"Kya alag kism ki kahani hai!” That was Paresh Rawal’s first thought after the narration of Hum Do Hamare Do. “I found the premise of adopting parents quirky,” begins the senior actor, who has joined Rajkummar Rao and Kriti Sanon in the comedy. While the film focuses on the protagonist’s efforts to woo his ladylove, director Abhishek Jain also showcases an elderly romance through Rawal and Ratna Pathak Shah’s characters.

With the movie coming a few years after Badhaai Ho’s (2018) success, Rawal is glad that filmmakers are developing mature love stories. “Usually, romances are associated with the youth. The only other elderly love story with recall value is Cheeni Kum [2007]. You need such films to be grounded and mature. What people are unable to bring on screen is that the intensity of love increases with maturity. There is stability and depth to such romances.”

The senior actor was delighted to join forces with Pathak whom he has deeply respected since their theatre days. “When you have a tremendous actress like her, you can approach every emotion from a fresh perspective. The material is only a part of our job; the rest is about enhancing the written word.”

Collaborating with Rao was another draw for Rawal. Describing himself as a “huge fan” of Rao, he says, “When I first watched Shahid [2013], I didn’t have his number. I called up Hansal Mehta twice. I have seen every film of his. He is truthful in every performance. This new generation of actors is full of gems.”

Paresh Rawal talks about his new role as Chairman of the National School of Drama
Hiren Kotwani (MUMBAI MIRROR; September 11, 2020)

On Thursday, Paresh Rawal was appointed Chairman of the National School of Drama (NSD). The two-time National Award-winner and Padma Shri awardee is thrilled with the new responsibility, given that he has been doing professional theatre since ’72. “I will enjoy this a lot,” he told Mirror. Excerpts from an interview:

Given your experience on stage, any plans for the NSD?
I want to increase theatre spaces for maximum reach. Even Mumbai needs five-six more Prithvi Theatres, not just in terms of space, but also quality, and to see more diverse content. So, I plan to open more theatres, maintain them well, encourage and nurture talent.

Anything that needs to be changed or corrected?
Every time someone new is appointed, changes are anticipated. But I don’t want to change anything just for the sake of it. If something is going good, why change it?

NSD has given us actors like Pankaj Kapur, Naseeruddin Shah, Om Puri and Irrfan Khan. Will you take forward the NSD legacy?
It’s up to the actors to decide if they want to groom themselves better and enhance their craft, the way Pankaj ji, Om ji, Naseer saab and Irrfan did. There are many actors who want to do more theatre than films. I’ve worked in films for so many years, but I’ve also got so much from theatre. It’s not as if actors use theatre as a stepping stone to a film career.

Did you ever want to join NSD?
I’m a Mumbaikar and from the time I started, Marathi and Gujarati theatre has been there. After Prithvi, Hindi and English theatre consolidated too. There’s also Bengali theatre in the city. Back then, I didn’t think that I needed to join NSD, but definitely going there now will be an advantage. Any kind of education and training definitely helps.

Do you wish this responsibility had come earlier?
I believe everything comes at the right time. There’s no such thing as early or late. It’s a golden opportunity.

With Paresh and Swaroop Sampat Rawal’s son, Aditya, making his acting debut, the family talks about adapting to the times and the changing face of cinema
Kunal Guha (MUMBAI MIRROR; May 17, 2020)

The only “silver lining” in the nationwide lockdown so far, says Swaroop Sampat Rawal, is that the family has got a chance to watch Aditya’s acting debut in the web film, Bamfaad.

“After watching it, Aditya and [older son] Aniruddh spoke to Paresh at length about cinema and acting. It was like being part of an in-house masterclass,” says the 61-year-old actor and education counsellor, who made her comeback on the big screen with Uri last year.

Surprisingly, Aditya’s father, veteran actor and former Lok Sabha MP, Paresh Rawal, only learnt about his son’s decision to face the camera five hours before he went on set. “For some reason, he decided not to tell me earlier,” says Rawal Sr, whose only bit of acting advice for his son was “to preare hard and be spontaneous”.

Before his debut, the 28-year-old had pursued the dramatic writing programme at the Tisch School of the Arts, New York, and an initiation course in theatre and performance at the London International School of Performing Arts. He also wrote and directed The Queen, a stage production about a 16th century Rajput queen who is abandoned by her husband for a younger woman. The play, which premiered in New York, was to be staged in Mumbai, but had to be postponed due to the Coronavirus pandemic. It did, however, enjoy a 12-week run in the Big Apple, and earned him the New York Innovative Theatre Award.

