Actor Kangana Ranaut’s latest spotting sent the internet into a frenzy after eagle-eyed netizens spotted a mangalsutra around her neck while she hurried out of Mumbai’s Gaiety Galaxy on Thursday, sparking rumours of a secret wedding.

However, the mystery now stands solved. We have learnt that the look was from her upcoming film Queen 2, for which she has already begun shooting in Mumbai. “Kangana had to rush out for a dentist appointment and didn’t get time to change out of costume,” a source tells us, adding, “She is not married. The mangalsutra was simply part of her look in the film.” The insider further reveals that Kangana was unaware paparazzi were waiting outside the venue.

Amid the growing speculation, Kangana also addressed the buzz on Friday through her social media, writing: “I am filming in and around the city every single day, some one clicked this random picture with character make up and now I am getting so many phone calls, but what is the big deal about the married woman look? Actors play all kinds of roles, I won’t marry secretly I promise.”

The viral spotting has now inadvertently confirmed that Queen 2 is officially underway. While the sequel is expected to revisit themes of self-discovery and independence, sources say it will not directly continue the original storyline. Unlike the first film, which unfolded largely across Europe, the sequel is reportedly being shot across multiple Indian cities. 

DRY PERIOD SETS IN AT THE BOX OFFICE, NETFLIX ORIGINAL FILM TO STEAL THE SHOW THIS WEEKEND

The dry period has begun in Bollywood and it’ll get over only when the holy month of Ramzan gets over, on March 31. Until then, this whole month will see not-so-exciting content though next week’s The Diplomat might surprise.

This week will see the release of several old films like Fashion, Highway, Queen, Lootera and surprisingly even Road Movie. The biggest re-release, however, will be Shaadi Mein Zaroor Aana. It is backed by Deepak Mukut who also produced Sanam Teri Kasam, which became a smashing hit on its re-release. Shaadi Mein Zaroor Aana is also a cult hit on satellite. But it looks like the audience might not be as interested in watching it on the big screen, looking at the ticket sales. Even Fashion, Queen, Highway, Lootera and Road Movie will have a tough time though there’s hope that Lootera can get decent footfalls.

The last week’s releases, Crazxy and Superboys Of Malegaon, have failed to entice viewers. Superboys Of Malegaon has received unanimous acclaim but will struggle to even cross the Rs. 3 crore mark. Crazxy is holding well on the weekdays, though it's thanks to the Buy One Get One Ticket Free offer. In a unique move, the makers will release the film with a new climax since the ending hasn’t got a great response. It remains to be seen if this novel strategy entices moviegoers.

On the other hand, Chhaava continues to rule though its collections suffered a drop. However, it will keep collecting at low levels until Eid. The three-week collections stands at around Rs. 460 crores and it might see a jump next weekend on Holi. If all goes well, it’ll have a lifetime collection of around Rs. 530 crores.

Speaking of new releases, there’s no major Hindi film storming in cinemas tomorrow. The major Hollywood release is Mickey 17. It is directed by Bong Joon Ho of Parasite fame and stars Robert Pattinson. The subject is novel and the word of mouth is overwhelmingly positive. Sadly, the advance booking is very poor as the awareness is limited. Hopefully, the film will gradually pick up.

Lastly, the film which will make the maximum noise is Nadaaniyan. It releases directly on Netflix and marks the debut of Ibrahim Ali Khan. He’s paired opposite Khushi Kapoor in this film, which also stars Mahima Chaudhry, Suniel Shetty, Dia Mirza and Jugal Hansraj. The makers haven’t promoted the film much and no interviews or events have taken place either. But due to the casting, it's sure to find a huge viewership.

In her upcoming projects, actor Saiyami Kher will be seen collaborating with filmmakers Ashwiny Iyer Tiwari and Tahira Kashyap Khurrana. Lauding the increase in the number of women on a film set now, including technical departments, she says, “So many female filmmakers have now come to the fore... It has resulted in a change in storytelling with many women stories being told.”

But the 29-year-old believes her experience while working with them is no different when compared to her male directors: “I have worked with (filmmakers) Neeraj Pandey, Anurag Kashyap and Rakeysh Omprakash Mehra, who understand women issues as much as we do. Gender has no role to play in treating a subject sensitively. Ashwiny ma’am is very particular about choosing costumes for her characters. That’s the only aesthetic difference I felt.”

