Built in 1923, the bridge has appeared in films like Ganga Ki Saugand, Sonu Ke Titu Ki Sweety, Bunty Aur Babli and more
Niharika Lal (BOMBAY TIMES; July 15, 2019)

On Friday, the Uttarakhand government shut the 96-year-old suspension bridge Lakshman Jhula in Rishikesh for the public after a Public Works Department (PWD) report stated that the bridge was in a bad condition and could not “sustain more traffic in its present state”. The development will not only have an impact on the locals and tourists but also many film producers as the iconic bridge is one of Bollywood’s favourite shooting locations.

Om Prakash, Additional Chief Secretary (ACS), PWD, Uttarakhand, said that orders were issued to have the bridge shut on the PWD-appointed consultant’s recommendation. “It is not certain when the bridge will be opened,” he said.

The bustling 450 ft iron suspension bridge has long been one of the most popular shooting locations in Rishikesh, where everything from movies to television shows to ad campaigns have been shot. It has featured in a number of films, including Amitabh Bachchan’s 1978 film Ganga Ki Saugand, Ayushmann Khurrana’s Dum Laga Ke Haisha and last year’s Batti Gul Meter Chalu.

SALMAN KHAN’S NEXT MAY BE THE FIRST FILM TO GET AFFECTED
Shooting for Sanjay Leela Bhansali’s Inshallah, starring Salman Khan and Alia Bhatt, is scheduled for next month in Rishikesh, Haridwar and Uttarkashi. A Rishikesh-based line producer says, “In April, Sanjay did a recce in Haridwar and Rishikesh. We don’t have the list of locations yet, but one of the major locations was Lakshman Jhula. It won’t be possible for his crew and him to shoot there now.”

‘ONCE THE AUDIENCE SEES THE BRIDGE, THEY KNOW IT IS RISHIKESH’
Line producers say that Lakshman Jhula in Rishikesh is as iconic as the Eiffel Tower in Paris, the Taj Mahal in Agra and the India Gate in Delhi. “Even for those scenes that are not shot on the Lakshman Jhula, directors instruct us to pick spots from where the bridge can be seen in the background, like it was seen in Qarib Qarib Singlle. Similarly, if a shot is placed in a restaurant nearby, they prefer frames in which the Lakshman Jhula is visible. Once the audience sees the bridge, they know the place,” says Nitin Pundir, a Rishikesh-based line producer. He adds, “Every year during the kanwar yatra, the bridge is shut because of traffic. Initially we thought that this time also it was because of the yatra but it seems the bridge is shut permanently.”



RULES WERE FLOUTED OPENLY, SAY PRODUCERS
While the spot has been popular for film shooting since the 1960s and 70s, permissions from multiple local authorities were required. And even back then, most of the time, rules were openly flouted. Javed, a Delhi-based line producer who was a part of the crew filming Dum Laga Ke Haisha at Lakshman Jhula, says, “Whenever we asked for permission to shoot at Lakshman Jhula, we were told to not allow more than 50 people together on it. But there was no way we could shoot with just 50 people. To shoot any sequence in a film, we need way more people including the actors, the key crew, the supporting cast and vehicles.”

A Delhi-based line producer adds, “While filming Dum Laga Ke Haisha, we had to put 20-30 dancers on the suspension bridge, which was against the set rules. But, we took the liberty to do that while shooting. Actually, in most cases, a situation like this is unavoidable. The situation is pretty similar with almost all the song sequences that are shot on the bridge.”

Another prominent line producer chips in, saying, “Riding a bike is not allowed on the bridge but the rule was flouted blatantly for multiple ad campaigns.”

TIME FOR THE SPOTLIGHT TO SHIFT TO THE RAM JHULA?
“Production houses can still shoot in Rishikesh, but it will be at Lakshman Jhula’s twin bridge Ram Jhula. It’s located only a few kilometres away. It’s not that popular right now, but we don’t have an option anymore,” line producer Pundir points out.

A Dehradun-based line producer states, “It’s a huge loss for several line producers because Lakshman Jhula is an iconic location. A lot of shooting-related queries from Indian as well as international production houses trickled in only for that location and of course, the Ganga ghat. However, it is better to take precautions than to regret later. Now that Lakshman Jhula is closed for good, it’s high time that we found our options. The state is blessed with a lot of natural beauty and there are plenty of untapped locations which will probably find their space in the spotlight now.”

