Reacting to the Defence Ministry’s letter to the CBFC, advising all films, documentaries and web series based on armed forces to obtain an NOC from the ministry, Vishal Bhardwaj says that getting any NOC is a long-drawn and frustrating process and that framing strong guidelines for projects on armed forces through dialogue with filmmakers will yield better results
Rachana Dubey (BOMBAY TIMES; August 5, 2020)

A few days ago, the Ministry of Defence (MoD) had raised strong objections to the depiction of our armed forces personnel in some web shows, after it received many complaints in this regard. The ministry also wrote to the Central Board of Film Certification (CBFC), stating that production houses may be advised to obtain an NOC (No Objection Certificate) from them before telecasting any film, documentary or web series with the armed forces as the theme. Reacting to the development, filmmaker Vishal Bhardwaj, who is known for films like Maqbool, Haider and Omkara, took to social media and urged for a dialogue between the ministry officials and filmmakers, to discuss the guidelines. In his tweet, Vishal tagged the CBFC chief, Prasoon Joshi, Minister of Information and Broadcasting, Prakash Javadekar and Rajnath Singh, Minister of Defence. In a chat with BT, he stressed on the importance of initiating a dialogue at the earliest. Excerpts:

From your recent tweet, it’s evident that you feel a sense of urgency to address this issue...
As a filmmaker, I have been frustrated for the past many years. For example, the CBFC had accepted the guideline that a smoking scene will have to carry a disclaimer. We are the only country in the world to carry something like that on screen. When our films go out to festivals, we are embarrassed before the international community. I don’t know why everyone feels that all the wrong in the world is thanks to our films. Films have traditionally been blamed for the increasing instances of dacoity, smoking and drinking. Once a rule comes into practice, it is almost never pulled down. After the disclaimer on smoking, it became mandatory to get an NOC from the Animal Welfare Board of India if an animal had been employed in the film. We understand the concern of all these ministries — tobacco is bad for health and animals should not be treated badly. But, making NOCs a mandate has only added to the corruption in the system. It gives rise to middlemen, who can ‘negotiate’ the NOC for the filmmaker. In Pataakha’s trailer, there was a shot jis mein ghode ka kaan dikh raha tha. I was asked to procure an NOC to get that passed. It’s such a joke! In our country, animals sometimes become a part of the frame without us doing anything — dogs running in the frame, kabhi haathi chala gaya peeche se ya gaai road pe baithi hai. We have to produce an NOC for that also, which is harassment. We have the greatest regard for the armed forces and owe our lives to them. But, is it fair to penalise the whole industry for something a few filmmakers may have gone wrong with? The MoD has said that it has received complaints about bad portrayal of the armed forces, but those complaints could be anything. I wonder if the ministry officials have examined these complaints themselves. Making NOC mandatory is no solution to the problem. Even if something related to the armed forces makes it to the final cut of the film by chance, the CBFC will ask for the NOC before passing it. Framing strong guidelines and SOPs (Standard Operating Procedure) through a dialogue with the filmmakers will yield a better solution. Let there be a clear line, which cannot be crossed and which makes every filmmaker research thoroughly, and exercise caution from the beginning. We need to deal with this matter with maturity, because no Indian wants to show the armed forces in poor light.

Do you think that the ministries should consult filmmakers before making such NOCs a mandate?
A minister can answer this correctly, Rajnath Singh in this case. The thing is, we don’t see films as a part of literature. You won’t hack the works of Rabindranath Tagore, Surendra Mohan Pathak or Premchand to pieces. Cinema is also a form of literature. Till people don’t change their perception about cinema, and give it more respect, this attitude won’t change. If we don’t stop things now, gradually, it may boil down to taking NOCs from every ministry or industry for depicting them in a film. I plead that we should not set off a wrong precedent with one more NOC. Who knows! Some day, I might even make a film called NOC, jis mein hero ka character filmmaker hai jiski script se moti NOCs ke file hai.

Have you received any reaction for your tweet from the industry?
I don’t see the responses on Twitter, because there are also nasty comments. Trolls ka hamla hota hai uss mein. So, I keep myself safe. I say what I have to on social media, and then I don’t read the comments.

Have there been any offline conversations with other filmmakers in this regard?
I think filmmakers ko andaaza hi nahi hai ki hua kya hai. I sincerely hope that they wake up now. The Producers’ Guild will take it up with the ministry concerned, and we will try to make it a collaborative effort with more accountability on the filmmaker.
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When approached for a response to the point raised by Vishal on Twitter, Aman Anand, PRO, Indian Army, said, “The letter of the MoD is self-explanatory and there is nothing more to say on the subject.”

As told to Akash Bhatnagar (MUMBAI MIRROR; April 1, 2020)

Everyone thinks that the first film I shot for was Pataakha, when in reality it was Mard Ko Dard Nahin Hota (MKDNH). I had gone to audition for (Sajid Ali’s) Laila Majnu, where someone randomly asked me, “Action aata hai?” When I told them I had danced professionally, they took me to a room and made me do a few kicks. Before I could meet Sajid sir, I met Vasan (Bala, director of MKDNH) sir and he signed me.

