Showing posts with label Pagglait. Show all posts
Showing posts with label Pagglait. Show all posts
I’m deeply curious to see how Arijit Singh views the world through music-Raja Kumari
8:08 AM
Raja Kumari reacts to Arijit Singh stepping away from playback singing
Debarati S Sen (MUMBAI MIRROR; January 30, 2026)
In a revelation that has stunned fans and the Indian film music industry alike, playback singer Arijit Singh announced that he will no longer take on new Bollywood playback singing assignments.
The announcement came through a heartfelt note on his official Instagram account, where he thanked listeners for years of unwavering love and support. Calling his journey “wonderful,” he wrote, “I am calling it off.”
Reacting to the news, singer and rapper Raja Kumari reflected on the decision with admiration and warmth. “I think there comes a time in every artiste’s life when they crave the freedom to express themselves authentically,” she told Mumbai Mirror.
“Being one of the most prolific playback singers of our time, Arijit has given us countless classics that have become the soundtrack of our lives. Yet, those songs didn’t always offer insight into his personal world or how he views life,” she added.
Recalling her collaboration with Arijit on Pagglait, Raja Kumari shared, “He was the first music director who pushed me to sing in Hindi. It was during the pandemic, so all our communication happened through WhatsApp voice notes. He was incredibly patient and kind. He saw something in me that I hadn’t yet seen in myself, and that belief continues to inspire me to grow as an artiste.”
She concluded by expressing anticipation for his next creative phase. “I’m personally very curious to know how Arijit views the world through music. Perhaps his words and perspectives are exactly what the world needs right now. I’ve always been a fan, and I truly can’t wait to witness this next chapter whenever he’s ready to share his art with us,” she said.
The minute something does well, it will become a template-Sheeba Chadha
8:46 AM
The Trial 2 actor Sheeba Chadha opens up about female rivalry on set while questioning OTT’s growing obsession with templates
Priyanka Sharma (MID-DAY; September 9, 2025)
The Trial’s second season has brought several reunions for Sheeba Chadha, including with former collaborator Umesh Bist, who took over the directing duties for this instalment of the JioHotstar show. The two had previously worked together on the Sanya Malhotra-starrer Pagglait (2021), a world drastically different from that of the legal drama. But what remained constant, Chadha says, was Bist’s sensitive approach.
“I had a very good working experience with him in Pagglait. What is amazing is that the zone of The Trial is diametrically opposite from that of Pagglait. But he brings sensitivity and gentleness to the show. I think there’s enough fire and spice in the script. But the landing of it with a gentle hand, an eye that sees a little bit more than what’s on the page, and then to encourage the actors to look at it and to bring that into play, that’s what Umesh always brings to anything he does. It’s his eye for emotional detail. He will always make the script flower more,” the actor shares.
Chadha also enjoyed returning to the set alongside the show’s other talented women, including Kajol and Kubbra Sait. While the sexist notion that women don’t get along is often attached to projects featuring several female actors, Chadha believes this idea is outdated.
“That’s a very old school [of thought] that if there are two or three women together [it’s difficult]. Nobody wants to indulge that. Of course, this kind of feeling [of insecurity] any actor can have towards any actor. But it’s outdated to pander to that narrative. Sisterhood is just wonderful, there’s no doubt about it. You just have to allow it. It’s really solid and brings you so much.”
The Trial will mark her fifth release in 2025 alone — three shows and two films, both on OTT and the big screen. The streaming space has given her rich opportunities to showcase her versatility, through projects like Bandish Bandits, Mirzapur, and Taj Mahal 1989. But there are murmurs in the industry that stories on OTT are beginning to follow a template, with unconventional ideas struggling to take off. Chadha admits she has been hearing about “recession in the industry”.
“Right now, I’m hearing this, ‘Oh! the industry is going through a recession.’ And, ‘People want to see everyday stories, relatable stories.’ So what seems to be working right now are the smaller town stories. Now that’s a template, right? Panchayat [Prime Video series] is a template. Gullak [SonyLIV series] is a template. I’ve just done a show called Bakaiti, which probably falls in the same template. Can there be more expansive content? I think that goes without saying, always, because the minute something does well, it will become a template. It takes a lot to break that [mould] and come up with stuff that is not driven by commerce. Having said that, I am hugely grateful for the vast canvas of stuff that I’ve gotten to perform on OTT — Bandish Bandits is very different from The Trial, which in turn is very different from other stuff that I have done.”
Balaji Telefilms bets on films, digital as traditional TV loses steam
9:40 AM
Javed Farooqui (THE ECONOMIC TIMES; July 11, 2025)
Balaji Telefilms is restructuring its business strategy with a sharper focus on movies and digital content, aiming to reduce its reliance on traditional television, which is under pressure due to pay-TV erosion and industry consolidation impacting margins.
Historically, television has been the company’s core business, with Balaji dominating primetime for years and delivering a string of popular shows.
During the company’s Q4 and FY25 earnings call on July 4, Group CEO and CFO Sanjay Dwivedi said the company is at the cusp of a turning point, driven by internal consolidation, strategic partnerships, and a redefined content distribution strategy.
“Over the next 2.5 to 3 years, movies will become the group’s primary growth driver, followed by digital, with television as the third focus area,” Dwivedi told investors. “We look at the content business broadly, whether TV or digital, alongside our motion pictures division and our B2C digital operations, including platforms like YouTube, Meta, and our proprietary app.”
A key initiative during the year was the merger of ALT Balaji and Marinating Films into Balaji Telefilms, streamlining operations, reducing cost redundancies, and enabling significant tax benefits. This consolidation is expected to improve resource allocation across its core verticals, movies, television, and digital content.
Among the notable developments was a long-term content partnership with Netflix. Described by Dwivedi as “not a one-show, one-movie, or single-format deal,” the multi-year agreement spans various formats including direct-to-OTT films, telenovelas, binge-watch series, and reality shows. The collaboration builds on Balaji’s earlier Netflix projects such as Kathal, Pagglait, and Jaane Jaan.