Rachana Dubey (BOMBAY TIMES; October 20, 2018)

Cinema has the power to chronicle every little change in society. In contemporary times, women filmmakers are challenging the stereotypes of a male-dominated film industry and in the process, they’re making their presence felt, too. The change isn’t just evident with female directors narrating stories, other fields of filmmaking have also seen women make a mark. In a no-holds-barred discussion, directors Nandita Das, Ashwiny Iyer Tiwari and Tanuja Chandra talk about women filmmakers taking the charge in cinema. They debate on the commercial prospects of stories driven by female characters, general perceptions around women being in charge on a film-set and the fact that even female-centric films can at times, be misogynistic in nature. Excerpts…

Fatma Begum in 1926 is cited as one of the earliest examples of a female filmmaker in the Indian film industry. In fact, actress Shobhna Samarth launched her daughters, Tanuja and Nutan, in films as a filmmaker, too. And yet, even today, there is still a niggling need to underline the fact that you are a woman helming a film. What are your thoughts?
Ashwiny: Can I ask you a question: are you a female mother? Since you don’t differentiate between parents, why do it with professionals? As filmmakers, we have come a long way but we’re still outnumbered by our male colleagues. The silver lining is that the number of women directors in India is way more than it is in the West. It was underlined at this year’s Oscar Awards ceremony that not one woman director was nominated for an award there. In the same year, Filmfare Awards lauded two women directors for their films (Konkona Sen Sharma for A Death In The Gunj and Ashwiny for Bareilly Ki Barfi). I remember Nandita also got an award for her debut feature Firaaq. We didn’t win these awards because we’re women. We won them for our work. This encourages younger girls to consider filmmaking as a viable profession. Corporatisation has only made it more streamlined. Sheryl Sandberg (technology honcho, activist and author) had once walked out of an office because it didn’t have a woman’s rest room, which means the company had never considered women to be worthy of jobs. Small acts like hers can make a huge difference.
Tanuja: I don’t completely disagree with that classification because until there are half men and half women in every profession, it will have to be underlined, emphasised and stressed upon. Until then, it’s important to state that you are a woman working in an institution run by men. I am proud of the fact that I am a woman director. When I started out, there were probably only as many as you’d count on your fingers. Today, there are many more women, but in comparison to the male heads, the number is miniscule. It just makes me happy that our numbers in every profession are on the rise.
Nandita: While directing a film, we’re not conscious of our gender. For instance, I have multiple identities — Indian, half-Oriya-half-Gujarati, Delhi-bred. Many different aspects of my life influence the way I look at films and characters. Gender also plays an important role. When you see some films, you immediately think that they are possibly made by a man; the male gaze is that apparent. Similarly, there is a female gaze. I quite agree with Tanuja, that till there is no level playing field, we cannot shy away from the fact that we need more women to step out there. And therefore, if we are counting heads, we need to count them just to know how much ground needs to be covered.

A level-playing field is a utopian idea but do you think we can even get close to it?
T: Women make for half the world’s population, and yet, most of them remain unutilised or under-utilised. What business sense does that make? I am amazed by the limited thinking and vision of men who can’t see this as a potential area to tap into. Women are smart, meticulous and hard-working. How will we strive to make it a level-playing field? By simply being dedicated to our professions. I love being a filmmaker; I am always going to be on the crease. As a woman, I seek more women to work with because I like working with them. I just had four girls in the crew of my first film Dushman (1998). On Qarib Qarib Singlle, I had 15 in a crew of 120. Now, why should there not be more women on a film set?

A Bombay Times feature revolving around female cinematographers threw light on their professional hazards. Cinematographer Sunita Radia told us about a review that praised her work, but addressed her as Sunit Radia, assuming that the cinematographer was a man. That’s an example of how deep-rooted and gender-specific the perception is for certain film-related professions. Now, won’t changing this be a long battle?
T: I remember, Reese Witherspoon had said that the glass ceiling wasn’t created by women. While I don’t mind taking on the responsibility to break it, why is it my responsibility solely to do so?
N: It’s not a man versus woman thing. It’s a larger issue that deals with conditioning and that will take some time to change. Women are conditioned to take the shorter end of the stick. We also have to work on our confidence and tell ourselves that it’s okay to dream, seek pleasure, and take home our due. We are always hesitant and guilty about what we do or don’t do. As mothers, we are always on the home-or-work crossroad. Once you become a mother, just about everyone wants to know where you are planning to leave your child when you are at work. Even women make you feel guilty, as much as men do. So, I don’t want to use the word fight, but we have to work at it. It takes one generation to change things. When Ashwiny’s kids grow up, it will be normal for her daughter to have late hours and her son will not judge the women in his life for making their choices.
A: We’re always being scrutinised — right from our homes. We’re conditioned to overthink. Sometimes, it helps to think like a man. They don’t feel guilty if they are late. It doesn’t make me a bad mother if I have had late hours. This yin and yang phenomena has come in only now. For generations, women have successfully handled careers and homes. My biggest inspiration is my house-help. We’re still privileged but they’re not and they still do a lot.
N: I find it amusing to be called a great multi-tasker. That is not an award that I really want. I want to be able to shut off everything and focus the way a man does, which will happen when they share home responsibilities. In a lot of our feminist movements, most of the work has focussed on women who are questioning, shouting slogans and doing the drills, but not enough has been done with men. They have to be taught to not feel threatened by a woman’s presence, feel okay about crying and not feel henpecked if they listen to their women.

