscars. Post the ceremony we were at an after party till 12 am. It’s been a long day and we have worked hard on this film, so the celebrations will continue even after we get back to work.”
Speaking to Mirror earlier (January 24), Guneet had revealed that the idea for the film had come about when a group of 12-14-year-old girls from a Los Angeles school raised $40,000 to help pay for pad machines. They had read about girls in Indian villages who have to skip school during their menstrual cycle, and decided to help out.
The budget or scale of a film should not make a difference to an actor-Radhika Apte
8:00 AM
Rachit Gupta (BOMBAY TIMES; January 17, 2019)
Slowly but steadily, Radhika Apte has cemented her spot in the world of movies. In 2018 alone, she had three bigticket releases — PadMan, AndhaDhun and Baazaar. But she reveals that a calendar full of releases isn’t her ideal year. She would rather spend time shooting for films than promoting them and seeing them release. Perhaps that’s why she has no qualms about working in small, but promising movies like Bombairiya, which releases this week. In a conversation with BT, the actress talks about walking the path of showbiz differently. Excerpts from a freewheeling chat…
You play a film publicist in Bombairiya, that’s a character you must have been familiar with from your day-to-day life. Did playing this role give you a new perspective on the world of promotions and PR?
I work with film publicists every day, but you view their job and life from your own perspective. But having played one in a film, I now have a point of view from their end. I realised that to be a PR, you just have to do certain things to get things done. It’s basically about dealing with a lot of egos and getting people to do things that they don't want to do.
The film highlights the frantic life of Mumbai and its citizens. Since you relocated from Pune, having once viewed the city of dreams and ambitions from the prism of an outsider, how has your perception changed about the city?
I feel the title of the movie is quite appropriate because the word ‘bairiya’ describes a place like Mumbai very well. People migrate to this city for work and to realise their dreams. It’s basically a place full of different energies coming together. Even though the city is such a chaotic place, it gives you a lot. Life in a place like Mumbai can be quite frenetic and demanding, but the fact that people extend so much warmth and compassion towards strangers also makes it very interesting. For me, the strongest connections with the city are because of my friends and work. That’s what draws me to Mumbai, the most.
When you work in a relatively small-budget film like Bombairiya,does that give you more creative freedom and satisfaction?
I shot for Bombairiya almost three years ago. Again, the budget or scale of a film should not make a difference to an actor; you have to put the same effort in every movie, regardless of the production scale. I enjoy being involved in the creative process and I am happy as long as my role and the story are exciting. This year, too, I will start work on a small film, but it has a superb script and characters. That's all that matters to me.
Slowly but surely, you have carved a niche for yourself in commercial cinema. Not just Bollywood, you’ve also had the chance to play strong characters in South films. How does it feel to be acknowledged as an acclaimed and sought-after actor?
I’ve had a hectic, but very memorable 2018 and I am really grateful for films like Pad Man, AndhaDhun and Baazaar. It obviously feels greats to receive the appreciation and the success for your hard work, but I am someone who likes to look ahead instead of looking back. Instead of dwelling on the past, I would rather look forward to the coming months and my upcoming releases. Unfortunately for me, I spent the major part of 2018 engaging in film publicity rather than doing good work.
While you’ve worked in several movies off late, do you feel that you are being offered too many supporting roles? Would you prefer to work in films where you have more prominent roles?
The length of the role doesn’t really matter, what matters is how much you connect with your character and how engaging you find the story to be. In a film like AndhaDhun, the story centres around Ayushmann Khurrana and Tabu’s characters, so I can’t expect my role to be longer. But I must add that I am not satisfied working in a film for just five, ten or fifteen days. I really enjoy the process of working on a role and telling a story, so, I want to work on many more films and want to be able to dedicate more time to work on my characters. I just want to keep working on good stories, challenging roles and make money, too (laughs!).
Part of being a movie star means that you have to cater to the media glaze and be in public eye. Do you find the process of promotions a bit tedious?
I don't enjoy film promotions at all. I have to do them, but I can’t lie. It’s not a process that I look forward to at all. I would rather spend that much time and energy fleshing out a character and working on my performance in a film. Having said that, when I am on a holiday, I don’t like to think about work. I prefer to do things at their designated time.
You’ve been married to film musician, Benedict Taylor, since 2013. Do you feel the perception towards married actresses still matters in the film industry?
I don’t think marriage has anything to do with my work. Being married doesn’t really affect a woman’s career at all. The world knows that I am married. I feel that my marital status has no bearing on the kind of work that I am offered.
How much do friendships and connections matter in the film industry? Does striking a chord with your director help with getting opportunities in the future, too?
I have had the opportunity to work with some fantastic filmmakers like Sriram Raghavan and R Balki, so I don’t mind exploiting those connections and getting more work in the future. I work in the film industry for creative satisfaction, probably more than for the money and commercial acclaim. So, if establishing connections with these fabulous storytellers results in better work in the future, why not?