Since I had zero interest in action, I started my prep by watching films in the genre every day; it was such a task. I took breaks every 10-15 minutes but forced myself to watch two films a day at least for a month. Then, my martial arts training began, which went on for four-five hours every day for 10 months. After that, I fell in love with action. Through my training, I got to learn a lot about martial artists; my trainer would tell me about their lifestyle to make me as disciplined as them. Sometimes, Abhimanyu (Dassani, co-star) and I would train together. We hit it off from the word go, but I didn’t know that he was Bhagyashree ma’am’s son until after I went to his house for a reading session. He would travel in autorickshaws while I owned a car. I felt bad and would offer him a ride, thinking of him as a newbie. I even bulled him at times, but he was always sweet.

My first day on set was unexpected. I was used to the grind of television. But the film set was so calm, I asked the production team if we were shooting that day or not. I was taken aback when they told me that I would be called in when I was ready. In TV, people would demand that I get ready in 15 minutes. I was in awe. I was used to doing seven-eight scenes a day. Here, there was only one shot scheduled.

For my first shot, I had to buy a contraceptive pill. It was funny because my parents had flown in from Delhi to surprise me. My father got awkward, wondering what he’d tell people when they asked him about the shoot. I had imagined leaves and flowers falling around and people applauding when I completed my first shot, but it wasn’t like that. It was over in just two-three takes. Afterwards, my parents took me out for a elebratory dinner and made such a big deal about the whole thing.

MKDNH changed my perception of the film industry. And the credit for that goes to Vasan sir and Vishal (Bhardwaj, Pataakha director) sir. I had auditioned for Pataakha right after the first schedule of MKDNH and after the second schedule, while I was in Goa, I got a call that Vishal sir wanted to meet me the next day. He sent me the script, I rehearsed at the airport and went directly to his office. He just asked me two things after the audition—Will I agree to get fat and tanned? I said ‘yes’.

I would always ask Vasan sir to give me a ‘hair flowing in the wind’ kind of scene, and he would laugh it off. But he eventually complied by giving me the introduction song in the film, where I am sliding off a car. He fulfilled my dreams in his own way.

Radhika Madan on working with the actor in Homi Adajania’s next and how she discovered veganism while prepping for her part
Avinash Lohana (MUMBAI MIRROR; March 6, 2020)

After making her Bollywood debut with Vishal Bhardwaj’s Pataakha in 2018, Radhika Madan was seen in Vasan Bala’s action-comedy Mard Ko Dard Nahin Hota. Now, she is gearing up for her third outing, Angrezi Medium, with Irrfan Khan, Kareena Kapoor and Dimple Kapadia.

In the film, Radhika plays a teenager who aspires to go abroad for higher studies. “Both Tarika and I are big-time dreamers. I wanted to go to Broadway to learn dance but acting happened and the plan took a back seat,” she informs, quick to point out that the common ground between them ends there.

The actress goes on to share that she discovered veganism while trying to get into the skin of her character. “Food is an important tool for our mindset. We hear it all the time but for the first time, I experienced that unadulterated food leads to an unadulterated mindset. I am a vegan now. The entire prep was an adventurous journey,” she says.

Working with Irrfan, who plays her father in the Homi Adajania directorial, was another high point for Radhika. “His performances in Maqbool and Paan Singh Tomar are my favourites. We met a couple of times for readings before shooting began. The first thing I said to him was, ‘Hello pappa’. He is extremely sweet, warm and endearing,” smiles Radhika.

The 24-year-old actress goes on to inform that the film’s schedule was planned keeping Irrfan’s health in mind. “He and Homi had been co-ordinating before work on the film started. On the set, Irrfan sir gave his 200 per cent. There was an amazing energy around because of him,” she reminisces, equally kicked about being on the cover of Bhardwaj’s book on her debut film, which was directed by the filmmaker-author and co-starred Sanya Malhotra. “It was humbling to see my face on the book. It details the entire process of making the film,” she informs.

While she would like to collaborate with VB again, Radhika reveals that she is constantly in touch with him. “I love him, and he loves me. I make it a point to meet him and Vasan (Bala, Mard Ko Dard Nahin Hota director) sir every time I am starting work on a new project. Their blessings are important to me; both are my mentors.”

Rachana Dubey (BOMBAY TIMES; March 3, 2020)

In her brief career so far, Radhika Madan has chosen roles that can’t be stereotyped, like the girl with stained teeth, excess weight and dyed hair in Pataakha or the quirky character who is a misfit in her circles, in Mard Ko Dard Nahi Hota. Ahead of the release of her third film, director Homi Adajania’s Angrezi Medium where she plays Irrfan’s daughter, she talks to BT about why this will be an unforgettable film for her and how actors need to break away from the mindset of looking conventionally good in every frame and every role. Excerpts:

The dad-daughter chemistry you share with Irrfan in Angrezi Medium is quite endearing. Given that this is only your third film, was it intimidating to share screen space with a globally-acclaimed actor like Irrfan?
I still can’t believe that it has happened. After seeing the trailer of the film, I had tears in my eyes. When Homi (Adjania) showed it to me at a party, nothing registered as much as the last 10 seconds, which shows my name appearing along with that of Irrfan sir, Kareena Kapoor Khan, Dimple Kapadia, Pankaj Tripathi and Deepak Dobriyal.