So, what are her thoughts on the importance of women’s stories being told by women? “I don’t think we can put a blanket on it... Queen (2014) and Choked (2020) were made by male directors, but the way they helmed those stories of women characters was beautiful. Likewise, Zoya Akhtar (filmmaker) portrays male friendships so beautifully. It’s great that everyone, irrespective of their gender, is on a par with one another,” Kher explains.

Going forward, she has a bunch of projects lined up for release. And while work slowed down in the film industry in the past two years due to the Coronavirus pandemic, the Breathe: Into The Shadows actor feels she has a lot to be grateful about.

“Everything has been so uncertain in the past few years. But in 2020, I had four releases. In 2021, I shot for five projects. There has been an increase in the consumption of OTT content, and that has opened avenues for a lot of people,” Kher ends.

Rishabh Suri (HINDUSTAN TIMES; January 14, 2020)

One of the most popular names in south cinema, actor Ramya Krishnan has to her credit films spanning five languages — Telugu, Tamil, Kannada, Hindi and Malayalam. Her biggest project till date happens to be the one which broke the barriers between regional and Hindi cinema — Baahubali.

However, after Bade Miyan Chote Miyan in 1998, Ramya wasn’t seen in any Hindi film. “I didn’t work in Hindi films because the ones I had done previously didn’t do well. I worked with the best of directors, but the films didn’t do as well as we expected them to. I didn’t get my success. But Baahubali did what Bollywood couldn’t do for me,” says the 49-year old, who was seen in the web series Queen recently.

What surprised everyone is the fact that she was cast as Prabhas’ mother in the franchise, who is just nine years younger to her. Ramya says that this did not bother her at all after going through the script. “There were no apprehensions after I heard the script,” says the actor. As for age discrimination against women in Bollywood, Ramya believes that things are not the same anymore. “I think times are changing, and all that doesn’t exist anymore. It also depends on the roles you get and the kind of films you do. That extends your shelf life,” she says. The actor says that female actors get more screen time now. “Earlier, women just had to be a subordinate, the love interest, running around trees, singing songs. It has actually grown beyond that,” says Ramya whose film choices have been very surprising. She decided to follow up a blockbuster like Baahubali with Super Deluxe (2019), a critically-acclaimed non-masala film. “I choose from what comes to me. Luckily, I get diverse roles, thank God for that,” she says.

Her web series went on air recently, in which she plays a politician. Some believe the character is inspired by the late politician Jayalalithaa. Ramya clarifies, “It is actually not so. It’s inspired by a book called Queen by Anita Sivakumaran. If you find similarities, that’s just incidental. I won’t deny that, but it is not a biopic for sure,” says the actor.

As makers of web series inspired by Jayalalithaa recreate politician’s 1999 tell-all interview with Simi Garewal, iconic host explains why she refused to reprise her part
Mohar Basu (MID-DAY; December 13, 2019)

Ramya Krishnan-starrer Queen — which tells the story of Shakthi Sheshadri, a reluctant actor who goes on to dominate the world of politics — bears striking similarities with the journey of J Jayalalithaa, the former chief minister of Tamil Nadu.

Now, mid-day has learnt that directors Gautham Vasudev Menon and Prasath Murugesan have recreated her tell-all interview on Simi Garewal’s show, Rendezvous With Simi Garewal, for their digital outing. Turns out, the makers initially approached the iconic host to reprise her part for the web series, but she turned down the offer.

Acknowledging that Garewal was his first choice for the role, Menon tells mid-day, “We wanted the interviewer on the show to be able to connect with Shakthi and bring out the most candid aspects of her life. Who better than Simi Garewal to do so? Her ability to empathise with the guests made her the perfect fit. However, it didn’t work out. We eventually cast Lillete Dubey. She makes for a great talk show host.”

The charismatic politician’s 1999 interview remains her most significant dialogue, where she candidly spoke about pining for her mother’s attention as a child, being one of the “most criticised” public figures and her tempestuous equation with M G Ramachandran. It was evident that the fiercely private leader had let her guard down when she sang one of her favourite numbers, Aaja sanam (Chori Chori), with the host.

On her part, Garewal cherishes her heartfelt chat with Jayalalithaa and says it felt morally wrong to recreate it. “The makers called my office a few times, but it seemed wrong to enact my interview with a person who is no longer [with us]. It was out of the question because it would look forced, and it would be lowering my standard. I have my moral reasons to turn it down. But it is, in no way, reflective of the quality of the show. I wish the makers success in retelling the story of one of the most indomitable women of our times.”