Reflecting on her son’s debut, Swaroop points out how the entertainment industry has become a lot more organised now. “In my time, it was just luck by chance. I became Miss India in 1979 and shortly after, landed two roles with Yash Raj [Dilip Naik’s Nakhuda, 1981] and Hrishi da [Hrishikesh Mukherjee’s Naram Garam, 1981],” she says, of her memorable onscreen turns. “Even Paresh got one of his early breaks in Arjun (in 1985) because the one of the producers [Karim Morani] was in college with him.”

Swaroop says she took a break from films in the mid-1980s, when she felt she was seen as “too old to play the heroine”. “I have a problem of not being able to look old. Even when I played an older character, I would look as young as the heroine,” she laughs, adding that her decision to turn away from films was also to be a full-time mum. “Paresh was working two to three shifts a day. Someone had to be at home with the boys.”

Aditya says his childhood was far removed from the world of cinema, where conversations about films and theatre were few and infrequent. “In fact, the only time I remember being on a film set while Dad was shooting was OMG Oh My God [2012], where I was an assistant director,” says the youngster, who has also assisted Ashutosh Gowarikar with the story and screenplay of Panipat [2019]. But he does have his share of memories of his father speaking fondly about theatre and acting in plays. “My favourite performance of his is Khel [2000], with Naseeruddin Shah. Watching them together was fabulous and enlightening. They are both so passionate about their craft,” says Aditya, referring to the Hindi adaptation of British playwright Anthony Shaffer’s Sleuth.

In recent years, Swaroop has delved into experiential learning, which essentially employs her skills as an actor in teaching. Having received a full scholarship from a UK university, she completed her doctorate in education on the role of drama in enhancing life skills. Last year, Swaroop trained 2.5 lakh teachers in the subject over a four-day workshop in Gujarat, and plans to conduct a similar session for nearly five lakh teachers in Maharashtra soon. She has also visited tribal areas in the country and taught life skills through drama to children from low income households.

“They were so excited to learn from me that they went home and proudly told their parents, ‘Our teacher is a Miss India’,” she says. Her newly-discovered passion for teaching has had a profound effect on her. “While narrating a story in a classroom, you have to be louder than usual, which makes Paresh often ask me, ‘why are you so animated?’ In fact, when I’m on screen now, I have to readjust my levels,” she says, adding that her work in cinema has given her a lifelong training in adapting to new things. “I remember Hrishi da would explain a whole scene and ask me to do it in one take… and if I protested, he would say, ‘you guys are theatre actors, you should manage it’.”

Her return to films has been smooth, even though she sometimes “feels like a dinosaur” on the sets. “I didn’t grow up in the digital age. I was thrown into it. We had huge cameras and lights then, and now, the camera has shrunk so much that you don’t even feel its presence,” Swaroop says.

Even a veteran actor like Paresh Rawal finds it tough at times to keep up. At 64, he feels there’s “plenty to learn and even more to unlearn”. “You realise that a lot of what you’ve picked up over the years is rubbish,” he says, lauding contemporary actors such as Nawazuddin Siddiqui, Ayushmann Khurrana, Rajkummar Rao and Adil Hussain for their compelling work. “When you look at them, you can see that the standards of acting have also changed.”

Films, too, have come a long way since he made his debut in 1982 with Naseeb Ni Balihari, says the Padma Shri recipient. Earlier, films were clearly categorised as either commercial or arthouse and parallel cinema, the latter being dominated by heavyweights such as Shyam Benegal, Ketan Mehta, Govind Nihlani and Syed Mirza. “Now, films are not so segregated,” he says. “Another blessing is that since the foreign companies have opened offices here, we can no longer copy from their films, lest we get penalised,” he says with a chuckle. “This is also why we have begun mining our own stories and histories.”

Known for his comic timing, Paresh likes to subject his family to his one-liners. “Often, his sense of humour lands us in sticky situations,” Aditya says, referring to his father’s tweets. “He’s not as mad as his Hera Pheri character, but he’s great fun to grow old with,” says Swaroop.

Veteran actor Paresh Rawal says that rejection is part of every actor’s life and it’s important to embrace it as it may come handy in future projects
Gayathri Menon (HINDUSTAN TIMES; February 13, 2020)

Be it in forms of roles such as Teja from Andaz Apna Apna (1994), Baburao from Hera Pheri (2000), or Manilal from Awara Paagal Deewana (2002), Paresh Rawal’s contribution to the Hindi film industry has been immense. Apart from his comical roles, the actor also manages to amuse one with his intense performances in films such as Sir (1993), Sardar (1994) and Tamanna (1999), to name a few. Rawal is also a popular face in the Gujarati and Hindi theatre circuits, and has been ruling hearts, be it on the big screen or on stage.