Male actors who work with a woman director are often asked ‘Female director ke saath kaam karke kaisa laga’. Even Ashwiny’s husband, director Nitesh Tiwari was asked how it was taking directions from her since she was directing Bareilly Ki Barfi, penned by him.Does the sexist undertone of such questions annoy you?
A: Why just that? I have often been asked that if you stay out, bacchon ko home-work kaun karata hai. When Nitesh says that he gets it done, it shuts people up. Maybe, they don’t expect that answer. It annoys me that they’re not as interested in the film as they are in how I manage home and work.
T: That’s cool. Let them ask. This question used to piss me off initially and I would wonder why no one ever asks an actor how it was to work with a male director. I’ve realised that the reason it’s not asked is that everyone knows how it is to work with them.
N: Manto was Nawazuddin Siddiqui’s second film with me. Whenever he was asked, he said, ‘For me, it’s my director’s word. It doesn’t matter if it’s a he or a she.’ On the set, he said, 'Aap jo bolte ho main kar deta hoon. Kuch aur filmein hoti hain jahan dimaag lagana padta hai kyunki pata nahi kya karva rahe hain aur kyun.’ There is a sense of submission here and also a rapport. With women directors, actors tend to have a different bonding. Age, and sometimes, the fact that I have been before the camera, comes in handy. I’ve worked with men and women directors. With women, there’s warmth, eye for detail and even things like menstruation are discussed freely.
A: Besides, we don’t have bro-gangs; we involve everyone when we’re at work. Our reactions are instinctive and our intelligence is driven by emotions.

It’s felt that women have always had it tougher than their male counterparts to get their first films off the ground. Is that a myth or a reality?
A: I don’t think I got the help from Aanand L Rai’s company for Nil Battey Sannata, because I am a woman. I got the help because he loved the story I was attempting to say.
N: I think it is still difficult. Just the fact that you take up positions, presumably belonging to a man, can make it a tad uneasy. Until recently, women couldn’t become make-up artists. How archaic is that? We are so educated today that no one says, ‘Oh, you are a woman, and so…’ It would have been easier to tackle a direct attack like that which comes from a sexist, misogynistic character. Since the attacks are indirect, we have learnt to subtly deal with them.

Could you please elaborate?
N: You can’t pin-point it, but you can feel it. At times, you sense that you wouldn’t be spoken to in a certain manner if you were a man. I felt this more while making Firaaq. If I raised a concern more than a few times, I was told to ‘Stop whining and complaining’. As directors helming projects, hierarchically, we’re at the top end of the ladder. We’re more collaborative as creatures; we seek opinions, we are okay with being vulnerable and a little low on confidence at times. Men can easily be assertive, but if we do that, it’s labelled as throwing our weight around. We’re constantly reminded that we’re women, which is not easy to negotiate.
A: Although I have never faced something like this in my corporate jobs, I was advised against hiring girl assistants for Nil Battey Sannata. I was told they may not be able to handle the crowd on the set, but they did their job well. So, it should be about capabilities not the gender. I have to walk into the room as an equal. If I am dumb, it will come across, but don’t label me one because I am a woman. Often, line producers call me ‘sir’ because they’re so used to taking orders from male directors.
N: The line-producers in smaller cities look at my male colleagues while talking to me. This doesn’t happen in urban setups like Mumbai. People here are more used to women being in commanding positions; the story is different outside our metros. These are problems we have to tackle while making our first few films.
T: The difference in approach is a cultural thing. Humour comes in handy while dealing with such situations. But to add a dimension here, I think more resistance comes for female stories. God forbid, if it doesn’t work at the box office, everything is pushed on the backburner. Now, we’re getting into a space where we don’t have to cast an A-list hero for a female story. At the time when I started out, we had to have a role for an A-list hero, even for a story led by a female character. By doing that, you go wrong at the script level itself, but you have to do it for the sake of the film. Today, for a film with an A-list actress in the lead, you won’t be forced to have a male A-lister.

But most A-list actors wouldn’t be keen to work in a film that has a lesser part for him to play...
N: You have to get an actor who is not A-list. I have been asked several times as to why I have made a film about a man when I talk so much about women. Why a film on Saadat Hasan Manto and not Ismat Chugtai? The reason is I was more impacted by him than her! A film having a female gaze is different from a film that has a central character who is a woman. People easily confuse these two and assume there may not be much for an A-list hero to do. How you deal with the characters in a film is what it all boils down to. Even if they make a female-centric film in mainstream Hindi cinema, it doesn’t always have a feminist angle. It’s actually more misogynistic.
A: The problem lies with us. We dissect our work more than the audience. Yeh female-driven film hai, yeh masala film hai. The audience sees a movie as a movie. As a fraternity, we compartmentalise things. For years, people didn’t realise that Gabriel Garcia Marquez’s Love In The Time Of Cholera, a quintessential love story with a female gaze, was the work of a man. Similarly, the gaze of a film has nothing to do with the gender of the director or the characters of the story.