As she plays Jayalalithaa in web series, South star Ramya Krishnan unfazed about comparisons with Kangana Ranaut's Thalaivi
Shaheen Parkar (MID-DAY; December 9, 2019)

While Kangana Ranaut is busy giving shape to Thalaivi — the biopic on the late J Jayalalithaa, South star Ramya Krishnan appears to have beaten her to the finish line. The senior actor, who played Sivagami in the Baahubali franchise, has slipped into the role of the former Tamil Nadu chief minister for Gautham Menon's multilingual web series. Coincidentally, the show is titled Queen — a moniker bestowed upon Ranaut after the success of her 2014 film by the same name.

Krishnan is unperturbed about the inevitable comparisons with Ranaut's multi-lingual film. "I know there will be comparisons, but our show will release first," she states of the show that is scheduled to drop online this weekend. Though the offering — inspired by Anita Sivakumaran's book, The Queen — claims to have fictitious characters, Krishnan's part of Shakthi Seshadri bears several similarities to Jayalalithaa, including her rise in filmdom and subsequent dominance in politics.

"My first reaction was, what else, but a yes! Jayalalithaa was such a strong woman. It is not easy for a woman to emerge powerful in a man's world. She went through hurdles and came up triumphs with grace. I have been her fan all my life, but unfortunately never met her."

Krishnan had given a shot at Bollywood in the late '90s. Ask her if a return to Hindi cinema is on the cards, and she says, "There is nothing that has excited me to return to the Hindi film scene."

Rachana Dubey (BOMBAY TIMES; August 26, 2019)

As the head honcho of a leading movie studio in India, he has a lot to feel elated about. With five National Award-winning films in the company’s repertoire, Viacom18 Studios’ COO Ajit Andhare, has a lot riding on his shoulders now, more so, after the studio’s clutter-breaking film AndhaDhun was honoured with National Awards recently. In a conversation with BT, he gave an insight into the road ahead for the studio, and what has contributed to its growth across various markets. Excerpts:

The success of AndhaDhun was not something you had anticipated. The film won the National Film Award for Best Hindi Film, and Ayushmann Khurrana, too, bagged the Best Actor Award for his performance in the film. Your thoughts?
I’m thrilled that AndhaDhun has bagged the highest film honours in the country. In a year of outstanding films like Badhaai Ho, Uri: The Surgical Strike and Padmaavat, the best film award for AndhaDhun is hard to anticipate. Nothing gives the producer in me more joy than watching the film you’ve nurtured right from the script stages to be loved and lauded. Having said that, nobody sets out to make a film with the intention of bagging awards. When I first heard the narration from Sriram Raghavan (director, AndhaDhun), I knew we had a winner. By winner, I meant a great script and an unusual story that needed to be told. I believed in the story and with a few changes to it and the right cast, I was confident we had a solid film on our hands. All of us — Sriram, Sanjay Routray (producer) and I — are overwhelmed with the love the film garnered globally. We thank the audience and eminent jury for embracing AndhaDhun.

A film like AndhaDhun,which is a dark comedy, rarely gets this kind of recognition at the box office and award ceremonies. Your film studio has won National Awards on four other occasions with extremely different kinds of films. What do you think your studio has done differently to achieve this success and honour?
Viacom18 Studios is the only studio in India that has bagged five best film National awards in the last six years with Bhaag Milkha Bhaag (2013), Queen (2014), Mary Kom (2015), Dhh (2018) and now AndhaDhun (2019). Unusual and incredible stories are our DNA. Five Best Film National Awards in six years is an unusual script in the narrative of any studio. We have taken creative risks and searched for answers in places not many would venture into. Bhaag Milkha Bhaag’s unique success created a new category of biopics, Queen and Mary Kom showed that heroism in a script can come from a woman, instead of only heroes. Dhh (Gujarati film) draws its magical quality from the innocence of childhood, while AndhaDhun is dark, macabre humour ensconced in a thriller. There is earnest intent to find such stories and talented storytellers around which, a strong content ethos has been built over many years. We have also done other unusual films like Maanjhi, Drishyam, Toilet - Ek Prem Katha and a blockbuster like Padmaavat. Our films that did not do as well as expected such as Lucknow Central or Rangoon also demonstrate a strong creative idea at its core. An important aspect here is our complete involvement from the script stage to ensure that we have the best film. We aren’t just ‘suits’ as studios are often known as. It’s our instinct for storytelling, belief in new talent be it directors, co-producers or actors, that sets us apart.