Balaji also revamped its digital strategy, moving away from a purely subscription video-on-demand (SVOD) model to a hybrid framework that incorporates both SVOD and ad-supported video-on-demand (AVOD). “Relying solely on SVOD has been a financial drag,” said Dwivedi. “Our app now operates on both ad-supported and subscription-based models.”
This shift helped reduce ALT Balaji’s cash burn from over Rs. 120-145 crore annually to just Rs. 35 lakh per month. The platform currently has over two million active users and added 3.29 lakh subscriptions in Q4, including 1.73 lakh renewals. Still, Dwivedi emphasized that ALT Balaji would now form a “smaller piece” of the broader digital strategy, as the company expands its presence across platforms.
Balaji Telefilms, he said, is keeping production costs for its app-based content low, with shows costing around Rs. 2.5–3 lakh each. This means the app will not significantly burden the company’s balance sheet.
The platform is still a small part of the overall business, but the company plans to diversify its offerings and launch a cleaner, more refined version of the app in the future, he noted.
On the B2B front, Balaji has built a digital content order book worth over Rs. 300 crore, with projects commissioned by platforms such as JioHotstar. “Three shows were delivered in the last fiscal, two of which—Power of Paanch and Kull—performed strongly on JioHotstar. We are also in talks for second seasons,” said Dwivedi.
To further broaden its digital reach, Balaji launched Kutting, a short-form vertical video platform similar to Instagram Reels and is developing regional content in Tamil and Telugu. The company’s new YouTube channel crossed one million subscribers within a month of its launch.
The film division, which Balaji expects to be its main growth engine over the next three years, is gaining momentum. Using a pre-sale and co-production model, the company recovers 85-90% of production costs before release. “We don’t greenlight any movie until digital rights are secured,” Dwivedi noted. “Across our film portfolio, we’ve delivered a 22% return on capital over six years.”
The upcoming movie slate includes Vrushabha starring Mohanlal, set for a Diwali 2025 release; Bhooth Bangla featuring Akshay Kumar and directed by Priyadarshan; and Vvan, a collaboration with The Viral Fever starring Sidharth Malhotra. Balaji plans to double its annual movie output from three to six films.
Despite its legacy in television, the segment is facing yield and margin pressures. “TV yields remain under stress, still down by more than 25% compared to pre-COVID levels,” Dwivedi said. Flagship shows like Bade Achhe Lagte Hain Phir Se and Kyunki Saas Bhi Kabhi Bahu Thi are ongoing, while discussions are underway with Colors for new titles, including a fresh season of Naagin.
For FY25, Balaji reported revenue of Rs. 453 crore, down from Rs. 625 crore the previous year. However, net profit surged to Rs. 84.6 crore from Rs. 19.4 crore.
The company also raised Rs. 130.7 crore in new capital during the year, with participation from promoters. The funds are being allocated across movies (Rs. 65 crore), digital and music content (Rs. 33 crore), and general corporate purposes (Rs. 32.5 crore). “In three years, we expect movies to be our primary business, followed by digital, with television becoming the third revenue stream,” Dwivedi reiterated.
Looking ahead, Balaji is optimistic about rising content demand and platform growth. The company recently launched Kalnagri, an AI-generated show, as part of its push into tech-driven content creation.
However, Dwivedi ruled out a digital business spin-off for now. “Once the business scales and there’s enough investor interest to unlock value, we can consider evaluating that option,” he said.
I committed the biggest sin when I wore chappals to Khan Market in Delhi-Sanya Malhotra
9:27 AM
In a special shoot with HT City Showstoppers, Sanya Malhotra talks about styling herself and how she loves picking outfits for her onscreen characters
Akash Bhatnagar (HINDUSTAN TIMES; August 1, 2024)
As a Delhi girl in Mumbai, actor Sanya Malhotra’s style has been influenced by the two cities. “[In Delhi], I like to dress up, do my makeup and be proper, even if I am stepping out for five minutes. In Mumbai, my style is more relaxed,” she tells us, adding that her Delhi friends “get a huge shock” upon seeing her Mumbai outfits: “They’d say, ‘You look very simple’... I committed the biggest sin when I wore chappals to Khan Market in Delhi! (laughs)”
Noting that fashion lets her express herself “in a different way,” she shares, “Now, I know what I like to wear, but I am still trying to find my personal style.”
Does this reflect on her on-screen personas as well? “I used to take my own clothes on set for Badhaai Ho (2018) and I [still] do it whenever I want to add a personal touch to my characters’ [looks],” the 32-year-old reveals, adding, “At the start of my career, I didn’t have money to afford a stylist. I wore something out of my closet for an event once and got good reviews. I look the best when I style myself.”
Much has changed since Malhotra’s Bollywood debut in 2016. Ask about her journey and she replies, “I always wanted to be an actor, but my intention was never to be a star.” But it was the chance to lead films such as Pagglait (2021) and Kathal (2023) that gave her confidence.
“I didn’t believe in myself when I signed Pagglait... But with the kind of confidence Guneet (Monga, producer) and Umesh sir (Bisht, director) had in me, I decided to give it a try. That success gave me the confidence to pick films like Kathal and [the upcoming] Mrs,” she ends.
We would stand outside Shah Rukh Khan's Mannat to remind ourselves that this is the Dilliwala who made it-Sanya Malhotra
8:35 AM
Sanya, who leads Kathal, says absence of strong female characters in Hindi films during her growing-up years has influenced her current choices
Priyanka Sharma (MID-DAY; June 5, 2023)
In many ways, her role in Kathal is what we have come to expect from Sanya Malhotra. Through her movies, the actor has consistently explored different shades of a modern-day woman — be it a young wrestler in Dangal (2016), or a widow restarting her life in Pagglait (2021), or a strong-headed wife in Meenakshi Sundareshwar (2021). The story aside, she has an important parameter that determines her script choices.
“In all the films I do, what remains in the forefront is how I want to portray women on screen. All these characters I have played on screen are whom we see in real life. They are empowered, they have the capability of fighting their own battles, and it is inspiring,” begins the actor, who plays a conscientious police officer in director Yashowardhan Mishra’s satire.