With great comical performances come funnier goof-ups. Remembering one such funny incident, the Padma Shri award-winning actor says, “I was part of this play which happened a long time ago. The goof-up that comes to my mind doesn’t involve me. There was this one scene, where there were two characters — one is holding a gun and the other is holding a knife. So, the guy with the gun was supposed to shoot the other actor but unfortunately, the sound effect didn’t play at the decided time. Now, the other actor, who was supposed to act as if he got hit by the bullet and died, acted on time and fell on stage. The audiences were confused and the whole scene was stuck for more than five minutes and it was quite funny. And then suddenly, came the sound of the bullet. It was all misplaced. We all were laughing and these kind of things happen all the time.”

Rawal, who was last seen on stage in his play, Kishan vs Kanhaiya, and after three decades of acting experience, says that learning never stops. “I am still learning the craft. The only thing that I can say is that one needs to work hard and must never lose focus. Rejection is part of the journey and it always comes handy in future,” he concludes.

Deepali Singh (DNA; January 16, 2019)

Last June, Paresh Rawal had shared an image of himself on social media, looking like NSA Ajit Doval, prompting somebody to comment, ‘Ajit Doval might be wondering... ye mera humshakal kaun hai?’

Indeed, the talented actor seems to have morphed into the real life hero, who was the man behind the retaliatory surgical strike carried out by the Indian Army in Pakistan in September 2016, just 11 days after the terrorist attack in Uri. When we praised him for the physical transformation, Paresh who was seen in the recently released, Uri: The Surgical Strike, laughed and said, “It’s all thanks to my make-up man and some to my parents ki aisa kuch bana diya ki thoda bahut unse milta julta rahe!” Over to him:

Apart from the physical transformation, what else played a part into becoming the character you play in Uri?
People like Ajit Doval are so unassuming and self-effacing; they keep a low profile. It’s only when you speak to them that you realise their worth and value. Till then, you don’t even look at them. That’s the hallmark of a great spy or a great undercover agent. When you listen to his speeches, you come to know that he has in-depth knowledge of foreign policies, the history of our country, etc. and that becomes an interesting combo. So, one has to bring in all this — not bringing himself in the forefront but still calling the shots.

Did you get the chance to meet him personally?
Yes, I met him personally once or twice in the Prime Minister’s Office, but even if I had not, the videos I saw of his would have sufficed.

You have done several roles where you’ve portrayed real-life characters, including Sardar Patel and Sunil Dutt in last year’s Sanju. Is it more fun playing a part based on a real person?
Real-life characters play karne ka ek alag hi mazaa hai. It’s a challenge, and if you have the backing of a good director and writer, then it’s a lot of fun. The outcome is fulfilling and satisfying.

In Sanju, you shared screen space with Vicky Kaushal. How was it working with him in Uri?
It was a joy. These guys (the younger generation of actors) prepare so much and their performance is seamless. There are no tantrums on set, no brooding, no pretence. Their preparation is done in their room. They come to the sets and once the camera is switched on, they are in character. Unki iss quality mein mazaa hai.

The film’s director Aditya Dhar makes his debut with this film...
He had written a film called Aakrosh. At that time, we were doing a lot of outdoors, so we got to interact quite a bit. Aaadmi ki depth pata chal jaati hai uski baaton se. So, I’m really happy he directed this film. I don’t know how anyone else would have handled the subject, lekin Aditya ne kamaal kar diya hai. He has kept the dignity and the drama of the subject intact.

Making a film on the Indian Army and observing them at close quarters, does it make you appreciate their sacrifices more?
Absolutely. At the risk of sounding sentimental, I say that even parents have expectations from us; that when they grow old, we will be there to take care of them. These guys (the army men) are not going to meet you ever, but they are still giving away their lives for your safety. For you, everything is intangible, but for him, his life is tangible. And in spite of that, aap unke jazbe pe shaq karte ho, surgical strike ko galat batate ho, Army Chief ko gunda kehte ho, army ke baare mein galat kehte ho? What kind of desh bhakti is it?

So, you hope the film clarifies all those thoughts?
Bilkul. We call the army for so many things, even when an area gets flooded. They come because they want to help their countrymen. Aur unko aap... border pe dushman ki goli khayenge aur desh mein logon ki gaali khayenge. It’s very sad!

Renuka Vyavahare (BOMBAY TIMES; January 11, 2019)

While negative roles seemed to be his forte, it didn’t take long for filmmakers to tap into his versatility. Hailing from a theatre background, Paresh Rawal continues to be one of our finest actors to date. In a chat with Bombay Times, he speaks about his upcoming film URI: The Surgical Strike, his dual role as an actorpolitician and his film being touted as a propaganda movie. Excerpts...