What apart from casting impacts a female-centric film?
T: The distinguishing factor is the budget, which is still decided on the basis of the hero. Budget is calculated on the assumption that a male star’s film will bring more money on the table. A large part of the audience even today goes for a hero-centric film because this is a world wanting to see a male story. A Hindi movie with the biggest female star will be way lower in budget than a film with a male star.
N: We have built heroes in a way that we haven’t built heroines. We have usually seen them as the love interests of heroes. There are exceptions but this practice has existed for ages now. If you argue too much, you will be subtly told to shut up. These boundaries of perception will break with time, when more women start making more movies.

Also, despite the variety in the repertoire of female filmmakers, the perception is that they can only make serious films.
T: It’s conscious labelling that people do which is also very limiting. Right in this room, you have three women and we have all made distinctly different films. Farah Khan, Zoya Akhtar and Reema Kagti occupy different ends of the spectrum…
N: Someone who watched Manto told me that had a man directed it, the film would have been very different. The stories that I have depicted in the film are very sexual in the way they describe things. I am sure even if Manto had wanted to shoot them, he wouldn’t do it in a manner that the stories focussed mainly on sex; he, too, would have shifted their focus. There is not one way to make a film and that applies to both genders. Yes, I am comfortable with the stereotype that I can only make serious films. No point trying to battle that. People say that I can be very funny, but when I ask them if they’d cast me in a comedy, they look away. Now, isn’t the line of thought very clear?
A: If we are aggressive, we are seen as witches with claws. Men have two sides to their personalities, so do we, but we are told that we’re being aggressive. If a man does it, then they say that he knows what he wants. If we know our mind, it is a problem.

In over 100 years of cinema, women are still fighting to find their voices in the film industry, irrespective of their backgrounds and skill sets. What do you think you can do to make it easier for the next generation of women to rise and shine?
T: When I hear a young girl is aspiring to make movies, I advise her to do it. Men and women both don’t have it easy, so why give up? Also, I’ll work towards increasing the number of women in my crew. The change we want won’t occur magically.
N: I’ve virtually been a fringe-dweller in this industry. From where I see it, younger girls are taking less bullshit, while we as the older generation still look for ways to negotiate our space. Frances McDormand, at the Oscar ceremony, insisted on a clause for inclusion — a rider that will make it necessary for teams to include women across departments. Tanuja’s thought was spot on, that people will have to actively seek female talent in every space. If an A-lister creates the inclusion rider, what is seen as dispensable today, will become a necessity tomorrow.
A: A man in power should learn to congratulate and appreciate his female colleagues for what they achieve. Sadly, it doesn’t happen too often, but it must.

BOMBAY TIMES (October 9, 2017)

Did you notice the extra 'L' in Qarib Qarib Singlle? Even if you missed it, you couldn't have missed the extra 'R' in 'Irrfan', the movie's lead actor. Both are spellings suggested by celebrity astro-numerologist Sanjay B Jumaani. Jumaani is in a feel-good phase currently, what with 2017 beginning with his clients, the Ambani-led Mumbai Indians, picking up their third IPL, the good run of Judwaa 2, and Newton being selected as India's entry for the Oscars apart from its Box Office success ­ all projects that have been influenced by Numerology.

Jumaani, who has done this math for many Bollywood films, is as upbeat about Qarib... as he was about Hindi Medium. He explains, “According to Numerology, the English word 'Medium' in the film added up to 24, or 6 ­ Venus ­ that stands for entertainment. 'Hindi' was spelt in Hindi. The same formula was used in Toilet ­- Ek Prem Katha; 'Toilet' added up to 24, and is a lucky number for Akshay Kumar. Judwaa 2 is also spelt as per numerology and has done very well for Varun Dhawan, whose name also adds up to 42 (6). Jumaani's client list includes Limca record holder Taarak Mehta Ka Ooltah Chashma; Prenaa Arora, the producer of Rustom and Toilet -­ Ek Prem Katha; Rajkummar Rao, the star of Newton, which came after his other hit, Bareilly Ki Barfi, which also starred Ayushmann Khurrana (notice the spellings again). Both Prernaa and Rajkummar have added letters to their names on Jumaani's suggestion.