The actor attributes her stubborn pursuit for gender-sensitive stories partly to her childhood, and to her grooming on the sets of her debut movie.
“During the shoot of Dangal, I remember having a conversation with my co-actors about the kind of films I want to do. My goal was to portray [strong] women on screen. Then, we saw how the hard work I put in for Babita [her character in Dangal] got appreciated. Also, growing up, I missed seeing such women on screen. So, I knew I wanted to play these kinds of characters.”
Her projects ahead are an extension of her belief system. In the Hindi adaptation of The Great Indian Kitchen, Malhotra plays a new bride who is confined to the kitchen after her wedding, while Atlee’s directorial venture Jawan sees her share screen space with Shah Rukh Khan. To her, the Khan-starrer is a marker of how far she has come in her seven-year run in the industry.
“When I came to Mumbai, all my roommates were Shah Rukh Khan fans. So, whenever any of us would feel low, we used to take rickshaws, go and stand outside Mannat, just to remind ourselves that this is the Dilliwala who made it. From there, to be on the set with him is surreal.”
Guneet Monga and director Umesh Bist join hands once again for a comedy drama
8:22 AM
Hiren Kotwani (MID-DAY; February 12, 2023)
Guneet Monga has a sharp eye for offbeat stories. In 2021, her production Pagglait—a heart-warming story of a young widow discovering herself in the aftermath of her husband’s demise—received much love from audiences. Now, Monga is reuniting with Pagglait director Umesh Bist for another comedy drama.
The yet-untitled project will be officially announced in April, after the producer returns from Los Angeles, where she is currently promoting The Elephant Whisperers, which has bagged a Best Documentary Short Film nomination at the 95th Academy Awards.
We hear that the script of Monga’s next with Bist is ready. A source reveals, “Like Pagglait, their second collaboration will also be a touching comedy. The narrative will revolve around two female characters. The cast will be finalised after Guneet returns from Los Angeles.”
If things go as planned, the film will roll in August and will be shot extensively in Delhi. Monga is excited about their second collaboration, and heaps praise on Bist. “Umesh is a prolific storyteller who has a deep understanding of human emotions. That’s why the moving story of Pagglait touched the hearts of so many people. I’m happy to team up with him again for another interesting story that is bound to resonate with audiences,” she says.
If I can spend Diwali in front of the camera, it will be magical-Sanya Malhotra
8:05 AM
Rachana Dubey (BOMBAY TIMES; October 19, 2022)
Sanya Malhotra’s life changed gears over the last two years, with several releases on OTT platforms and a theatrical release earlier this year. She’s currently working on a host of projects, including the remake of The Great Indian Kitchen, Atlee’s next with Shah Rukh Khan and Meghna Gulzar’s Sam Bahadur. In a chat with BT, she talks about how she interprets her roles, some of the unputdownable offers and more. Excerpts:
Diwali is around the corner. After a busy year, do you have plans to head home to Delhi?
I’m shooting non-stop. So, I’ve not really drawn out any plans. But it’s exciting to think that I might spend Diwali in front of the camera. It will be magical if that happens. If I have a day off, I will go back home to Delhi and spend some time with my family, eat ghar ka khaana and participate in all the revelry. My perfect Diwali is being around my loved ones. I love all the shebang — rangoli, decoration, making diyas and the food. If I am not doing this, I’m sure I will be shooting in front of the camera.
The Great Indian Kitchen’s remake went on floors recently. With three distinct films to juggle, how do you switch between the emotional zones of your roles?
I do many things that I keep changing depending on the characters I’m playing. Like I’ve worked in a movie called Kathal, for which I drew inspiration from the interactions I had with actual policewomen in Gwalior. I could understand their approach to life and who they are beyond the uniforms that give them authority and power. They’re human, too. The idea is to get to know characters psychologically and emotionally.
Sometimes, I create memory banks for them. Like I wrote diary entries for Sandhya’s character in Pagglait. I didn’t have any experience or any emotional reference point for her. So, I started writing, and I ended up writing poetry, too, which I don’t write in my personal life. I imagine my character’s daily life, put myself in their shoes and think of what would have happened in their lives before. I love doing this exercise where I go deep into their emotional coffers.
When it comes to remakes, I think of my own way of interpreting the character, matching it with the director’s vision and the space of the film. Like The Great Indian Kitchen is something I was looking forward to diving deep into. The original was fantastic, and Nimisha Sajayan was so good in it. But I don’t know how to improvise on that. And that’s also not the intention. I just want to interpret it well without a sense of competition. I treat it as a new story and character.
What drew you to play Siloo Manekshaw in Sam Bahadur, where Sam Manekshaw will be the focal point of the story? Also, there’s isn’t much information on his wife in the public domain.
I just wanted to work with Meghna Gulzar. And you have to trust a director like her who doesn’t take any character lightly. Each one is important. I knew that I would learn something new when I work with her. It was an unputdownable offer. I’ve started shooting for it, and it’s a different experience to surrender myself to her vision. I know she’ll pull me out of my comfort zone, and I look forward to that.
The industry is in a state of uncertainty, where there is an ongoing discussion and debate over the kind of films that can potentially draw people into a theatre. What do you think about this scenario?
We’re all going through a challenging phase, which means this is the time to explore new things through scripts, new mediums and unique stories. As an industry, it’s important to push one another to do better. No one can survive this individually. It’s time to stand together, and this happens in every business. We have to see what we all can bring to the table. The ecosystem of the industry has expanded and made room for so much that we can do. We need to work on it and good will come out of this. It will pull us out of complacency and push us to experiment. Had I been stubborn about where my films (the platform) were released, my career wouldn’t have been on the upswing. Transition is about being flexible and collaborative. You have to adapt constantly. It’s pretty much like picking up the emotional spaces of different characters at different times. Being flexible pushes me to take up characters that are completely unexpected of me, and yet, people accept what I turn in. People love artistes who push their boundaries.