Those 10 seconds made me realise that I am indeed living my dream. When I was working on the film, I would hang out on the sets even when I was not needed, because I didn’t want to miss a chance to observe so many good actors in one frame and learn from them.

How was your bonding with Irrfan on the set? Did you find it easy to relate to him as a father?
Well, I became an actor by chance, after I was spotted on social media. When I got past the auditions, it was my father who helped me achieve what I set out to do. While my mother worried about me being a part of the industry, my father stood by me like Irrfan sir does in this film for his daughter. My dad booked us flight tickets to Mumbai. While I would attend narrations, he would wait outside. Till that point in my life, I had never thought that I would become an actor. And when I got the chance to be one, my father never questioned my decision. When I started shooting, he went house hunting to ensure that I have a roof over my head here. It’s surreal how life gave me a chance to experience those emotions again with Irrfan sir.

In comparison to your roles in Pataakha and Mard Ko Dard Nahi Hota, was Tarika in Angrezi Medium simpler for you to pull off?
On the contrary, it has been my toughest role so far because Tarika is totally unlike me. I’m sure when people see the film, they won’t know the effort it took for me to be that person. When we started the pre-production work, I just couldn’t crack the voice of my character. I wasn’t sounding like her. I went to Udaipur with Homi and there, I hung out with girls who were 16-17 years old. In fact, I told them to spread the word that I was seeking admission in one of their schools, just to know how the boys would react. I’ve studied at Delhi Public School and the students there have a different mindset from those in English medium schools in Udaipur. I wanted to understand what these kids think about studying abroad or about having relationships. I wanted to crack their demeanour and the way they speak to their elders and among themselves.

Over the last two-three years, newcomers in Bollywood have increasingly begun to take the experimental route. They seem to pick roles that break away from conventional characters. What do you think drives your peers and you to do that?
It’s got to do with the fact that we, as an audience, wouldn’t watch the same thing again and again. We no longer want to see an actor play the same role repeatedly. It doesn’t work. For example, when you talk about the girl next door, there are so many kinds of girls next door. I understand that filmmakers want young energy and a peppy vibe, but that’s not the only kind of young girl that exists. As an actor, I don’t want to be put in a box. We become actors because we want to live many lives, we’re not happy living just one. It doesn’t matter how tough it is. We have to let go of this mindset that we’re pretty, aur abhi toh mere paas age hai. So, let me do things that make me look nice and ek fan base banati hoon. Acting baad mein kar loongi, pehle national crush ban jaaoon. I want to become an actor first, star to desh bana hi dega. If I become a star eventually, I will know that it didn’t happen by fluke or by chance, and that I deserve it. I don’t want overnight success, because then, it will make me doubt if I deserve it. I have not given the audience enough yet.

In an industry which is highly competitive, it is tough to find your ground, especially when you are not doing a few typical Bollywood movies or are focused on, like you said, “building a fan base” quickly.
In my case, the credit for that goes to Vishal Bhardwaj and Vasan Bala (the directors of Pataakha and Mard Ko Dard Nahi Hota, respectively). They laid the foundation for this thought process. As a girl born into a regular Delhi household, I grew up watching the usual commercial Hindi fare, where heroines shoot their debut scenes on hill tops and make an entry with their hair flying in the air. So, you have this fixation about playing a leading lady. Vishal sir and Vasan sir broke that image for me and shattered my inhibitions to pieces. The concern about looks stems from insecurity at some level. Art gives you the confidence to hold your own. That confidence and talent are not temporary, your looks are. I felt sexy and stunning even with stained teeth, excess weight and dyed hair in Pataakha, which is very close to my heart. Who looks like that in their debut film? People may wonder, but they don’t know what I learnt in the process. Vasan sir told me that I will learn action and do it without a body double in Mard Ko Dard Nahi Hota. He also said, ‘Tumhare baal udenge, lekin tab jab tum action kar rahi hongi, you won’t be the hero’s fantasy’. The directors that I worked with made me believe that I should focus on my art and craft, and not my looks.

Do you think youngsters today are caught in this web of looking a certain way or being a certain size?
It’s the era of social media and influencers. We need to be kind to ourselves and others around us. We need to tell youngsters that they don’t need to look a certain way and that it’s cool to be yourself because no one else can be you. We get influenced so much by personalities, especially actors’ personalities. If someone says that I want to be like you, I tell them to be themselves instead. You can be inspired by people’s ethics, their sense of dress or how they conduct themselves and adapt it to the environment. But you don’t have to become their clone. There’s no point in chasing a certain shape, size, hair colour or lip contour. This obsession with looking a certain way comes from what’s being fed to youngsters through different media. We need to tell our youngsters that it’s one thing to be inspired and another to be influenced. You don’t need superficial appendages to look beautiful. If you love yourself, you will stop feeling the need for approval from others around you.