From Hrithik's debut blockbuster Kaho Naa Pyaar Hai, which had two extra 'A's, to the extra 'G' in 'Dabangg', to the extra letters in Singh Is Kinng and Singh Is Bliing, Numerology has helped Bollywood score at the Box Office. Jumaani, who chucked his 17-year-old struggling sales job within months of adding a couple of letters to his name, was recently awarded the Icon Of The Year 2017 by well known cricketer and former Indian wicket keeper, Kiran More, and Mr Sahai from WBR Corp. The award recognises people's contribution to their respective fields. “I'm grateful to my dad, the award presenters, Ekta Kapoor, Rakesh Roshan, my team, and the lakhs of followers of Numerology, who are mostly common people,“ says Jumaani.

Aastha Atray Banan (MID-DAY; December 31, 2017)

A t the end of 2016, Neha Dhupia found herself in a slump. “I saw myself sitting at home with no work, I was beating myself up for no fault of mine, and I saw it reflecting on it my mind and body. I had a flash, where I asked myself, ‘is this is the end?’ That was a very scary moment, and I knew I had to turn it around. I couldn’t let it be the end, I couldn’t go back to where I had come from,” says Dhupia, as we talk on the sets of the chat show she hosts.

Dhupia, dressed in a flowing blue dress, today looks like a woman completely in charge, of her life and career. But even though she won the Miss India title in 2002, the turnaround in career, she says came on January 1, 2017, when she was on holiday in New York with bestie Karan Johar. “Karan and I were having coffee and I said to him ‘you are serving me coffee, and you have the Midas touch. So, just imagine what a year it’s going to be. I am going to make this a tradition,” she laughs.

Since then, Dhupia has hosted a podcast, starred in movies (Tumhari Sulu, Hindi Medium, Qarib Qarib Singlle), hosted Roadies, is the new host of BFF with Vogue, and has been inducted and firmly established as a Bollywood insider, personally and professionally (she is also in Johar’s next movie). “I hate being called a Bollywood insider — I just host a show where I interview people. Karan has been a friend for a long time now — I would describe him like nobody would believe — simple, that’s what he is.”

Her down-to-earth demeanour is only accentuated by her never-say-die attitude. It’s no wonder then that the Army brat, who has starred in the controversial Julie (2004), has managed to stick around for 15 years. “I realised that if I was not satisfied by the work I am getting, I had to create my own work. I am semi famous, I have some contacts — I am going to make the most of it. You’ve got to get up and hustle every day. Some things have done well, but there are also hundred things I did that didn’t work. The beauty of failing is that you have tried.”

The year ended on a bang with her winning a film award for best supporting actress for Tumhari Sulu. “I dedicated the award to every one who was standing on the sidelines. There is no more an outsider in this industry than I am. I have no background ; at one point, my job was to change shoes of models back stage. I have so much gratitude for this — talking to you, the photographer taking my pictures, this AC trailer, I am so thankful for every single thing.”

But, Dhupia is quick to point out that it wouldn’t be possible without her discipline and Army upbringing. “The biggest question on my group chat with my team is ‘when do you sleep?’. I can’t get into bed to sleep — I only pass out when I am exhausted.”

At the end of it, she says, it’s not just about your work, but also your confidence and strength. “Whether it’s the youth who look up to me thanks to Roadies, or women who like the way I dress — You never know how you are impacting people.”

Mayank Shekhar (MID-DAY; December 30, 2017)

Tanuja Chandra’s Qarib Qarib Singlle, if you recall, was about Irrfan’s rather ‘rangeela’ character taking his online date to meet his past three lovers, just so he can prove to her how women, even when they’re not with him, continue to adore him still.

The second stop on their road trip is in Rishikesh. You sort of have an idea what kinda Girlfriend No 1’ will show up. The girl who emerges instead is a podgy, giggly middle-class woman, brimming with life and realism, and yet so much fun, that that scene/moment/cameo/character remains for me the absolute highlight of 2017. As is the heroine of Qarib — Parvathy — who got introduced to Bollywood with the film (she has over 20 acting credits back in Kerala). And thanks to my interest in her, I got to see another gem (in Malayalam) this year, Mahesh Narayan’s Take Off, which is based on the same incident as Tiger Zinda Hai (abduction of Indian nurses by the IS in Tikrit, Iraq). Parvathy plays the savior, protagonist. She’s a nurse (as against Salman’s Rambo). So you know Take Off is absolutely nothing like Tiger.



But more importantly Parvathy’s Sameera in Take Off looks/behaves nothing like Qarib’s Jaya. Further, I decided to catch Anjali Menon’s Bangalore Days (2014), which has three important female characters. It was impossible for me to figure out which of the three was Parvathy, the reason I’d clicked on the film in the first place (she plays a physically challenged RJ in this strikingly mature romantic film).

Clearly Parvathy exhibits a chameleon like quality to transform herself from one photograph to another, let alone roles — something we often associate with actor Kangana Ranaut in Mumbai. Another feature you could tag her along with Ranaut for is an ability to call out hypocrisy, take on detractors, rather than call a spade a donkey. As the brave Parvathy did late this year, taking on trolls who had problems with the fact that she had a problem with misogyny in one of superstar Mamoothy’s films.