You have refrained from repeating yourself so far in the work that you choose to do. Isn’t it challenging to keep doing that?
That’s my biggest fear and kabhi na kabhi aisa hoga that I will end up being in a space that I have been in before. Woh main kabhi bhi karna nahi chahti. People say that I’m making unconventional choices. It has been a conscious move to not fit into a box which would’ve been easier to do. There’s so much advice that comes to me from various corners on how to dress a certain way or put things out on social media, which I’ve never followed. I work with a fabulous team that advises me, and there are seniors I reach out to periodically, but eventually, I listen to my gut. I’ve been consistently doing that for the five-six years that I’ve been here. One shouldn’t blame anyone else for anything that goes south, right? I wanted to do every kind of film and character and I have stuck to that. I’ll never put myself in a box, and no one can do that to me.
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This year, Sanya Malhotra will be celebrating Diwali with her filmi family, and she has no qualms about it
Sugandha Rawal (HINDUSTAN TIMES; October 19, 2022)
This year, actor Sanya Malhotra will be celebrating Diwali with her filmy family, and she is pretty excited about it. She says being on set is nothing less than a celebration for her, as it reminds her of the passion she has for acting.
The actor will be shooting for the Hindi remake of the critically acclaimed Malayalam movie The Great Indian Kitchen (2021) on Diwali.
“I am very excited to spend this Diwali on the sets of my film because I absolutely love my team and I am having a blast shooting this film. On set wali Diwali will be a very special and a new experience for me,” Malhotra says.
The 30-year-old continues, “This is only because I’m working with such nice people. I am not homesick, but rather I feel at home. I love being on the set. But it’s not that I don’t like being around my family. I get very excited to work on holidays and festivals for some reason. I think it’s because being on set is nothing less than a celebration.”
“I feel extremely grateful around this time. No matter how cliché and cheesy it sounds, but it’s hard to believe that my dreams have actually come true and I’m living my dream life right now,” says the actor, who was last seen in HIT: The First Case.
However, this is not the first time that she will be spending Diwali away from her family. Earlier, while shooting for Dangal (2016) in Ludhiana, she had to be away from her closed ones during the festival. “You find that feeling of solace and being at home only with the people that you’re working with. I’m really looking forward to spending this festival with the team that I’m absolutely loving, and I know that I will have lots of fun,” says the actor.
When not working, her ideal way to celebrate the festival is to spend some time with her family during Diwali and gorge on some home-made food and sweets.
“I’m a homebody. So whenever I’m back in Delhi, around my family and friends, I don’t usually step out. I have a very close circle in Delhi. I just love being at home and around my people. It’s the most grounding thing for me as an actor because I’m constantly working and hopping from one set to the other,” she says, adding, “My perfect Diwali is around my loved ones, eating rajma chawal and mithai, which my mother makes every Diwali”.
I was living with Imposter Syndrome for three years-Sanya Malhotra
8:23 AM
Sanya, who has a promising line-up in Kathal and The Great Indian Kitchen remake, discusses overcoming self-doubt after Pagglait
Mohar Basu (MID-DAY; June 7, 2022)
One would imagine that Sanya Malhotra was on top of the world after her Pagglait (2021) won glowing reviews and the audiences’ love last year. Yet, the reality was different. The actor was struggling to give herself due credit. “Of the five-and-a-half years I have worked in Bollywood, I was living with Imposter Syndrome for three years. I believed I didn’t deserve the opportunities coming my way, and that my work wasn’t good. I was harsh on myself,” she recounts.
It was only months after Pagglait’s release that Malhotra could channel the validation in a positive way. “Now, when I sit back and reflect on it, I am able to finally give myself my due. Yes, I have worked hard, and I deserve the work I am getting.”
Armed with the newfound self-love, the actor has reunited with Pagglait producers Guneet Monga and Ekta Kapoor for Kathal. Set in a small town, Yashowardhan Mishra’s directorial venture revolves around a local politician whose prized jackfruits go missing and Malhotra’s police officer character has to solve the bizarre case.
“When you wear the khaki uniform, you have to be responsible — not as an actor alone, but the writing has to be right, too. The credit for this film goes to its writing. Hindi films tend to dramatise cops. But in reality, they are human. Yasho has highlighted that in his script. When you say something through comedy, people understand it easily. I am looking for stories that have a subtle message. I want to pick up characters that inspire me and other young women.”
Up next, she has the remake of The Great Indian Kitchen (2021). Adapting a celebrated film comes with its pressures, but the actor is excited. “When I first saw the film, I remember thinking I wish I were a part of it. It is crazy that Arati Kadav [director] decided to cast me in the remake.”
I don’t know how pressure and art can really function together-Sanya Malhotra
8:07 AM
Rachana Dubey (BOMBAY TIMES; March 28, 2022)
After making a great start with a film like Dangal, when the OTT space opened up, she dived in and made the most of it with back-to-back projects. In the last two years, Sanya Malhotra has had five releases on OTT platforms, which featured her in author backed roles.
She says, “As an artiste, it doesn’t bother me where a film releases, as long as it reaches people. It would matter to me if I was a producer. For an actor, when a film drops on OTT, it takes a lot of pressure off you. Frankly, I don’t know how pressure and art can really function together. The last three years have changed the dynamics of the industry so much. There is such varied and so much work for the actors. Yes, bade parde pe film dekhna aur apni film wahan release hona is a dream that I won’t let go of. It has its own charm.”
Sanya is among those few actors who have had films releasing at regular intervals throughout the pandemic, including movies like Pagglait and Meenakshi Sundareshwar. Bring it up, and she says, “Personally and professionally, I think 2021 was great, and I have nothing to complain about. Professionally, I would also include 2020 in this. The characters I played were good for my career. They got a love of love and a heartwarming response, which was very encouraging. They were two fantastic years for my career, but I don’t think any of us ever got off the emotional roller-coaster ride that we have been on since what feels like forever. The last year just flew by. I just hope 2022 is as good workwise. I hope more films go to theatres, and hopefully, we can all tackle the pandemic together while taking care of ourselves.”