Shreya Mukherjee (HINDUSTAN TIMES; February 18, 2020)

Every success story has its share of highs and lows. Radhika Madan’s story too, isn’t different. While at the outset it might look like she had a smooth ride with the successful TV show, Meri Aashiqui Tum Se Hi, and then getting to work in Pataakha (2018), Mard Ko Dard Nahi Hota (2019) and now Angrezi Medium and Shiddat, but the discouragement she faced while making the shift from TV to films gave her sleepless nights. She even went through a phase of self doubt.

“I was completely engrossed in Meri Aashiqui Tum Se Hi and enjoyed the process, but I felt somewhere something was missing. As a performer, I wanted to do something different and decided to give films a shot,” she says. And the moment people around her learned of her intentions, Radhika shares how many “discouraged” her decision. “They were like nobody from TV makes it to films easily. When I would give the examples of Shah Rukh Khan and Sushant Singh Rajput, they would tell me that there are exceptions. ‘When you are earning so well here [on TV], why do you want to let that comfort go and become a struggler in Bollywood? You might not make it, it’s not an easy space to survive’, they said. I got upset and started pondering about my decision but then thought of giving it a try and got Pataakha and Mard Ko Dard Nahi Hota after several auditions… Even then, I was told, ‘Yeh toh shuruat hai, aagey dekho kya hota hai,’ and the like,” adds the actor.

And she reveals it was a rather strange incident which drew her to cinema in the first place. While shooting a scene for her TV show, Radhika felt her character needed to do more and decided to discuss her ideas with the director. However, the latter did not encourage her much.

“I started discussing the scene, but he was really impatient, constantly looking at his watch. Finally he told me, ‘Radhika, jab hum movie karenge na to ek scene ke upar teen din tak discussion karenge, par abhi shoot kar sakte hain kya kyunki samay kam hai’. I understood that, given there’s much less time in hand on a daily show, and it’s all about telecast, but that thing actually stuck with me. And it also made me realise that either you earn money and enjoy your safety or you’ve to struggle because you get time to enjoy the process of creating a character, adapting a story... I had slogged really hard on TV and now wanted to do more. So I thought I would rather give up on my security if it makes me sleep peacefully at night,” she adds.

Radhika Madan says she’s living her dream and is overwhelmed to be able to work with ‘noted actors’
Shreya Mukherjee (HINDUSTAN TIMES; February 9, 2020)

She shot to fame instantly with her debut TV show Meri Aashiqui Tum Se Hi, and then had a fairly decent, but unconventional Bollywood debut with Pataakha (2018), followed by Mard Ko Dard Nahi Hota (2019). And now, with two interesting projects in the pipeline — Shiddat and a Homi Adajania directorial — actor Radhika Madan, it seems, is on a roll.

While the actor feels satisfied, she says she gets emotional on seeing her family’s reaction to her progress, and how watching her on screen has become a routine thing for them.

“I don’t know what the future holds for me, but no one thought I’d be able to reach wherever I am today. Meri family ke liye bahut badi baat hai ki mujhe TV aur films mein achha kaam mil raha hai. They’re overwhelmed and celebrate everyday, and keep reminding me to stay grounded. They can never go to bed without watching my film, song or trailer. Sometimes, they change their taste by reading published articles [about me],” she quips.

Radhika shares that she draws a lot of inspiration from such simple joys in life. She still can’t believe that she has survived six years in the industry and often pinches herself to get back to reality.

Recently, the actor was overwhelmed after watching the rough cut of her upcoming film Angrezi Medium’s trailer, starring Irrfan.

“In the end, when I saw my name after Kareena [Kapoor Khan] and before Irrfan, I couldn’t hold my tears and I was smiling at the same time. When Homi asked if I liked the trailer, I was like, ‘The last 10 seconds kind of made my life, I’m on a high’,” she gushes.

Admitting that she never imagined she’d get to work with such noted names from the industry so early in her career, Radhika says she’s living her dream.

“Homi is the coolest director I’ve ever worked with. Irrfan sir is magic. You can just look at him and learn everything. And what do I say about Kareena... Watching her films while growing up, I’ve been a huge fan… This is no less than a dream for me,” she adds.

Dhaval Mehta (DNA; August 24, 2019)

Her first TV show Meri Aashiqui Tumse Hi was a hit, but once it was over, Radhika Madan decided to step into Bollywood. And it wasn’t a dreamy outing. For her debut, Vishal Bharadwaj’s Pataakha (2018), the actress had to gain 12 kg and was given a bedraggled look, complete with frizzy hair. For her second outing, Vasan Bala’s Mard Ko Dard Nahi Hota opposite newcomer Abhimanyu Dassani, she had to master action. About her not-so-glam entry, she says, “This made my base strong and I realised that looks are not important and just have to focus on my craft. The best thing Vishal and Vasan sir did was help me get rid of my inhibitions as an actor.”