Has all the recognition that your projects have received changed your approach to the kind of films you give the nod to?
If awards are what you mean, no! And it’s not just about giving the nod to a film, it’s also about understanding what the creative vision is and whether it resonates with us. Selecting and developing winning films with gifted luminaries like Rakeysh Omprakash Mehra, Sanjay Leela Bhansali, Vishal Bhardwaj, Sriram Raghavan, the Phantom directors (Anurag Kashyap, Vikramaditya Motwane, Vikas Bahl and Madhu Mantena) or newer directors like Omung Kumar or Manish Saini requires tremendous commitment, courage and a touch of empathy for their craft. Above all, we are passionate about storytelling and that drives everything at our studio. There are also several films that we’ve let go off that we couldn't identify with, even if they were from pedigreed names. Being faithful to only stories that we understand instead of just reputations, has served our cause well.

AndhaDhun’s success has added a lot of muscle to the studio’s existing strength in the market. How do you plan to capitalise on it?
I think maybe our future partners will now take us more seriously (Laughs!). On a more serious note, I think, we are on the right track, on a journey that we began to ‘redefine Indian cinema’. I want to continue doing good cinema, across various languages. Viacom18 Studios is currently looking at expansion down South, where I believe we have a lot to learn from. With respect to AndhaDhun, we’ve just sold the Tamil rights and are currently in the process of finding partners that would be able to do justice to the film across languages. We’ve been flooded with requests, but we want to be doubly sure before giving the go-ahead.

Who will headline the cast of the South remakes of AndhaDhun? Can you tell us more about the project?
AndhaDhun will soon have a Tamil as well as Telugu remake. Prashanth will be reprising the role of Akash in the Tamil version, and I think, it’s going be an interesting take on the Hindi one.

What kind of line-up is the studio planning for the next two years?
We are focussed on building a complete portfolio across regional, Hindi and Hollywood films. Our exciting Hindi slate features Laal Singh Chaddha with Aamir Khan, a big franchise comedy Doghouse, a heartwarming comedy Motichoor Chaknachoor and a thriller remake, which is in post-production stage. We are also planning a project on the story of the Indian women cricketers focussing on Mithali Raj and her team. Then, of course, we have Top Gun: Maverick leading our Hollywood slate. On the regional front, we have some soon-to-be-announced projects like Dada and Vasantrao under development. Our Tamil slate includes films with Karthi and Jyothika, a soon-to-be-released film with Dulquer Salman, one each with Vijay Sethupati and Vikram. We have already made two films with Nagarjuna in Telugu and one with Dileep in Malayalam. There is Nikka Zaildar (Punjabi film) with Ammy Virk due for release in September.

A distinct quality of the studio is its strong regional presence. Content can reach far and wide either in the form of remakes or dubbing it in other languages. That increases the repertoire of the studio manifold, and in the bargain, helps all kinds of content find a larger audience across platforms. What are your thoughts on this?
Indian cinema is now exposed to a larger global audience thanks to the OTT platforms. The line demarcating Hindi films and regional films is diminishing with more crossovers. The new-age audience is hungry for better concepts, newer stories irrespective of the language. We want to cater to this expanding audience. There’s good content available across Tamil, Malayalam, Marathi, Gujarati and Telugu cinema, and we want to collaborate with some of the best talents across regions. We’ve tremendous success with our Marathi films starting with Aapla Manus, Ani…Dr. Kashinath Ghanekar, Bhai and expanded our portfolio down South with Telugu films like Devadasa, Manmadhudu 2, and announced Tamil films with some of the best talents. Our maiden Malayalam film, Kodathi Samaksham Balan Vakeel, starring Dileep, ran over 50 days in theatres. I think this is just the beginning, and there’s a lot more to explore. (smiles)

After setting a new benchmark for the studio, does it become difficult to choose projects that can live up to the expectations that the audience has from the company?
Yes, National Awards are a gratification, but making films with awards and image in crosshair isn’t a helpful tip. It’s a great time to be making cinema as madness and maturity in content both co-exist. We have built a legacy and we strive to live up to it.

Apart from films, your studio is all set to present digital content as well, right?
Yes, besides our films, you will soon see our digital content from Tipping Point. We recently produced a few exciting series that were announced earlier, and they will be released on major digital platforms soon. There are tons of stories waiting to be told in the universe.

Actor Rasika Dugal on stereotypes, and the evolution of a woman’s character in scripts
Deebashree Mohanty (TIMES LIFE; June 16, 2019)

You’ve said unlike films, web space is path breaking when it comes to women’s representation
A lot of interesting and nuanced scripts are being written these days. The digital space has room for a true ensemble. There are multiple tracks that can co-exist and each character can get its time and space. If you are shooting for a digital series, which might be typically eight episodes, it is effectively like shooting for five films – you have the luxury of time.