Among her upcoming projects is Sam Bahadur, Meghna Gulzar’s biopic on Field Marshal Sam Maneckshaw, which features Vicky Kaushal in the title role and also has Sanya sharing screen space with her Dangal co-star Fatima Sana Shaikh.
She plays Maneckshaw’s wife, Siloo, in the movie. “A story like Sam Bahadur does not land on your table every day. I am really looking forward to playing Siloo. This is my third collaboration with Fatima after Dangal and Ludo. It’s so good to do a film with her. We had started our journeys together and I love how well she has carved her space. At the same time, I am happy and grateful for what I have on my table,” she signs off.
It feels great when I get so much love from people, but I have never won a single award-Sheeba Chaddha
7:23 PM
Sheeba, nominated in Best Supporting Actor category at Hitlist OTT Awards, on how she had to dig deep to play grieving mother in Pagglait
Uma Ramasubramanian (MID-DAY; March 4, 2022)
Sheeba Chaddha describes herself as a “switch-on-switch-off” actor, embracing the character as soon as the camera rolls and seamlessly shaking it off after the day’s shoot. But when Pagglait (2021) came her way, she knew she would require more than an artiste’s instinct to play the part of the grieving mother who has lost her young son. “I am an actor who doesn’t prep. I don’t take my characters home. But with this one, I felt it wouldn’t be okay to not stay with the character. It’s almost as if I wanted to stay with this woman and her grief, outside of action and cut,” she recounts.
When watching the Sanya Malhotra-starrer, your heart goes out to Astik’s mother — essayed by Chaddha — who has to take care of the extended family coming for the last rites, take stock of daily meals and attend to everyone’s needs, even as she struggles to come to terms with her loss. Her heartbreaking portrayal has fetched her a Best Supporting Actor (Female): Film nomination at the upcoming mid-day and Radio City Hitlist OTT Awards. “I kept it as real as I could, because what could be worse for a mother [than losing her child]? That loss is unfathomable. As an actor, it’s nearly impossible to access these areas. That grief is bottomless. You can’t perform grief on screen.”
From Talaash (2012) to Gully Boy (2019) to the recent Badhaai Do, the actor has been dependable as ever, shining in her supporting parts. While praise has often come her way, she laughs that award functions don’t seem to take notice of her. “I have been around for so many years. It feels great when I get so much love from people, but I have never won a single award. I would love to get one. It brings you more choices, and helps you choose better.”
Cast your vote for the Hitlist OTT Awards
Sheeba Chaddha has been nominated in the Best Supporting Actor (Female): Film category for Pagglait.
The other nominees are:
- Aditi Rao Hydari (Sardar Ka Grandson)
- Chitrangda Singh (Bob Biswas)
- Ileana D’Cruz (The Big Bull)
- Priyanka Chopra (The White Tiger)
- Ratna Pathak Shah (Hum Do Hamare Do)
Log on to www.radiocity.in/hitlistawards to cast your vote.
You can also vote via SMS. Send HITLIST <space> category name <space> your choice (a/b/c as on the website) to 57575.
Voting lines close on March 18.
I Googled random men, and found a random guy who I thought Astik in Pagglait would look like-Sanya Malhotra
8:21 AM
Sanya, nominated in Best Actor: Film category at mid-day and Radio City Hitlist OTT Awards for Pagglait, on how she developed a back-story to play a young widow with conviction
Mohar Basu (MID-DAY; February 26, 2022)
Given the kind of love Pagglait received on its release, we wonder whether the producers have considered making a sequel. Leading lady Sanya Malhotra is rooting for the idea. “We haven’t [thought of it] yet, but I hope we have a sequel some day. I’d love to be Sandhya again,” says Malhotra, whose performance has earned her a nomination in the Best Actor (Female): Film category at the mid-day and Radio City Hitlist OTT Awards. The charming Netflix film sees protagonist Sandhya on a journey of self-discovery after the untimely demise of her husband Astik.
Since the movie shows us next to nothing about the husband, Malhotra constructed a back-story of the man, believing it would enhance her act. “I Googled random men, and found a random guy who I thought Astik would look like. I kept the picture with me, and imagined him in the back-story. Astik wasn’t unkind; he was indifferent. When you don’t communicate at all, it is harsh. Sandhya is curious and talkative, and Astik must have been a non-listener. They were two unhappy people in a marriage.”
Umesh Bist’s directorial venture is filled with moments of honesty and clarity. For a story that centred on Malhotra, which was her most challenging scene? “The one where she wears Astik’s shirt and looks in the mirror. In that moment, she knows he never liked her. For the first time, Sandhya tells herself that she was not happy in the marriage,” she says, adding that the movie helped her grow as an artiste. “I never thought I could shoulder a film. I am glad Umesh sir and Guneet [Monga] pushed me.”
Did you know?
Pagglait marks the debut of Arijit Singh as a music composer. It is also television actor Shruti Sharma’s first Bollywood venture
Cast your vote for the Hitlist OTT Awards
Sanya Malhotra has been nominated in the Best Actor (Female): Film category for Pagglait. The other nominees are:
- Kiara Advani (Shershaah)
- Konkona Sen Sharma (Geeli Pucchi, Ajeeb Daastaans)
- Mrunal Thakur (Toofaan)
- Taapsee Pannu (Rashmi Rocket)
- Vidya Balan (Sherni)
Log on to www.radiocity.in/hitlistawards to cast your vote.
You can also vote via SMS. Send HITLIST <space> category name <space> your choice (a/b/c as on the website) to 57575.
Voting lines close on March 18.
Sanya Malhotra reunites with Pagglait producer Guneet Monga for a laugh riot that sees her play a police officer
8:28 AM
Mohar Basu (MID-DAY; February 22, 2022)
Sanya Malhotra, playing a young widow on a journey of self-discovery after the untimely demise of her husband, was a delight to watch in Pagglait (2021). Will producer Guneet Monga and Malhotra be able to recreate the magic of the charming film? That’s the obvious question as the duo reunite for a comic caper.
mid-day has learnt that Malhotra will play a cop in the yet-untitled project that is set in the heartland of India. A unit hand reveals, “Sanya has made a few trips to the interiors of Madhya Pradesh to prepare for the part. It’s a classic small-town story, and will require her to pick up the dialect.”