As her third project, she has a big one in her kitty — Angrezi Medium with Kareena Kapoor Khan and Irrfan,  no less! Not surprisingly, Radhika calls it a dream team. “Kareena and Irrfan were a big help. Homi sir (Adajania) is the coolest director that I have ever worked with,” says the actress. She confesses that she was awestruck by Kareena. “I played it cool in front of her when I met her. However, on the other hand, I was ecstatic! But she made me so comfortable.” As for working with Irrfan, she states, “I got to learn the craft from the man himself. I couldn’t have asked for more. There was so much to learn every day.”

Radhika’s good run in the industry so far makes it seem like taking the risk of quitting TV at the peak of her career has paid off. “I was getting a lot of projects and producers were offering me a lot of money. But, I was adamant that I wanted to do films and they would say, nothing is going to happen,” Radhika recalls, adding, “I had to choose between getting comfortable, earning good money and chasing my dreams. And, I chose my dreams.” Though she bagged a project with one of the most renowned filmmakers Vishal, it wasn’t smooth sailing for her, as MKDNH was shelved for one-and-a-half years. “That was an extremely difficult period in my life. At the end of the day, everything worked out quite well,” she smiles.

It’s a given that star kids get a dream launch. Radhika believes that though they have access to a good debut, only someone who is talented can stay in the industry. “I am happy to be part of the era where characters are getting appreciated and talent is recognised,” says she. As for her take on the competition with other contemporaries, she says, “One person cannot do everything and there is space for everyone to co-exist. When Sanya bags a project, I get excited and celebrate for her. Everybody should get their due and it’s not like, I’ve to pull someone down to get ahead. I am only focussing on my work at the moment.”

Radhika’s next post Angrezi Medium is Sunny Kaushal starrer Shiddat “I’m really excited about that,” she signs off.

Neha Maheshwri (BOMBAY TIMES; June 5, 2019)

‘Is the funnyman getting serious? That’s the question haunting many of his fans ever since it was revealed that Sunil Grover plays Salman Khan’s friend in Bharat. While he does not reveal much about his role in the film, he admits that serious roles are finally coming his way. Here’s what Grover had to say about this transition in his career and his equation with the mercurial Khan...

One expects you to do comedy in every project that you take up. Is it the same with Bharat as well?
Bharat is a Salman Khan film, which makes it huge in terms of story, production value and star cast. I feel fortunate to play a pivotal character in such a big project, which came to me at a time when I was confused about what to do. I play Salman’s friend, Vilayti. My comic scenes are situation-based and not character-based. I enjoyed working with director Ali Abbas Zafar, who is clear about what he is making. The producers — Alvira and Atul Agnihotri — made me very comfortable. And then there is Salman (Khan) sir, who is a huge star, but he gives you your space to work. Initially, it felt strange to share table with Salman Khan and Katrina Kaif during lunch. I tried to act cool, but aap kitna cool dikha doge, shakal par toh wannabe likha hua hai na.

Your journey has been a long and arduous one; it took time before people started acknowledging your talent. Do you ever think about what took you so long and what is it that you are doing right today?
Long journey allows you to experience a lot of things, as a human being and as an artiste. If you don’t have that experience, you can’t connect with people. It’s only in the last five-seven years that people have started to recognise and love me. It becomes a habit and one might tend to take that love and recognition for granted. However, we shouldn't forget that they love us for our work. I often head back to my hometown (Mandi Dabwali, Haryana) to meet my relatives, as that helps me stay grounded. There should be a reality check all the time. Agar woh kam ho jaata hai toh logon se bhi connect kam ho jaata hai. You become superficial and that reflects in your work as well. Also, when you get things after a lot of struggle, you value it more. I was a voice-over artiste for almost eight years. Back then, I aspired for a car and the basic luxuries in life. I didn’t realise that I was getting to work with four or five creative people, who were conditioning me to develop a better understanding and perspective. I thought that I was just making money, which wasn’t the case. Today, I can attune myself according to any filmmaker. I have been strongly associated with comedy, but now, I am being offered serious roles. I did a film called Gabbar Is Back (2015), where I didn’t have a single comedy scene and still got acknowledged for it. And though I got busy with comedy shows after that, serious roles still come my way — big or small.

Why don’t we see comedians playing the lead in big films, the way it is in Hollywood?
One must start trying with me (laughs!). On a serious note, there is a phase for everything and cinema keeps changing. If something works, people follow that trend, but someone has to take the first step. Also, there are different kinds of comedies — for example, Badhaai Ho and Stree. Through such films, the grammar of comedy will change with time. The audience will realise that it’s not important to make faces to make people laugh.

You got a film like Pataakha, which was directed by Vishal Bhardwaj. The fact that it didn’t work must have upset you....
It was a dream to work with Vishal Bhardwaj, who is such an accomplished director. While the fate of the film was in the audience’s hands, I enjoyed working in it. I believe in the saying, ‘Karm karo, phal ki chinta mat karo’. Yes, I would have been happier had the film worked at the box office, but failures can’t stop you from working. You have to come out of it and move on.