Is this a good way to challenge centuries of insensitivity towards women in general (and therefore in cinema)? Yes. But along with playing parts in pictures that change the scenery just as well. As did Vidya Balan walking on to the screen as an over-weight aunty from Virar, and cracking it as Sulu in Tumhari Sulu. Or Sridevi did as a clever mom in Mom, planning to avenge her daughter’s rape. Or in fact Bhumi Pednekar, perhaps more than others did, stepping out in the open, defecating in the wilds, to shine a torch on the problem of toilets (or lack of them) in India, for a film called Toilet, which earned over Rs 100 crore.

Gauging global/box-office appeal of Priyanka Chopra, Anushka Sharma and Deepika Paukone, we had dubbed 2017 ‘year of the woman’ for Bollywood. It takes generations for society (and hence cinema) to go from appreciating the ‘Hot Woman’ to the Everywoman.

Sometimes it can happen in a year. It did.

Renuka Vyavahare (BOMBAY TIMES; November 18, 2017)

Neha Dhupia dons various hats at once. It’s interesting to see her in a string of standout films in recent times — Hindi Medium, Qarib Qarib Singlle and now the Vidya Balan-starrer, Tumhari Sulu. All of them are slice-of-life films that address the reality of modern times in a lighter vein.

Currently, her focus is Tumhari Sulu in which she plays Maria, Vidya’s boss at the radio station. She says, “What I liked the most about Tumhari Sulu was the fact that it was every woman’s story. We often talk about empowering women but we should actually enable them because they’re empowered anyway. Sulu underlines that thought. She says, ‘Main kar sakti hai’. A woman can be both a homemaker and a pro at work.”

Elaborating on her character, Neha adds, “Maria is more than just a boss. She extends support to Sulu. It’s interesting to see how two contrasting women want the same things in life. If Sulu is a dreamer, Maria is a doer who helps Sulu become one, too. It’s so heartening to see a man (debutant director Suresh Triveni) writing such a wonderful story about women.”

It’s refreshing to see an artiste like Neha, who’s not hung up on the screen time she gets. For her, it’s the significance of the character in the story. She sums up, saying, “For me, it’s the script that matters. I want to be a part of great stories. I couldn’t be more proud of the journey I’ve had so far.”

Qarib Qarib Singlle is the big surprise of the season. The film has come unannounced and with less excitement, but it sure to grow big time just like Irrfan Khan’s previous films like Hindi Medium, Talvar and Piku. The big advantage of the film is that the writing and execution is completely handled by women (story by Kamna Chandra, screenplay by Tanuja Chandra and Gazal Dhaliwal, dialogues by Gazal Dhaliwal and directed by Tanuja Chandra). These lovely women have ensured that the film has certain subtleties that other films don’t. Also, the bond that the principle characters share with each other is beautifully done without making it in your face. And yes, there’s lot of humour and light hearted moments and few scenes are sure to bring the house down! The film is shot in some wonderful locations and it was so good to finally see Gangtok in a full-fledged film! Irrfan Khan steals the show yet again. He has played so many quirky characters and yet each one is different from the other. This actor is in a roll – hats off! Parvathy Thiruvoth is a brilliant discovery and such an unusual and yet apt choice for this role. She has the look of the girl-next-door and performance wise, she is first rate. All in all, Qarib Qarib Singlle shouldn’t be missed at any cost. Highly recommended!

My rating - **** out of 5!

IT’S IRRFAN KHAN VS RAJKUMMAR RAO THIS FRIDAY!

The month of November is all set to be dominated by small and medium budget releases. Not a single biggie is releasing and hence, all these films will try their luck before the event film Padmavati takes over on December 1. This week, 2 small films are releasing. Both look interesting but the buzz is limited. My analysis:

QARIB QARIB SINGLLE: It is directed by Tanuja Chandra, known for intense films. But this flick is quite light-hearted and seems interesting. It is the story of a couple who meets on a dating website and then goes on a cross-country trip. Irrfan Khan looks great and in his element as always. Southern actress Parvathy also seems to be a great actor and it’ll be great to see their chemistry. The film has some funny scenes and the travel bit can be interesting to see. At the same time, the film looks quite niche and hence, its opening will definitely be affected. Irrfan Khan however has carved a niche thanks to films like Piku and Hindi Medium. So, if Qarib Qarib Singlle gets good response, its collections can go up significantly from Day 2.