The source adds that Monga is looking for a suitable director who is familiar with the milieu and will be able to pull off the laugh riot. “The final cast and the director will be locked soon. As soon as Love Hostel drops online, the actor will head to Madhya Pradesh for a month-long schedule of the movie.”
Malhotra is also rumoured to front the Hindi remake of the Malayalam gem, The Great Indian Kitchen (2021).
People began judging Meenakshi Sundareshwar right from the beginning, without even watching it-Sanya Malhotra
8:01 AM
The actor is ‘grateful, blessed’ on spending five years in Bollywood
Titas Chowdhury (HINDUSTAN TIMES; December 22, 2021)
This month marks actor Sanya Malhotra’s five years in Bollywood. In 2016, she made her debut with Dangal, and over the years, she has carved a niche for herself with slice-of-life films. So, what has changed in five years? “The film (Dangal) did exceptionally well. It paved the way for my career. I had a sense of belonging to the film industry from the beginning, but there’s a sense of comfort now,” Malhotra says.
She adds, “I have had the opportunity to work with some great directors and actors. I feel grateful and blessed.”
The 29-year-old had two releases this year — Pagglait, which saw her playing a young widow, and Meenakshi Sundareshwar, where she essayed the role of a wife in a long-distance marriage. Ask her if the success of Pagglait put faith in her own choices and she admits, “I never lost confidence in myself and I’ve always believed that I was going the right way. But this film came to me at the right time. I was given a lot of freedom to play my part. I learnt a lot about myself throughout the process of filming.”
Meenakshi Sundareshwar, on the other hand, received mixed responses for what many believed was a skewed representation of Tamilians. “I was prepared for it. I think people began judging the film right from the beginning, without even watching it. And at one point, I had to convince myself that the reaction I’d get wasn’t in my control,” she shares.
Focusing on the silver lining, Malhotra adds, “We began shooting for it right after the first lockdown, when I was dying to be on a set. I loved travelling to Karaikudi (Tamil Nadu) to shoot the film. The memories are still vivid in my mind. I choose to focus on the love we got after the first song was released.”
I have not risen above box office numbers, but it never bothers me-Sanya Malhotra
8:05 AM
Neha Maheshwri (BOMBAY TIMES; September 13, 2021)
In her maiden outing Dangal (2016), Sanya Malhotra portrayed Babita Kumari Phogat, who had to overcome selfdoubt and societal backlash with quiet courage before emerging as one of India’s leading wrestlers. The actress exudes the same grit and resilience in real life as well, having grappled with many challenges before making a mark for herself in the entertainment industry with films like Badhaai Ho and Pagglait. In a chat with BT, she talks about her journey as an artiste, working with the right kind of people and more. Excerpts.
Since your dream debut five years ago, you have always been associated with content-heavy films and meaty roles. And, early this year, you marked your first as a solo heroine with Pagglait. Were you confident about carrying a film like that on your shoulders?
It was definitely a dream debut, and whatever I am today is because of my first film. But, it has taken me time to gain confidence. I did not do Pagglait because I believed in myself, it was confidence of my producer (Guneet Monga) and director (Umesh Bist) that helped me pull it. They really pushed me as an actor. Looking back, I am glad I did it, because the experience changed my life and me as an artiste.
While creative satisfaction is something that every actor strives for, one cannot ignore the importance of commercial success. As a solo lead, were you anxious about your film’s fate?
I never worry about box-office performances or numbers. I am not saying that I have risen above it all, but somehow it has never bothered me. I only get worried, anxious and nervous about my performance and whether I will be able to do justice to the character. That’s the only thing in my control. If the film works at the box office, it’s always a plus.
The past few years have seen the emergence of a new wave of cinema. Has that strengthened your courage to be a part of projects that were previously considered risky and unconventional in terms of subjects and storylines?
The strength comes as much from within as the people I work with. With every film I am growing as a person and as an artiste. I feel fortunate to have worked with people, who have pushed me and made me believe in myself It’s important to surround yourself with people who motivate you at the right time and criticise you as well. When deciding on a project, I follow my instinct. Script sunte ya padhte hi there is an instant yes or a no. Of course, other factors such as the director, co-actors, and the production house also come into play.
You talked about being fortunate enough to work with people who have motivated and believed in you as an artiste. On the other hand, there has been a never-ending raging controversy about the ‘outsider’s’ struggle in Bollywood. As an outsider who has carved a space for herself in the industry, what is your take on the subject?
It’s been two years and the debate is never-ending. Personally, I am extremely happy with the way my career is shaping up and consider myself blessed. Honestly, I am living my dream. Irrespective of the insider/outsider debate, I would say that work is in abundance in this industry. That’s the end of the debate and I don’t want to be a part of it anymore.
You are a trained dancer. Given your love for dance, do you wish to be part of a quintessential Bollywood potboiler, which has you dancing around the trees?
Oh yes! I’ve grown up watching these potboilers. But, I think the focus has now shifted towards content-driven films and there’s not much naach-gaana happening these days. Or maybe there is, and I am wrong. I hope I get something like that very soon (smiles!).
Your fine sense of humour is reflected in your posts on Instagram. You seem to be comfortable baring your real self on social media. Do negative comments ever bother you?
(Laughs!) I have set strong social media boundaries for myself. I post what I like to post and look how I want to. I try to be real. There will always be people who criticise you, but then there will also be those who love you, no matter what! Ultimately, you can’t please everyone and that is okay. I do what makes me happy. Negative comments don’t bother me because I choose to ignore them. I look at social media as a great tool, not just to showcase your talent, but also to share a bit of your personal life. Having said that, it’s important to keep in mind that what you see on social media is not always the whole truth. It’s often very well curated. So, it’s futile to compare yourself with somebody else on that platform.