Do you agree with the saying that it takes a tragedy to make a comedian?
I am lucky not to have seen many tragedies, barring the incidents of losing some loved ones. While growing up, I was always seeking attention, as I felt that I never got it. My father had a transferable job and we would move to a new city every few years. I had to adapt to new places, schools and friends. When I moved to a big city like Chandigarh from a small town, everything was a challenge. Body language, addressing each other… English was also a huge challenge; abhi bhi hai, but uss time bahut zyada tha. I had a classmate who asked me, ‘Where do you hail from?’ I didn’t know that the word ‘hail’ could be used in that sense. I told her that I was just thinking about it. She never sat next to me after that incident, and avoided me totally for the next three years till my final year. 

Actor-comedian Sunil Grover on the thrill of being in a Salman Khan film, exploring genres beyond comedy, and his future in television
Sonil Dedhia (MID-DAY; June 2, 2019)

Protégé of late satirist Jaspal Bhatti, Sunil Grover, who reigned television as Gutthi and Dr Mashoor Gulati, is making his commercial film debut of sorts with Salman Khan, Katrina Kaif-starrer Bharat. After doing blink-and-miss roles in films since Pyaar To Hona Hi Tha (1998), last year, Grover was roped in Vishal Bhardwaj's Pataakha as a lead. While the film didn't mint moolah at the box office, it garnered the comedian-actor a meaty role in Ali Abbas Zafar's directorial. In a chat with mid-day, Grover talks about his experience of working on a commercial film, the joys of entertainig people with comedy and more.

While the box office results didn't pan out as expected, you received critical acclaim for your performance in Pataakha.
Yes, I received a lot of appreciation [for my work] in Pataakha. It boosted my confidence and it was all possible because Vishal [Bhardwaj] sir always encouraged me. It had been a life-long dream to work with him. He gave me the opportunity to explore different facets of acting, which was earlier restricted to comedy. I have experimented a lot with comedy, also a tough genre, but I have done it all my life. And Pataakha came as a great change. I am enjoying being part of good stories.

Is that why you have been steering away from comic roles?
For the longest time, I have limited my work because of a pre-requisite long term commitment for Bharat. Ideally, I accept roles that excite me. The future looks exciting and I am sure it will bring a lot of exciting roles [besides comedy] simply because of the numerable avenues digital platforms have opened up.

Bharat is the biggest film of your career.
I was lucky to get the offer, considering I have never been part of big commercial set-ups. This was an opportunity to experience the larger-than-life cinema that Salman Khan usually brings on screen. Combined with Ali Abbas Zaffar, it adds a different commercial value to a film. Ali is a great filmmaker and displays aesthetics in all his films. I am fortunate to be working with them. Frankly, it is a Salman Khan film and nobody bothers if Sunil Grover is a part of it or not. People will throng theatres to watch him, but it excites me to be just part of this world and exploring genres.

Why do you feel that nobody bothers if you are part of the film or not?
Salman is a huge star. Whether Bharat is released with or without me, it wouldn't make a difference. If not me, somebody else would have done the role. I have put in my best for the film. I want to stay humble and just enjoy the moment.

Share your experience of working in a big commercial set-up.
It was a well-organised set-up. I learnt a lot from Salman sir and Ali. We often engaged in friendly banters because the set felt friendly and much like home. I'd look forward to work every morning.

Do filmmakers, while casting you, retain comic elements with your character?
It has been happening all this while, but I am sure it will change gradually. However, it is different in Bharat. There are a few comic scenes because the situations warrant it, but it is made realistically. People will witness different moods when they watch the film.

Do you feel trapped in your comic image?
I have never felt that way as I enjoy every bit of my work. I have even loved reading out jokes on radio shows. I did theatre to learn live performance. There is joy in being on different mediums but ultimately I love making people laugh. I am grateful to God that he made me a medium to bring a smile on people's faces. Sometimes, I feel it's my duty to entertain everyone.

In your opinion, how has comedy changed over the years?
The medium has changed and so has the approach, but the need to laugh remains the same. People want to laugh when they come out of theatres. Films like Badhaai Ho (2018) and Stree (2018) have successfully achieved that because their foundation was really strong.

Radhika Madan on her co-star in Homi Adajania’s next and celebrating her 24th b’day today with Irrfan Khan and the team
Natasha Coutinho (MUMBAI MIRROR; May 1, 2019)

After Vishal Bhardwaj’s Patakhaa and Vasan Bala’s Mard Ko Dard Nahi Hota, Radhika Madan will be seen in Homi Adajania’s Angrezi Medium as leading man Irrfan Khan’s daughter. Today, she turns 24 and will ring in her birthday on the film’s set in Udaipur.

Speaking to Mirror from the location, the actress says that she didn’t have enough time to plan the day because of the shoot. “But my family and friends have come down from Delhi and we will celebrate on the set with the cast and crew. I’m completing the last of my portions in this schedule, so after this, I’ll take some time off to explore the place,” she informs, adding that also on her agenda are five vegan birthday cakes and three brownies that she intends to demolish after wrapping up work.