17 Hindi films scored on television in 2018; Dhadak surprisingly gets the best ratings
7:25 AM
Box Office India Trade Network
DHADAK had the top premiere on television in 2018 though the year was dominated by TIGER ZINDA HAI, GOLMAAL AGAIN and BAAGHI 2 which have has continued to rate very highly post the premiere. These films have all crossed 5 crore impressions in 6-7 viewings and are films having a great innings post the theatrical release.
These three films were the huge BLOCKBUSTER on television while DHADAK and STREE were SUPERHIT and all the others on the list were HIT barring PADMAAVAT, GOLD and RAAZI. PADMAAVAT has not done well at all post release which pretty much ascertains that the theatrical business had a lot to do with the controversy as never has such big grosser performed so badly on television post release. It was premiered on digital before satellite but so were others on the list like STREE and PARMANU but they still found an audience. It means seventeen Hindi new releases scored on television in 2018.
Below are the top twenty films on television. The number is the impressions which is basically the number of television sets which viewed the film.
1. Dhadak - 1,83,16,000
2. Golmaal Again - 1,63,52,000
3. Baaghi 2 - 1,61,45,000
4. Tiger Zinda Hai - 1,37,04,000
5. Stree - 1,23,29,000
6. Pad Man - 86,42,000
7. Parmanu - The Story of Pokhran- 79,10,000
8. Sanju - 77,95,000
9. Raid - 74,71,000
10. Yamla Pagla Deewana Phir Se - 69,76,000
11. Sonu Ke Titu Ki Sweety - 64,97,000
12. Sui Dhaaga: Made In India - 64,00,000
13. Hichki - 63,60,000
14. Genius - 63,01,000
15. Badhaai Ho - 60,86,000
16. Secret Superstar - 60,41,000
17. Padmaavat - 55,23,000
18. Fukrey Returns - 53,05,000
19. Gold - 50,66,000
20. Raazi - 48,79,000
Pad Man producer Prernaa Arora held in Rs 31.6 crore cheating case
8:26 AM
Ahmed Ali (THE TIMES OF INDIA; December 9, 2018)
Mumbai: Prernaa Arora, who runs an A-lister movie production house, was arrested by Mumbai police’s economic offences wing (EOW) on Saturday for allegedly cheating another production company of Rs 31.6 crore. This is the fourth cheating case filed against her this year. She has been booked in three similar frauds collectively involving Rs 66 crore, said police sources.
EOW’s housing unit arrested Aroraa, director of KriArj Entertainment, which has produced, distributed and promoted recent movies such as ‘Pad Man’ and ‘Toilet - Ek Prem Katha’.
Aroraa has been booked under Indian Penal Code sections for cheating and criminal conspiracy. She was produced before the holiday court, which remanded her to police custody. The police said Nagesh Vaidikar, production manager at Pooja Films, had lodged the complaint with EOW in September.
Vaidikar said Arora, along with two other absconding accused, Arjun N Kapoor and Pratima Arora, allegedly induced Pooja Films and its head Vashu Bhagnani to provide finance for ‘Pad Man’, promising first claim on its post-release revenue. But they had already reportedly given the right to another organisation and accepted money, a fact intentionally concealed from Bhagnani. Later, they allegedly failed to return the money to Bhagnani, causing losses to the tune of Rs 31.6 crore.
During the investigation, the police learnt KriArj Entertainment had taken loans from various financial organisations for the film and kept Pooja Films in the dark. KriArj had signed a contract with Gothic Entertainment in November 2017 for ‘Pad Man’ and other films and given it first claim on their revenues. KriArj hid this fact from the complainant’s company, the police concluded.
The complainant said that Aroraa’s company had signed contracts with Gothic Entertainment for several movies, including ‘Pad Man’, ‘Batti Gul Meter Chalu’ and ‘Fanney Khan’, last year.
The police claim it found Arora took money from victims “for buying properties and maintaining a lavish lifestyle”.
They need to interrogate Arora and her associates to follow the money trail, for which they need to freeze several bank accounts in which sums were deposited, transferred and allegedly siphoned off, they added.
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Prernaa,who backed films like Rustom, Toilet - Ek Prem Katha and Padman, will be in custody till Monday, December 10, for investigation in fraud cases
Rachana Dubey (BOMBAY TIMES; December 9, 2018)
On the night of December 7, Bollywood film producer Prernaa Arora was taken into custody by officials from the Economic Offences Wing (EOW) of the Crime Branch, Mumbai Police. She was produced in Mumbai’s Esplande Court yesterday, post 2 pm. It was a special hearing held on a holiday. After hearing a brief argument from Prernaa’s advocate Ashok Saraogi, lawyers from Vashu Bhagnani’s Pooja Films and a representative from the EOW, Justice P V Bulbule said that Prernaa be sent to EOW’s custody till December 10. The matter will be heard again on Monday for further proceedings.
Prernaa’s father Virindrra Arora was present in court at the time of the hearing. After the court sent her to custody, she was seen crying and hugging her father before leaving the premises.
While the representative from the EOW put forth the department’s reasons for arresting her late at night, Prernaa’s lawyer argued that the police didn’t have enough reason to take her into custody at that hour.