There was speculation that URI might turn out to be a pro-government propaganda film. You are also a BJP MP. What’s your take on that?
The government hasn’t backed the film. Jo hai woh dikhaya hai. What’s the propaganda in that? Whatever has been shown, army ne woh kar dikhaya hai. Agar ussme kisiki waah waah hoti hai toh kya burai hai? Agar unhone achcha kaam kiya hai toh waah waah bhi nahi kar sakte? What kind of logic is that? If this would have happened during Congress’ rule and a film was made then, would people still say this? Some people even say that the surgical strike never happened. These talks only demean, malign and tarnish the image of the Indian Army.

Consciously or subconsciously, do your political views influence the roles you choose today?
Not at all. I look at a character strictly as a character. My offscreen views and roles don’t clash with my onscreen performances. Of course, I won’t play a character jissey meri country ko nuksaan ho and one which could hurt the sentiments of the citizens of India. Lot of people feel that politics is the reason why acting has taken a back seat in my life, but that’s not true. I am waiting for the right scripts. I would love to work with young actors and filmmakers. There’s still so much to learn.

What according to you is the essence of Uri, the film?
Yeh naya Hindustan hai, yeh Hindustan chup nahi bethega. After 26/11, the army had given a proposal that we should go across the border and shoot down the bases (terrorist camps), but that proposal was shot down by our then government. Itna sab kuch ho gaya. Woh Mumbai tak aa gaye, uskey baad bhi we didn’t do much. So, a strong political will is important. Coming back to Uri, the way the army handled this operation with such precision and sharp planning, is commendable. I feel for the soldiers, for them it’s like ‘border pe dushmanon ki goli khao, aur desh mein deshwasiyon ki gaali khao’. Unka bhi toh hausla badhna chahiye.

Aditya Dhar, the director of the film has said that URI is not anti-Pakistan, but anti-terrorism. Do you agree?
I hate jingoistic cinema, which unnecessarily indulges in Pakistan bashing. In URI, hum army ke jazbey ki baat kar rahe hain. That mission was the victory of the skill and bravery of the army and of strong political will, too. I feel army bashing has become fashionable today. Log anaap shanaap kehte hai. It’s fine to criticise the government, you are welcome to do that, but criticising your army and country, woh bahut hi dukhad baat hai. You are playing with fire. We are fortunate that our army believes in democratic values. Jis haalat mein woh kaam kartey hain, usko toh samajhiye aap. For instance, just think about what happened with Major Gogoi.

You are talking about the debatable 2017 incident where Indian Army reportedly used a human shield (Kashmiri man Farooq Ahmed Dar was tied to a jeep as a ‘human shield’ against protesters by Major Nitin Leetul Gogoi) to stop stone pelters in Kashmir?
Agar bandey ne goli chala di hoti toh kitna carnage ho jata. Usney dimaag lagaya, ek bande ko bandh diya aur gaadi chala di. That was a trick to leave the place tactfully. Agar aapki war alag kisam ki ho, toh aapko bhi improvise karna padta hai. You have to think of innovative ways to defend yourself.

In Sanju, you played Sunil Dutt, in URI, your character is based on Ajit Doval (the current National Security Advisor to the Prime Minister of India). Is it more challenging to play real-life characters on screen?
I have met Ajit Doval a few times at the PMO. He is a superhero. He has such a discreet, unassuming kind of personality and yet, he’s doing such heroic work. Uske liye jigra chahiye. While playing real-life characters, pressure hota hai, but you shouldn’t fall into the trap of mimicking the people you portray. When we were doing Sardar (the 1993 biopic on Sardar Vallabhbhai Patel), prosthetics was an issue as the technique wasn’t fully developed back then. I am talking about the early 90s. So, Ketan Mehta (the director) and I decided to let it be. If you are playing Sardar Patel, you have to behave like him. Even if you don’t ‘look’ exactly like Patel, it’s fine, as long as there is some resemblance. I feel mimicking someone makes your performance caricaturish. You have to capture the spirit of the character. That’s more important. The same thing happened with Sanju, as well. I told the makers, ‘Kitna bhi prosthetics karlo, main ulta bhi latak jaoon, toh bhi main Sunil Dutt nahi dikhunga’. So, I aimed at focusing on the psyche of a father. It will be expected that you look like the character you play, but you shouldn’t get sucked into that trap.

Many believed that Sanju whitewashed the story of Sanjay Dutt.
Koi whitewash nahi kiya tha. If it had been made before Sanjay’s court verdict, one would have said it’s to impress the judiciary. He served his sentence and everything that was shown was in the public domain. Beta bigda hua tha — we showed that. Rajkumar Hirani and Abhijat Joshi are honest. They won’t resort to such things.