Incidentally, last year had also been a working birthday for the actress in Udaipur as she was shooting for Patakhaa. “I had prayed that every year I get to celebrate my birthday on a different set but now I think there’s some special connection with Udaipur. This time, it was tough for me to play a different character as for me, the place was associated with Badki (her character in Patakhaa),” she explains.

But it is a thrill to work with a “dream team”, she insists. “Irrfan sir, Kareena (Kapoor) and Homi… It hasn’t sunk in yet, but I want it to be that way otherwise I won’t be able to perform. Every actor has Irrfan on their wish-list of co-stars and my dream is coming true so early in my career. He is the God of acting. There’s so much to learn by observing him. I haven’t met Kareena yet, but I may faint when I do,” Radhika gushes.

She goes on to add that the Udaipur schedule wraps up today. “After this, we will shoot in Mumbai for three days and head to London in June.”

As told to Natasha Coutinho (MUMBAI MIRROR; April 30, 2019)

In my next film (Ali Abbas Zafar’s Bharat), I play Salman Khan’s friend Vilayati, who shares his life journey with the protagonist. It is the biggest film I’ve been a part of. I had to prepare a lot, which involved multiple readings of the script. Each time I went through it, I found a new layer to my character.

Ali sir’s brief said that my character would have lighter moments, but they should not be treated or portrayed as comic. They should be an outcome of emotions which Vilayati goes through with (Salman’s) Bharat. Before I started shooting, I attended workshops to understand the character better. So far, my work has been dominated by caricatures and comedy. Here, I had to do the same thing but in a serious way. Ali sir’s vision for my character was crystal clear and I followed his instructions.

Practicing for the dance sequences, which I haven’t done much of in my earlier work, gave me a lot of confidence. It was not easy, but I worked hard at it. Working with a superstar like Salman keeps you on your toes. He not only made me comfortable on set, he gave me enough room to experiment and make suggestions.

Before this, (Vishal Bhardwaj’s comedy drama) Pataakha, which released last year in September, was a big challenge for me as an actor. Since the film (revolving around two warring sisters) was set in small-town Rajasthan, it was important for me to speak the local Marwari language with the right accent so my portrayal of Dipper Naradmuni, the nosy neighbour who is always instigating the sisters against each other, would appear convincing. I didn’t have a speech trainer, but every scene and every dialogue, penned by Vishal himself, was written in such detail, that it made the learning process easy. I just had to keep rehearsing till I got it right. It was difficult initially, because I had to match the accent with the expression, but once I got the hang of it, the performance flowed seamlessly. In fact, in many scenes a lot of what I have said and done was impromptu and instinctive.

I recall one scene which had so many layers. My character goes to meet Badki (played by Radhika Madan) and tries to convince her that her father loves the other sister (Sanya Malhotra) more. I had to play the Naradmuni subtly, without making my intentions obvious. I read that scene 30, maybe even 40 times, to understand it and then I just let loose. Today, it ranks among my favourite scenes from the film.

Vishal is democratic and leaves his actors free to perform, fixing the camera according to our movements. So an actor learns to be alert all the time. I also learnt how to cut kheera (cucumber) in a certain way for the film. Unfortunately, it didn’t make it to the final edit. Among other odd jobs, my character sold thinly-sliced cucumber to school children and I learnt how to do it like the street vendors, quickly and perfectly. Maybe I will use that skill at home now.

Tiger Shroff and Shraddha Kapoor’s Baaghi (2016) was another difficult role for me as I played the heroine’s father, a character that was years older than my real age. I streaked my hair grey and picked up a Punjabi accent for the part, besides observing people of that same age group and how they respond to distress situations.

My prep for Akshay Kumar’s Gabbar Is Back (2015) was very different. I played a police car driver named Sadhuram. When I started researching the character, I decided he would be an introvert, so that his outburst in front of senior officers would make an impact. That scene required some high-voltage histrionics after an under-played performance earlier.

Chaya Unnikrishnan (DNA; December 17, 2018)

She made an impact with her wrestling act in Dangal as Babita Phogat. Her second film, Pataakha, had her in a completely deglam look, but it did not really find a connect with the audience. However, with her third outing, Badhaai Ho, Sanya Malhotra has moved on from being the Dangal girl. Here, she talks about how life has changed for her and what she looks forward to.

How has the success of Badhaai Ho changed things for you?
It’s been overwhelming. There was a life before and now, after Badhaai Ho. Earlier, whenever I used to go out, I would be referred to as the Dangal girl. I remember I was at a café when a lady came up to me and asked if I was Babita from Dangal. But after Badhaai Ho people know me as Sanya. I went to Dehradun for an event recently — there were so many people who were waiting for me for two hours! They had seen the film, and one of the girls told me she was getting the outfit I had worn in the song Morni Banke stitched for herself (laughs). I would like to be called the Dangal girl for the rest of my life, but it feels good when people say, ‘You are Sanya from Badhaai Ho’.