SHAADI MEIN ZAROOR AANA: The trailer of the film is highly impressive – when it begins, it gives a feeling of a cute love story set in a small-town in North India. But suddenly, it changes into a kind of a revenge drama. Rajkummar Rao is the male lead and he looks quite great in the romantic as well as I-am-gonna-finish-you avatar, at least in the trailers. Kriti Kharbanda, last seen in Raaz Reboot and Guest Iin London, is cast opposite him. The trailer raises curiosity as one wonders what exactly went wrong and why Rajkummar is hell bent on destroying Kriti. There’s also an apprehension that the twist in this film might be similar to Badrinath Ki Dulhania. Despite the great trailer, the excitement for the film is very low. Songs haven’t worked. Its opening is definitely going to be less than Qarib Qarib Singlle and its upto the content to do the talking and attract moviegoers in hordes.

WHICH FILM WOULD YOU LIKE TO SEE AND WHY? DO LET ME KNOW!

Renuka Vyavahare (BOMBAY TIMES; November 9, 2017)

Nayandeep Rakshit (DNA; November 7, 2017)

It’s not easy to please Irrfan Khan. With a film or a conversation. He admits, “After the fourth interview, I’m almost done, exhausted and ready to retire.” The actor is currently busy promoting his next Qarib Qarib Singlle and clearly isn’t happy. “It takes more effort on my part to finish the promotions than a film,” he laughs as we sit over a cuppa coffee, to discuss cinema and his choices, at length. Over the next half-an-hour, Irrfan explains why he’s steered his career the way he has, and what he plans to do, here on. Excerpts:

People start expecting more from actors like you or Tabu even if it’s a masala film that you are acting in. Does that put pressure on you?
It becomes a pressure when it’s not your personal need as well. If you also want that as well, you are drawn to that and you seek it. It comes naturally to you and you thrive on that. If I was only looking for masala films, and fortunately or unfortunately, I get acknowledgment in content-driven films, then it becomes a problem. Phir main kahanse lau? Mujhe samajh hi nahi hai iski. I would feel that okay, these films have worked but mujhe pata nahi kaise and then, it becomes a pressure. Not now, because I am expecting and looking out for these kind of roles, which again the audience is expecting from me.

When you started off, there weren’t as many options for actors like you. But that has changed over the years...
It’s also because of the changing times. The Indian audience is exposed to world cinema today. That’s why Indians today are eager to see their own actors doing films with diverse storytelling. The perception is definitely changing in that context. It’s a very interesting and a great change for us. Thank God that the audience is expecting this. If they only aren’t opening up to the idea, then what would we do with ourselves. Also, the audience is increasing for these kind of subjects. Because of Netflix, Amazon and everything else, you suddenly see so many great actors coming suddenly out of the blue. There’s a film, there are series, there are auditions you see and you feel where are these actors coming from. There’s this mahaul that’s growing and I am very happy about it.

So you’re comfortable being an actor and not a star?
I don’t believe in all these categories. It’s the compulsion for the media to give certain tags to actors. Sometimes, they just create a vocabulary and hashtags for people. It doesn’t matter to me. Even if people don’t call me by my own name, I am okay with it. I’m not even attached to my own name. If that doesn’t make a difference, then why would it matter whether people refer to me as an actor or as a star.

Previously, the box office wasn’t the only parameter of success, but today, that’s the be-all and end-all. Has your perception of success and failure changed, too?
It was never about the box office. And it will never be. Chahein even if I have done a film which is worth Rs 1000 crore at the box office, I will never ever judge my films vis-a-vis numbers. I don’t remember numbers. I don’t keep a record of all that. Do we talk about how much Dilip Kumar’s films made at the box office? I know him because of what his films did to me. That’s how I remember films. This whole box office talk is created by the media. The PR of a movie has created this monster on a wrong scale. It’s definitely important for movies to do a particular kind of business, so that you can keep on making films and the producer doesn’t lose money. That is also just one aspect of filmmaking. A movie’s success is in the time and its shelf life.

Are you happy that the gap between conventional and unconventional films has slowly been merged?
We were trying for a change like this when I was doing a film called Haasil. We kept saying that people shouldn’t consume cinema as art cinema or parallel cinema. When I was asked this question about when I will be doing films in the commercial space, I always said and I will still say that Haasil, Maqbool and Paan Singh Tomar were always commercial cinema for me. I’m here to change the definitions and perceptions for myself and for others as well. That’s what I will keep doing. I won’t fall into one category and definition.

Hindi Medium was a huge hit. Now, Qarib Qarib Singlle is also in that space and the audience’s reception might be as good for this, too...
Again, it depends on how the film works. It could give an impression that it’s a feel-good film. But unless and until people feel happy after watching it, you don’t know. Yes, our audience tends to watch more celebratory films that don’t make you think. A large number of audiences is like that — they just want timepass. But I’m doing films which are timepass but aren’t fluff. These films should interact with you. Trust me, there are aspects of QQS which will resonate with each of us. I can’t do a uni-dimensional film which is just timepass and nothing else.