Speaking of biopics, you were supposed to play PM Narendra Modi. Is that film still going to happen? Vivekanand Oberoi (Vivek Oberoi) is also slated to play Narendra Modi in a biopic. There was speculation that you backed out, since the film will speak of the Gujarat riots and you wouldn’t want to be a part of that.
Let anyone do what they want to do or say what they want to say. We are making that film and I am playing that role. It is not shelved. There can be multiple films on Modi. He’s that kind of a personality.

Do you think the roles that were offered to you at the beginning of your career did justice to your talent?
Agar main yehi sochta rehta toh mujhe koi roles nahi miltey. The negative characters that were offered to me initially were all third-grade villains. Very rarely was I offered a wellwritten negative role. How to then make those roles palatable or relatable was my prime concern. That’s why I started giving an amusing twist to whatever characters were offered to me. Yehi meri koshish rehti thi. Also, kisne socha tha ke villain ke roles karte karte, mujhe Sardar Patel ka role mil jayega. People warned Ketan Mehta against casting me as I was stereotyped. But, directors like him put their faith in me and believed that I was a good actor, irrespective of the roles that I was known for playing. I was fortunate that Bhatt saab (Mahesh Bhatt) offered me a film like Sir (1993). That was the turning point in my career. I did Tamanna (1998) after that. These films proved that I could act well.

Of all the characters you played, the comic roles you essayed in movies like Andaz Apna Apna(1994) and Hera Pheri (2000) have stayed with people the most.
When you are doing something, you don’t realise that it might turn out to be a cult character. You just attempt it with all your honesty. In fact, during Hera Pheri, I distinctly remember that no one laughed during its trial show and that had us worried. The producer was petrified. Priyadarshan was clear that if my character (Babu Bhaiyya) doesn’t click, the film will flop and nothing would be able to salvage it. I improvised a lot and since I come from theatre, it was easy. When we were shooting for Andaz Apna Apna, Rajkumar Santoshi would enact and show us what he expected and he was hilarious. He is a fantastic actor. Itni innocence thi unkey narration mein, it was fun to bring out his imagination to the screen. I feel that if you over-plan as an actor, it doesn’t work.

Your film clashes with The Accidental Prime Minister at the box office, which is another political drama.
These films will open doors in the country for good political thrillers. Why can’t we create content like JFK, Zero Dark Thirty or Frost/Nixon? We can also make these kind of films. Content is the king today. Look at Rajkummar Rao, Ayushmann Khurrana, Vicky Kaushal... they are all doing content-driven cinema. I wish such films were made when I was younger. I think Dil Chahta Hai (2001) and Lagaan (2001) changed the game in Bollywood. They paved the way for contentdriven films. 

Paresh Rawal on contesting against Vivek Oberoi as two biopics on Indian PM Narendra Modi hit the floors simultaneously
Sonia Lulla (MID-DAY; January 8, 2019)

A mere two hours before the first look of Vivek Anand Oberoi as Narendra Modi from an upcoming biopic on the Indian PM, titled PM Narendra Modi, was unveiled yesterday, Paresh Rawal sat before us reiterating a statement he made six months ago: "No one can pull off the role better [than me]." While the senior actor had announced his film early last year, he is yet to zero in on a director for the project.

Undeterred by Oberoi's film on the same subject that will be helmed by Omung Kumar, Rawal says that Modi's life has sufficient fodder for multiple filmmakers to explore. The biopic that he will reportedly produce will take inspiration from the attention that the politician commands, courtesy his honesty. "When I was nine years old, my mother told me that we would avoid eating rice on Mondays, since the then PM Lal Bahadur Shastri - who was allotting ration for the Army men in our war-struck country - had requested the citizens to do so. The demand was honoured by many because it had been made by an honest man. Similarly, when Modi told citizens to give up their [cooking gas] subsidies, people paid heed, because the request was made by an honest man."

The veteran says his biopic will also highlight how a man with limited experience first managed Gujarat, and then the entire country. "He's not an armchair [prime minister], but a passionate countryman who has visited abundant villages [to study problems] firsthand. These factors will be the driving forces of our biopic." Ask him if he will ever play the leader of an opposing party, and he says, "I'll do it. I'm an actor, after all."

As a wave of political films - including The Accidental Prime Minister (on Dr Manmohan Singh) and Nawazuddin Siddiqui's film based on Balasaheb Thackeray - are on the anvil, Rawal says one can expect a flood of controversies. "There are a lot of stories that will unfold, and many controversies [will arise]. However, makers should have a sense of authenticity when portraying them. Only then will the experience be fun."

Before he can breathe life into his idol, he is looking forward to his Friday release, Uri. Rawal plays former intelligence officer Ajit Doval, who apparently supervised the 2016 surgical strikes. "I had met him in the PMO, and am fascinated by him. His reading of the political scene and understanding of the neighbourhood is noteworthy. Even Americans are taking his advice."