A source told BT, “The High Court had directed the cops to take action against her, following an FIR filed by Pooja Films on July 14, 2018 and a host of other complaints that have been made against her over a period of time by various entities that she and her company have had transactions with. Prernaa had arrived at consent terms with various parties in the past few months, but she has failed on the terms, and so she’s also expected to be tried in High Court next week for Contempt of Court.”
Earlier this year, Prernaa was also embroiled in a series of controversies over films like Parmanu: The Story of Pokhran, Fanney Khan, Batti Gul Meter Chalu and Kedarnath to name a few.
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Vallabh Ozarkar (MUMBAI MIRROR; December 9, 2018)
Prernaa Arora, the producer of critically acclaimed films like Toilet - Ek Prem Katha, Rustom and Pad Man, has been arrested for allegedly cheating film financier Vashu Bhagnani and his production house Pooja Entertainment and Films Ltd of Rs 31.60 crore.
The police said Arora, along with aides Arjun N Kapoor and Pratima Arora, is said to have “induced” Bhagnani and Pooja Entertainment to finance Pad Man and Kedarnath on the condition that they would get the rights to the films’ release. But she allegedly signed similar deals with other production houses.
Sources said Arora’s production house KriArj Entertainment Pvt Ltd gave the rights to Pad Man on November 2017 to Gothic Entertainment Pvt Ltd, and to Kedarnath to the same company as well as Kolkata-based Padma Ispat Private Ltd. But it allegedly kept Pooja Entertainment in the dark about these deals and signed contracts with it for Kedarnath in December last year and for Pad Man the following month. “It promised to give Pooja Entertainment the rights to Kedarnath for the first 12 months in India, Nepal and Bhutan,” said a police officer from the economic offences wing.
Nagesh Vaidikar, production manager of Pooja Entertainment, filed a complaint against Arora and KriArj on behalf of the company in July.
Arora has been booked under sections 420 (cheating) and 120B (criminal conspiracy) of the Indian Penal Code.
Another police officer said Aroraa’s bank statement revealed that she had indeed taken money from Bhagnani. “Some of the money was used to buy real estate property and valuables, and for leisure.” The officer refused to elaborate on what constituted leisure.
Mirror reached out to Aroraa’s PR team and Vaidikar, but there was no response.
Trouble began for Aroraa when actor John Abraham put out a public notice in April in a trade magazine terminating his agreement with KriArj Entertainment Pvt Ltd. He accused Arora of breach of contract over repeated delays in payment after the shooting of their film, Parmanu: The Story of Pokhran, was wrapped up on schedule last August. John subsequently moved the Bombay High Court, which ordered Pooja Entertainment to bear the cost of print and advertising and distribute the film across India. It also said John Abraham’s JA Entertainment would be credited as producer for the film. Ajay Kapoor’s Kyta Productions was also to be given credit for its contribution, but KriArj Entertainment was not to be a part of the project in any capacity.
At the same time, Arora also had a fallout with director Abhishek Kapoor over Kedarnath, bringing the film to a grinding halt. Later, Ronnie Screwvala took over the reins of the film after compensating former producers Bhushan Kumar, Arora and Ekta Kapoor to ensure that the film saw the light of day.
Aroraa’s other production, Shree Narayan Singh-directed social drama Batti Gul Meter Chalu also came to a halt after kicking off in February over several issues, including pending payments to the hotel staff in Uttarakhand.
The police said Arora has so far been booked in three cases of cheating, collectively amounting to Rs 66 crore.
After Pad Man, Akshay Kumar and R Balki to team up for Mahila Mandal?
8:24 AM
Hiren Kotwani (DNA; October 18, 2018)
After the acclaim and success garnered by their maiden collaboration, Pad Man, Akshay Kumar and R Balki are reportedly teaming up again. Like their first movie together, the second one, too, is likely to be a woman-centric subject. Says an industry source, “The film is being called Mahila Mandal. In keeping with its title, it revolves around women. Nonetheless, the role that Akshay plays is of immense significance.”
A while ago, speculations were rife that the superstar and the filmmaker were getting together again for a project inspired by the women scientists, who worked on India’s Mars Orbiter Mission (MOM), also called Mangalyaan (2014). Our informer tells us that the idea has been narrated to Vidya Balan and Nimrat Kaur and they have apparently given their nod in principle. A couple of other actresses are also likely to be cast in pivotal parts.
Akshay’s socially-relevant films
Airlift (2016)
Akshay essayed the role of Ranjit Katyal (a fictional character) in the film that was based on the 1990 airlift of Indians from Kuwait.
Jolly LLB 2 (2017)
A sequel of the 2013 film, Jolly LLB, the second instalment had tons of black humour that pointed out the flaws in the legal system.
Toilet - Ek Prem Katha (2017)
The film emphasised on the need for proper sanitation and eradication of open defecation in tune with the government’s Swachh Bharat campaign. Akshay played the role of Keshav, whose wife Jaya (Bhumi Pednekar) leaves him because they don’t have a toilet in their house.
Pad Man (2018)
The movie was based on the short story ‘The Sanitary Man of Sacred Land’ in Twinkle Khanna’s book The Legend of Lakshmi Prasad, which was inspired by social activist Arunachalam Muruganantham, who invented low-cost sanitary pads in rural areas.
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