I think I manifested a film with Rajkummar Rao by wanting it for so long-Sanya Malhotra
8:22 AM
Weeks before kicking off Hindi remake of HIT with Rajkummar Rao, Sanya Malhotra discusses coming into her own over the past year
Mohar Basu (MID-DAY; August 18, 2021)
The year 2021 may mean different things to different people, but to Sanya Malhotra, it’s the year she came into her own. The actor ably shouldered the charming Pagglait, and has been since flitting from one movie set to another. Having recently wrapped up Love Hostel alongside Vikrant Massey and Bobby Deol, she is set to begin filming HIT, the remake of the 2020 Telugu movie of the same name. “I think I manifested a film with Rajkummar [Rao] by wanting it for so long,” she laughs.
Sailesh Kolanu, who helmed the original, will wield the directorial baton for the Hindi adaptation. “I can’t wait to be in front of the camera with Rajkummar. It’s a dream come true,” she says, currently prepping for the cop thriller.
Director Umesh Bist’s black comedy about a young widow was a game-changer for Malhotra. With film announcements pouring in, she is finally reaping the rewards of her efforts since her 2016 debut in Dangal. But she says the shift in perception is hardly noticeable to her. “Even today, I go by the same factors before saying yes to a film. I should buy into the universe of the story, and the character has to speak to me on every level. It’s essential that we chase diverse roles. As actors, it is easy to get complacent with the ordinary, but I would never want to look at a character and go, ‘Arre, yeh toh ho hi jayega.’”
She utilised better part of last year doing acting masterclasses online. Her quest for diverse parts was achieved when she landed on the set of Meenakshi Sundareshwar, her first film post the pandemic. The Netflix project, set in Madurai, revolves around the trials of a young south Indian couple. “The break was important for me to sit and chart out how to approach my characters. For Meenakshi, I prepped extensively — from the look to the twang and the body language.”
Pagglait director Umesh Bist bags three-film deal with producers Ekta Kapoor, Guneet Monga
8:13 AM
Ekta Kapoor. Pic/AFP; Umesh Bist and Guneet Monga
Mohar Basu (MID-DAY; June 23, 2021)
Earlier this year, Umesh Bist gave us the delightful Pagglait, whose strengths lay as much in its reliable lead Sanya Malhotra as in its charming storytelling. After the success of the black comedy, the director has bagged a three-film deal with producers Ekta Kapoor and Guneet Monga.
Bist, who had first met Monga in 2018, says that their shared creative sensibilities laid the roots for a deep friendship. The development of Pagglait got a further boost when Kapoor came on board. “As a filmmaker, all you want is a collaborative eco-system where the team puts its might in doing the best for the movie. I am glad I found this in Sikhya Entertainment and Balaji Telefilms. The trust they put in a director is rare. As partners, they add to each other’s strengths,” says the director, excited about taking the journey ahead with them.
Monga believes that Bist’s vision is “unmatched” adding, "I still remember the day I met Umesh sir. His vision for his stories is unmatched and it is inspiring to see his faith and commitment to a project."
Ruchikaa Kapoor Sheikh, creative producer and executive vice president, Balaji Telefilms, says that the filmmaker has a knack for stories that are honest and deeply resonate with viewers. “Pagglait resonated with Indian audiences in unimaginable ways. Everyone found a connection with the story and that is Umesh’s biggest strength. Furthermore, the film established an equity between Balaji and Sikhya and we’re thrilled to come together to tell stories that are both emotional and entertaining, stories that find their way to the hearts of the audience.”
It is heard that the first project is currently in pre-production and will be announced in the coming weeks.
Goodbye, tragic martyr in white saree. Hello, merry widow
7:59 AM
In Lipstick Under My Burkha, the 55-year-old widow played by Ratna Pathak Shah is an avid reader of erotic novels
Widowed women change their colours on screen as filmmakers finally focus on their individuality
Sonam Joshi (THE TIMES OF INDIA; April 19, 2021)
Many films like Pagglait are now stepping away from the traditional stereotypes of the widow as a tragic, melodramatic and motherly figure. Widowhood becomes a trigger for women to rediscover themselves, and find out what it means to live life on their own terms.
Pagglait’s lead character was inspired by the women in his family, says director Umesh Bist, especially an aunt who took up a job in her late husband’s company despite not having studied much. “After my father’s death, I remember telling my mother I wanted to see her as my mother, and not a widow, that she could continue to wear bangles or coloured saris and enjoy the food she used to rather than give it up,” he says. “I didn’t want to see widowhood as a defining character trait but just one of the circumstances in life.”
If Pagglait’s Sandhya discovers her agency only by the end of the film, the young widow Ratna in the film Is Love Enough - Sir exercises hers at every step of the story. After her husband’s death, Ratna leaves her village to work in Mumbai as a domestic help, trains herself in tailoring and dreams of a better life for herself and her younger sister. Though the film addresses the class divide through a love story between Ratna and her employer, it also follows her journey. “She turns extreme adversity into an opportunity for herself, telling her boss: ‘life khatam nahin hoti’,” director Rohena Gera says.
Something similar happens in the film Once Again in which a financially independent middle-aged widow who runs a restaurant in Mumbai starts a telephonic romance with an ageing actor. “We as a society are far ahead of our storytelling — so many women live like this and we are not being told these stories,” says director Kanwal Sethi. “It was important that the woman wins on all fronts, as a lover and as a mother…She can finally feel the sensuality of her person and focus on her needs,” he says.
Other portrayals take a more subtle view of freedom. In the film Aise Hee, an elderly widow in Allahabad who we only know as Mrs Sharma suddenly gets the freedom to do little things, like eating ice-cream at the mall, getting a pedicure, learning embroidery and walking by the river. “Her husband’s death gives her the space to think that there are options which she never thought of earlier,” director Kislay says. “In real life, widowhood marks a break, where a lot of women change because they are forced to be more independent.” Mrs Sharma wants to preserve this new freedom, refusing to let her granddaughter move in because she likes being alone.