Rinky Kumar (DNA; November 11, 2018)

In his career spanning over three decades, Paresh Rawal has given several memorable performances. The versatile artiste has portrayed villainous, comic as well as powerful character roles with equal aplomb. Now, he is happy that the younger lot of actors are breaking the barriers when it comes to their roles. They aren’t shying away from portraying character roles as well as those with grey shades.

The 63-year-old is appreciating artistes who are making intelligent choices. He says, “I salute young actors like Rajkummar Rao, Ayushmann Khurrana and Varun Dhawan who are doing exceptionally good work. Take the case of Varun, for instance. He has managed to strike a balance between commercial and not-so-commercial movies. He did October, along with Sui Dhaaga: Made In India and Judwaa 2. Earlier, actors would never have so much courage.”

Likewise, Rajkummar, who started out as a character artiste, has been shining bright in movies such as Newton, Bareilly Ki Barfi and Stree. Ayushmann, on the other hand, has acted in films such as Shubh Mangal Saavdhaan, AndhaDhun and the recently-released Badhaai Ho.

In fact, Paresh was all praises for the Amit Sharma directorial on his Twitter account. He had tweeted, “Badhai Ho is like a cool breeze on a hot humid day — an endearing n delightful family entertainer -congrats @iAmitRSharma for the magic superb performances (sic).” Ask him, if today’s actors are uninhibited due to content-rich movies lapped up by viewers, and he replies, “The audiences were always ready for such kind of movies. But we weren’t offering such fare to them. Now that we are giving it to them, they are loving it. It has proved that irrespective of how big a star you are, you have to play a character. A star can no longer pull off a film on the basis of his star power, he has to play a solid character.”

‘SANJU WASN’T WHITEWASHED’
Earlier, this year, Paresh was seen in Rajkumar Hirani’s Sanju as Sunil Dutt, while Ranbir Kapoor played Sanjay Dutt’s part. While their performances were appreciated, many felt that it ‘whitewashed’ Sanjay’s chequered past.

However, Paresh is quick to dismiss such feedback and says, “Sanju (referring to Sanjay) has completed his sentence. He had served his time, after which the film was made. Had it been made before the completion of his tenure, then we could say that it was whitewashed. Whatever is there in the public domain has been depicted in the film. Every person has an emotional thread and when it snaps, it propels him to commit a crime. So, how can anyone say that the movie has ‘whitewashed’ him?”

‘URI IS A BRAVE FILM’
Now, the Padma Shri recipient is looking forward to his next project, Uri: The Surgical Strike, which opens in cinemas in January 2019. The military drama is based on the Indian Army’s surgical strikes on terror launch pads across the Line of Control (LOC). In this film, the actor plays Ajit Doval, the National Security Advisor to the Prime Minister of India.

Quiz him about this movie, whose teaser has got a positive response, and the actor says, “I’m excited to be a part of it. It showcases the indomitable spirit of the armed forces, who show a lot of grit, courage and determination in the face of adversities. It’s difficult to make a war film that is truthful and authentic, but writer-director Aditya Dhar has managed to do so.”

Having rejected the role eventually played by Boman Irani in Hirani's Munna Bhai MBBS, Rawal confesses he was eager to work with "fantastic" filmmaker before Sanju came his way
Shaheen Parkar (MID-DAY; June 10, 2018)

Politicking hasn't slowed down Paresh Rawal's Bollywood outings. The veteran actor says life is all about juggling various roles, and striking a balance. The Bharatiya Janata Party MP visits his constituency, Ahmedabad East, at least four times in three months. "I shuffle between Mumbai and Ahmedabad. I come from a theatre background, so, I am used to hopping from city-to-city for shows."

Presently, Rawal is promoting his next, Rajkumar Hirani's Sanju. Sanjay Dutt's biopic sees him play the late Sunil Dutt. We meet Rawal at Hirani's office on the Andheri-Kurla road. The air conditioner isn't working properly. It's hot, but he isn't perturbed. He is used to finding himself in sticky situations — literally, in this case — especially after entering politics in 2014. Social media savvy, he often finds himself trolled for taking on the opposition. "Now, everything's out in the open. You can discuss about any topic," he reasons. Last seen in Tiger Zinda Hai (2017), Rawal says, off late, he picks films he genuinely wants to invest time in.

"At this stage in my career, I don't want to work on any [and every] film. I don't want to waste time doing something I may not end up liking. I have done my share of masala films. Now, the makers and the subject matter. There is really good cinema being made." Hirani's Sanju certain qualified as one among them. "I know that there were many actors who were considered [for this part] before me."