How has your choices with films changed in the last two years?
Honestly, the way the audience has reacted to my last few films has given a lot of clarity and confidence to what I should do. That is not superficial. One thing which life has taught me is that I can’t afford to do things, just for the sake of money. If I need fame, I cannot pretend that I’m doing films for other reasons. I like taking things head-on. I have become more conscious about doing my kind of cinema, where it matters to me and it isn’t just a matter of survival anymore. It’s not like I will do a film thinking that it might do great at the box office and give me star status. I don’t want to be in that situation. How it has changed me? Now, I consider fame and money a by-product only. Earlier, they were the bigger reasons, when I was struggling. And, to all the actors who are struggling now, I want to tell them, yes, money is important but you shouldn’t make it a primary goal. It will follow anyway. What you need to listen to, is your inner voice and your passion. That would be your real achievement or earning.

Have you ever felt that because of your intensity as an actor, you don’t get offered too many comedies?
I miss comedies, now. I had been wanting to do a comedy. I was offered a few films, even some Anees Bazmee films. But I had done those kind of comedies previously. I was waiting for something diversely different from what I had done. Which is why I picked Hindi Medium. Yes, I want to do a lot more comedy films but I also get bored very easily with msyelf. That can be a blessing in disguise, so I cannot keep on repeating same things. I need to surprise myself.

Do you discuss your films with your wife and son?
I don’t take their suggestions but when they happen to know about a film or they watch a trailer, they do have their opinion. Sometimes, it’s completely opposite of what I’m expecting (Smiles) Their opinion matters a lot. But I feel they don’t have enough time for me to be able to sit them down and make them read my scripts. They are busier than me. For what I don’t know! I am fortunate to get their chunk of time with me. It’s not like I don’t have time for them. It’s the other way round (Laughs).

Have they ever said you shouldn’t have done some films?
They have commented on certain films asking me why I did those films. But I wouldn’t like to get into the name-game. (Smiles)

BOMBAY TIMES (November 7, 2017)

Rachana Dubey (BOMBAY TIMES; November 6, 2017)

Neha Maheshwri (BOMBAY TIMES; November 2, 2017)

Subhash K Jha (DNA; November 1, 2017)

Recently, while promoting his new film Qarib Qarib Singlle, Irrfan spoke out against casting couch, on how he had been propositioned by both men and women earlier in his career. Now, Irrfan feels it was a mistake. “I shouldn’t have spoken about it. The occasion was not right. It seemed like I was promoting the film by talking about this (the Harvey Weinstein case). I spoke about many other things. But that was highlighted.”

Irrfan is in Kolkata promoting his Indo-Bangladesh co-production Doob: No Bed Of Roses directed by Mostofa Sarwar Faroki where Irrfan has spoken his own Bengali lines. “It’s my Bengali film, hence special. And yes, I’ve spoken my own Bangla lines. I must say it was a challenge because Bengalis are very particular about how their language is spoken. One wrong pronunciation and you’re doomed. But I have managed to do it.” Irrfan is very proud of Doob. “I play a filmmaker who falls in love with a girl who’s his daughter’s friend. It’s something I’ve never attempted before, hence interesting. It is always a pleasure to be part of an international project.”

The West has already reacted with lavish praise for Irrfan’s performance in Doob. But Irrfan is hopeful that films like these would get an audience in India. “What I like about current filmmaking trends in India is the diversity. There are so many kinds of films being made. Of course, the big-ticket blockbusters will always dominate the box office. But other kinds of films are also getting an audience. Earlier this year, my film Hindi Medium turned out to be the biggest success of the year so far in terms of investment and profits.”

Right now, Irrfan is traversing various cities to promote Qarib Qarib Singlle. “It is a bright rom-com and I like what it has to say about the courtship stage of a relationship when everything is bright and rosy and glowing between the couple. When both are in love with each other, they are on their best behaviour. It is the most hopeful stage of a relationship and according to me, the best part of a man-woman relationship. Later, possessiveness, jealousy, anxiety and insecurities creep into a relationship and cause its downfall.”

After Mira Nair, Irrfan got to work with another female director Tanuja Chandra in Qareeb Qareeb Singlle. Irrfan disagrees with the contention that women are more sensitive to the nuances of the man-woman relationship. “In Tigmanshu Dhulia’s Saheb Biwi Aur Gangster Returns, the Bibi’s part was one of the best written for a female actor. I think filmmakers like Raj Khosla and Vijay Anand understood women as well as women directors, if not better. And it was a man (Shailendra) who wrote Kaaton Se Kheench Ke Yeh Aanchal for Waheeda Rehman in Guide. It is the ultimate anthem of women’s liberation.”

Speaking of Waheeda she is Irrfan’s co-star in Anup Singh’s Song Of Scorpions. And Irrfan just can’t stop raving. “It’s a dream come true to be in the same film as her. Though we don’t have any scenes together, I can feel her presence all the time.”