This is the first time you played a commercial heroine. Will this be the way forward?
No, as an actor, I want to do everything. I want to be a part of content-driven films, not just the mainstream Bollywood type of movies. But things are changing; people are writing scripts that are relatable.

What was your reaction when you watched Badhaai Ho?
I am never happy to see myself on screen. I am always picking on something or the other about the way I have performed a scene. I take a day or two to be okay with it. When I saw Badhaai Ho, I felt I could have done certain scenes better. But I have to stop being so serious about these things because I can’t change anything. What I see, people can’t. Being so judgmental and beating myself up over my work is hard on me and my family. I would rather learn from my mistakes. I am very fortunate to work with amazing directors and actors so early in my career.

What do you think went wrong with Pataakha?
I don’t know. But now that it has been released on a digital platform, I get so many messages from people saying they regret not going to the theatre to watch it. As an actor, it was a satisfying experience. I learnt a lot from Vishal ji (Bhardwaj) Playing Chutki was a great opportunity. I couldn’t relate to her at all. It was a challenge to get out of my comfort zone to play her. She was spiteful, loud and aggressive. I enjoyed being her on and off the sets. I am not worried whether it made money or not. What really matters is that whoever has seen it has liked it.

Who were your favourite actors growing up?
I was a crazy Shah Rukh Khan fan. I was also a huge Madhuri Dixit-Nene fan. Main Madhuri banana chahti thi. Whenever I used to watch her dance I would go home and do the same. When my parents used to say dance karke dikhao in front of guests, I would wear a proper costume and perform. I must have grooved on Akhiyaan Milaoon Kabhi (Raja, 1995) the maximum number of times! 

What next?
I will be going on a vacation with my friends and my sister for Christmas and New Year’s. I have been busy either shooting or promoting films, so I really need a break (smiles).

Chaya Unnikrishnan (DNA; October 20, 2018)

Her first two films, Dangal and Pataakha, saw her playing raw and rustic characters, but in her third outing, Badhaai Ho, Sanya Malhotra has turned up the glam quotient in spades. Urban and sophisticated, she is a far cry from the unkempt girl with the stained teeth in Pataakha or the tomboyish wrestler of Dangal. Not only that, the curly-haired actress, who had made it to the top 100 contestants of Dance India Dance, finally got the opportunity to groove to her heart’s content in the film. Here, she talks about the just-released movie that deals with the issue of late parenting, her film choices and more…

Both Dangal and Pataakha had you playing a girl from the heartland, now in Badhaai Ho, you play an urban girl...
(Cuts in) Actually, Badhaai Ho happened before Pataakha. The Vishal Bhardwaj film is my fourth movie (Ritesh Batra’s Photograph is yet to release) though it hit theatres after Dangal. Whether I am playing a rural girl or an urban one, they are simply characters for me. As an actor, I feel happy and challenged when I get to play roles like Babita (Dangal) or Chutki (Pataakha). When you have to physically and mentally prep yourself before going in front of the camera, it’s creatively satisfying. 

Tell us about your experience shooting for Badhaai Ho.
Since I shot for it after Photograph, I found it completely different. During the making of Photograph, I had no contact with my family and I wasn’t talking to my friends either as I was playing an introverted college girl, who is good at her studies. Since I too am an introvert, I liked the character and it stayed in my system for a long time. I had only a month to prep for Badhaai Ho after that. However, there were so many people on the sets of Badhaai Ho that it was like a party. Everybody had a gala time and I was thinking how will I do this, but Amit made me feel at home. Also, Neena Gupta, Ayushmann and Surekha Sikri are such amazing actors and so professional that they automatically make you comfortable. When they are on the sets in their attire, they become the characters and you don’t feel nervous. 

Everyone is talking about your glamorous get-up in the film.
I was inspired by my sister. I had no idea of what kind of attire you wear to the office. I never wanted to work in an office, but my sister does — she is a typical Delhi girl who likes dressing up and going to work. From her earrings to her outfits, it is a two-hour fashion parade before she settles on a dress every day (laughs).

You worked with Aparshakti Khurana in Dangal and now Ayushmann in Badhaai Ho. Are the two similar?
They are similar, yet very different. Ayushmann is subtle and calm, while Aparshakti is very loud. They even laugh differently. If Apar is laughing, you will hear it even if you are five kilometres away. Ayushmann, on the other hand, is subtle. But their jokes are similar. They crack one every 10 seconds and most of them are PJs!

From Dangal to Pataakha and now, Badhaai Ho, what has dictated your choices?
As an actor, I pick up my scripts instinctively and whatever creatively excites me. I don’t think about how much money it will make, whether it’s a commercial film or not, but, yes, the director and production house are a major factor. Post Dangal, I thought I will have to start auditioning again because I felt one film doesn’t make a lot of difference to your career. However, post Dangal, on the third day itself, I got a call for Photograph and I realised my life is changing.

What next?
I want to go on a vacation. First, I was promoting Pataakha and then I was busy with Badhaai Ho. I am tired, I want to take a break (smiles).