Hirani had approached his 3 Idiots (2009) and PK (2014) actor Aamir Khan for the role. But, Hirani had said that since Mr Perfectionist had already played a father in Dangal (2016), he did not want to take on another role that saw him as one. Khan told him he would only be given roles of similar nature if he agreed to do so. But while playing Sunil Dutt was reason enough for Rawal to give his nod to the role, another factor was instrumental in sealing the deal. "Raju had approached me for Munna Bhai MBBS (2003) for the part that was eventually played by Boman Irani. But, I could not do it then. Over the years, I have been watching his films, and feeling the pinch of having not worked with him. His films are well made, and the results are fantastic."

This is Rawal's first collaboration, not only with Hirani and writer Abhijat Joshi, but also with Ranbir Kapoor, who plays the titular role. Rawal says that while it was stated to Kapoor that he must resemble Sanjay, no such demand was made of him. Rawal had briefly interacted with the late actor on matters concerning the Nargis Dutt Cancer Foundation. Even his collaboration with him in Rajkumar Kohli's Virodhi (1992) did not lead to much communication since the two did not share screen space.

"Once, Dutt saab sent me a birthday card, out of the blue. I still have it. I always wondered why he had sent it to me when we barely knew each other. Strangely, I am now playing him." Rawal has not tried to ape his mannerisms. "Dutt saab had an affable personality and a unique voice. I looked up to him as an actor, and person. He went through a lot in life, wife [Nargis] coping with cancer, son battling with drugs. He endured it because of his strong personality." As for the film's protagonist goes, Rawal says Hirani has been particular about showcasing the man without sugar-coating his actions.

"He has not hidden any aspect of his life. Usually, a biography paints the protagonist as a noble man. I am told, Sanjay's precondition was to show his life with honesty." He is hoping that he has done justice to Dutt saab's character, which he feels is a father-son story. Coming up next for Rawal is Aditya Dhar's Uri based on the 2016 attacks in which he plays National Security Adviser Ajit Doval. He is also part of Ashutosh Gowariker's Dear Dad, based on his ongoing play by the same name. A Priyadarshan film is also lined up. Rawal terms his political outing as a "pilgrimage". "The coming months are crucial in the run-up to the 2019 general election. Ask him about rising petrol prices and he says, "We have to repay the debts of the past government. Only if people had raised their voice earlier, we would not have to see such days due to the past government's heavy, indiscriminate borrowings from the World Bank." Now, he is ready to take the plunge again in the electoral fray next year.

Junior Rawals eyeing Bollywood
Rawal's sons, Aditya and Aniruddh are also Bollywood-bound. Aditya studied script writing in New York while Aniruddh, who worked as an assistant director on Sultan (2016) and Tiger Zinda Hai (2017) is keen to be an actor. “I will not be launching them, they will have to find their own way." Rawal's actor-wife Swaroop Sampat will be seen in a web show, The Great Indian Dysfunctional Family. “She is engrossed with her life skill programmes for healthy living,” says Rawal.


Rawal with his family at a book launch in the city

Deepali Singh (DNA; February 7, 2018)

Paresh Rawal believes he could not have asked for a better end to 2017 or for a happier beginning to 2018. “Last year, I worked with Yash Raj Films in Tiger Zinda Hai for the first time in my 35-year-long career. And now, I’m working for the first time with Rajkumar Hirani in the Dutt biopic. God has been very kind,” says Paresh, folding his hands in gratitude and looking upwards. We are at the actor’s office in Juhu, and even in the chaotic midst of acting in movies and performing in plays, there is a sense of calm that pervades him.

Ask him about his positive, Zen-like frame of mind and he attributes it to the Dutt biopic. “I think I’m blessed that my desire to work with Rajkumar Hirani has been fulfilled. Then, I got to play someone like Sunil Dutt and the cherry on the cake was working with Ranbir Kapoor,” he says with a smile.

For somebody who has been a part of the film industry for more than three decades, the veteran actor says he still feels gung-ho about getting up each morning and going to the sets. “Work is exciting when it’s challenging. It should be something that makes me afraid initially and prompts me to ask myself whether I’ll be able to do it or not. That fear motivates me to pull up my socks. Otherwise, with so much experience, certain things we can do just like this,” he says with a snap of his finger.

Over a cup of chai, he shares his thoughts on playing an artiste whom he admires, the current crop of actors and filmmakers and his plans for the Modi biopic...

You’re playing Sunil Dutt in the Dutt biopic. Had you ever met him?
First of all, he’s been my favourite actor and human being. I have met him two or three times. The first time, a friend of mine had some cancer-related issue, so we went to meet Dutt Saab. Then, after the Bombay riots in 1992-93, a token fast had been organised, in which both of us had participated. He had to deal with a lot of things — his wife’s illness, his son going adrift — but in spite of that, he was a dignified man. When your character and values are good, only then can you carry on like that. The only other person who comes to my mind when I think about all this is (Amitabh) Bachchan saab. Despite facing so many hurdles in his life, he never had a bad word to say about anyone. God was with him. You get to learn a lot from people like them.