Kislay says that the film is a departure from the 1957 film Mother India, which in many ways is the epitome of the tragic, sacrificial widow in Hindi film. In one scene, the TV screen in Mrs Sharma’s house literally plays a scene of Nargis saving her children from floods. “Mrs Sharma could have been a Mother India, but what if the person doesn’t want to,” asks Kislay. The role has been essayed by septuagenarian Mumbai-based actor Mohini Sharma, who lives alone herself. There is a similar tone of independence in Tanuja Chandra’s documentary film Aunty Sudha, Aunty Radha, on her elderly widowed aunts who give each other companionship in their sunset years.
Gera, who got many messages from many women struggling with social judgement after their husband’s deaths, says it is important to depart from patriarchal norms. “We are still far from being an egalitarian society,” she says. “It’s great if filmmakers can show what we can aspire to: encouraging women to move on, rather than idealising a tragic figure who has given up on herself.”
Netflix hasn’t written why they pushed my film Ramprasad Ki Tehrvi-Seema Pahwa
8:19 AM
With Pagglait and Ramprasad Ki Tehrvi sharing similarities, director Seema Pahwa rues that OTT run of latter deferred from its March 31 release
Mohar Basu (MID-DAY; April 6, 2021)
There are uncanny similarities between Sanya Malhotra’s Pagglait and Ramprasad Ki Tehrvi, from being shot at the same house to the premise of a joint family mourning the loss of a loved one. But looks like the success of one has led to the other getting the short end of the stick. Featured in Netflix’s ‘Coming soon’ section and set to drop online on March 31, the OTT release of Seema Pahwa’s directorial debut has evidently been deferred.
The actor-director, whose drama had a big-screen release in January, is clueless about the change in plans. “Once a film is made, the platform deals with the producers. [Earlier], my producers had confirmed that it will be released in March-end. After it didn’t drop online on March 31, I didn’t think it wise to drag the matter. The producers have told me that the movie will drop on the platform when the [head honchos] decide on it.”
The delay has been presumably caused due to the March 26 release of Netflix original film Pagglait. Rolling out two movies with similar themes may not bode well for the streaming giant. Pahwa, however, refuses to resort to accusations. “Netflix hasn’t written to me why they have pushed the film. I don’t want to make statements based on assumptions. I have no idea when my film will be available on the platform.”
Industry insiders say that OTT platforms sign licensed deals for movies that have already had a theatrical run. A release date is zeroed in on, depending on the gap between a film’s theatrical outing and OTT release — ranging from three to eight weeks — as decided by the two parties.
Netflix India declined to comment.
(Crisp) Movie Review: PAGGLAIT by FENIL SETA
4:57 PM
Pagglait’s initial scenes instantly remind one of Ramprasad Ki Tehrvi. The setting and even the house are eerily similar in both the films. But in less than 10 minutes, all the comparisons go out of the window. The quirky characters and the constant shift in the tone from comic to serious is well managed by writer-director Umesh Bist. While the first half is breezy and light, some of the conflicts in the second half seem a bit sudden. The climax is a big surprise but the manner in which it got linked to women empowerment should have been better explained or rather it should have infused gradually in the film. Pagglait is embellished with some fine performances. Sanya Malhotra is apt for the part and is absolutely riveting in some of the scenes. There’s no doubt that she is one of the finest actresses today. Shruti Sharma (Nazia Zaidi) is natural. Sayani Gupta (Akansha Roy) gets to play a brilliant part and nails it. Raghubir Yadav (Papu Tayaji) is great as the irritating and hypocritical uncle. Ashutosh Rana (Shivendra Giri) is flawless while Sheebha Chadha (Usha) is just right. Jameel Khan (Ghanshyam) stands out because of his characterization. Rajesh Tailang (Tarun) has a late entry but leaves a mark. Chetan Sharma (Alok Giri) is fine but an important scene in pre-climax leaves viewers confused about his character. Aasif Khan (Parchun) is dependable. Ashlesha Thakur (Aditi) and Sachin Chaudhary (Achint) are lovely as the kids. Sharib Hashmi (B K Arora) as expected rocks, in a cameo. Meghna Malik (Tulika), Nakul Roshan Sahdev (Aditya Giri), Natasha Rastogi (Alka Pandey), Bhupesh Pandya (Girish Pandey), Yamini Singh (Janaki Bua) and Ananya Khare (Tarun's wife Rashmi) are decent. And finally, Saroj Singh (Dadi) is adorable! All in all, despite some blemishes, Pagglait is worth a watch for it’s writing, execution and of course, the performances.
My rating - *** out of 5!
2020 was a year of retrospection, I realised that I was being harsh on myself-Sanya Malhotra
8:05 AM
Sanya Malhotra says she identified with her character in Pagglait as she used to seek validation until events of 2020 changed her perspective
Uma Ramasubramanian (MID-DAY; March 26, 2021)
In Pagglait, director Umesh Bist has chosen an unusual premise for his protagonist’s journey of self-discovery. Sandhya, essayed by Sanya Malhotra, comes into her own after the untimely demise of her young husband. As she sank her teeth into the role, Malhotra says she identified with the character’s vulnerabilities and frailties.
“I realised I was a lot like Sandhya. She was looking for external validation, something that I did too. I was judgmental and critical of myself. I used to not like any of my work, and would never like to see myself on screen. But 2020 was a year of retrospection, and that’s when I realised that I was being too harsh on myself. When I watched Pagglait, I told myself, ‘You have done a good job,’” says the actor.
She adds that her character’s confusion reminded her of her college days. “I wanted to be an actor, but I never told anyone about my aspirations. I kept the secret to myself because I felt nobody would understand me,” says Malhotra, glad that she took the leap of faith and moved to Mumbai to pursue her dream.
The film, also starring Sayani Gupta, Ashutosh Rana and Raghubir Yadav, drops on Netflix today. It’s a hat-trick for the actor whose last two films, Shakuntala Devi (2020) and Ludo (2020), had digital premieres. “We survived 2020 because of the entertainment provided by OTT platforms. Theatrical releases have a different charm, but [a digital outing] is no longer a compromised release.”
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