You have worked with Sanjay Dutt in a couple of films. Do you think Ranbir Kapoor has managed to depict the nuances of his character?
It was such a huge challenge. You think that it’s about mimicking his mannerisms or his walk. Haath paer koi bhi hila dega uski tarah, magar aankh mein baat leke aani hai. It was important to look like a lost child who doesn’t know what to do. That’s what Ranbir has managed to do. Plus, I think he’s a great actor. Look at his choices. No faaltu roles! He has done films like Rocket Singh: Salesman of the Year and Wake Up Sid. An actor is known by his choices, not by his box-office figures. And Ranbir (Kapoor) has shown that. Humko bhi aise actor ke saath kaam karne mein mazaa aata hai, varna humko bhi boriyat ho jaati hai.

What about the Modi biopic? Is it happening?
Yes, we are making it. The script is almost locked. There are one or two issues yet to be resolved, then we will move ahead with it.

And you’re playing Modi?
Only I can play Modi (smiles). I say that even at the cost of sounding pompous because I really love him. Baat samajh mein aati hai unki. I have observed him a lot. I am also acting in a film on the 2016 Uri attack, where I play the role of National security advisor Ajit Doval. We have been talking about who should play Modi in that. I said just by sporting a white beard, someone can’t be Modi on screen. Aankhon ka power aur anguish hai Modi. People have tremendous faith and trust in him. They know this man is right. Some mistakes might happen lekin accha kaam karte karte galti ho rahi hai.

You’re working with some of the current crop of actors, filmmakers and writers. What do you think of the present Hindi film scenario?
According to me, the golden period of films has started. We are going to go very far. Look at the new breed of writers, directors and actors. Whether it’s Rajkummar Rao, Nawazuddin Siddiqui, Irrfan Khan, Sushant Singh Rajput or Vicky Kaushal — pakad pakad ke character karte hain. They don’t do 10 films together, they will do just one but they will hold it together. They have enriched the acting space. Work ethics have changed. You get to see a written, full-bound script. It’s a positive and hopeful sign. I’m really happy that I’m getting to be a part of such wonderful stories. I just have to do one thing, and that is to keep myself fit and healthy.

Deepali Singh (DNA; January 29, 2018)

It’s not easy to adapt a play into a film. Ask Paresh Rawal. After his Gujarati play Maharathi, and Hindi production Kishen Vs Kanhaiya, his Dear Father is all set to be adapted into a film, which will be produced by Ashutosh Gowariker and directed by Satish Rajwade. While the first film didn’t make any noise, OMG – Oh My God! adapted from Kishen Vs Kanhaiya ran largely because of its “courageous content”, according to the actor. He tells us more...

When a play is adapted into a film, do the dynamics change?
Yes, they do. We could not succeed in terms of the screenplay in Maharathi, while OMG ran hugely because of its courageous content. So the screenplay was not much of an issue as the content itself was so powerful, sensational and shocking. In Dear Father, you will see some remarkable work in terms of the screenplay. In a movie, you also have to work on your acting. You cannot remain theatrical in your performance. But mainly, you have to work on the screenplay.

Does it become easier to spread the message of the play via a bigger platform of a movie?
Yes, if the content of the drama is good, then with the help of camera, locations and visuals, you can enhance the message. You can make it more palatable and interesting. In a film, I can show you the beach, the sunset, the roads, while in a play you have to imagine all that. But the more advantage you have, your responsibility also increases.

You have worked with Ashutosh Gowariker in the past. How did he approach you for the adaptation?
Ashutosh saw the play and told me that he really liked the premise and wanted to adapt it. I was happy that somebody wanted to do this play as it’s very close to my heart. (The Gujarati play has completed more than 600 shows, while the Hindi version is currently on and doing pretty well, too). It is being made in Marathi first, titled Aapla Manus, with Nana Patekar playing my role. The shoot for the Hindi film will start from May.

What do you think of Nana Patekar as an actor?
To talk about him is like talking about sunrise in the morning. He’s the first character actor to demand Rs 1 crore, main uske guts ko maanta hoon. He does so much for the farmers of the country, such noble work. Nana as an actor, as a human, as a citizen is an asset for any country. As for playing my role, I did it my way and now he will do it his way. It will be fun and interesting to see how the same subject is approached by different actors.

Theatre-wise, are you looking at doing something new?
I’m looking for a good script, but I’m yet to find one. There has to be something to say in it. If I have to do a show every day, then I should have fun. It must have an element that enriches you as a person and as an actor.

Hiren Kotwani (BOMBAY TIMES; July 6, 2017)