Very often in films, due to lack of time, the first victim of script editing is the woman’s character. In the digital space, there is room for multiple characters to flourish. This space has also finally given attention to good writing, and it has acknowledged that good writing is more than half the job done. Better nuanced scripts definitely lead to more nuanced women’s roles. But we still have a long, long way to go.

Is it the age-old prejudice that women can’t sell a film?
It’s a prejudice so deeply ingrained in society that it cannot disappear overnight, and will find its way into the script somehow. It’s funny how we see it everywhere and we say to ourselves... ‘oh my god, we still haven't gotten over such prejudices’.

How far do you think the empowered portrayal of women has helped the cause?
It hasn’t actually. In an attempt to move away from one kind of stereotype about women, we might be falling into another stereotype – where the woman’s character resembles a man’s. She would do everything that a man would do. Her femininity is not celebrated. That is something I find in a lot of films and series I have watched.

After doing Mirzapur, I also felt we possibly don’t have a visual language in which we can acknowledge women as sexual beings. Our existing visual language is so sexualised that we are scrambling to find something new. Things are moving towards a better scenario but we’re not quite there yet.

Though things are slowly changing, there are still not enough scripts exploring women’s sexuality…
Every time you put yourself out there and acknowledge yourself as a sexual being with sexual needs, there is so much misogyny thrown at you that it’s startling. First, it’s this reality check. Then, it also gets quite disheartening. With social media and so much accessibility, you realise every day what a prejudiced world you are living in. But it’s a battle we have to fight today.

Some directors and storytellers are trying to find a visual language that works... but not everyone has the sensitivity or the skill for it. There is a long journey between the script and the visual that one gets to see. That journey depends a lot on sensitivity.

You’ve been a vocal supporter of the #MeToo movement. Has there been any tangible change in your work environment?
I’m happy that there’s a movement that has been acknowledged, and finally there is a conversation around it. It is not fair to expect tangible changes so soon. I do my bit by familiarising people I work with about the POSH rules, and how they are implemented. I also make sure production houses are in compliance with those rules before I sign up with them.

Change takes time. But today, I see that in a work environment if someone says something sexist, there will be enough people to call it out. That’s a start.

You’ve mostly picked projects that aren’t mainstream. A conscious decision?
No. I believe that as actors the work you truly, deeply want to do finds you. So, even though a chosen film may not have a conscious decision towards a goal, somewhere you are doing things that lead you to those goals. I have been open to all sorts of films; just that the kind of films offered in the commercial space have not been very compelling in terms of screen time and quality.

Is there a commercial film you think you were cut out for?
Queen. I’d have loved to do that film. The other role I am dying to do is a biopic on Amrita Pritam.

In between all this, where is the time for love?
There is always time for love. I love the time I get with my love anyway. My husband, Mukul (Chadda), and I know how to give each other space and when to give each other priority. We also enjoy our private time to the fullest. We've been a little lucky as far as media attention is concerned. Married celebrities are a little less interesting than the unmarried ones.

QUICK TAKE

De-stress schedule:
I usually de-stress by learning something new. It really changes the way your mind works. I have taken up Urdu classes, started learning sign language and have also enrolled myself for singing lessons. New things make me happy and relaxed.

On your bookshelf:
I have been reading Becoming by Michelle Obama for the last three months. It's very interesting but I don't have the time to finish it.

Music playlist:
I've been listening to the soundtracks for This Is Us S2 and The Marvelous Mrs Maisel on loop.

Describe your den at home:
I have this nice relaxing chair in a corner where there is just a book shelf and an antique lamp. It is right next to the window from where I can see a little bit of the sea... that’s my rewind zone.

»Vikas Bahl was accused of sexual harassment by a former employee of Phantom Films
» Probe says the complainant did not appear before the internal committee
» Bahl, who was removed from Hrithik-starrer Super 30, will be credited for directing it
» Bahl has filed defamation suits against former partners Anurag Kashyap, Vikramaditya Motwane
Roshmila Bhattacharya (MUMBAI MIRROR; June 1, 2019)

Director Vikas Bahl, who was accused of sexual misconduct by a former employee of Phantom Films and was removed from Hrithik Roshan-starrer Super 30, has been cleared of all charges following an internal inquiry by Reliance Entertainment, which held a 50% stake in Phantom. Mirror has learnt that the clean chit will enable Bahl to return to Super 30 and his name will be incorporated in the credits when the film’s trailer is released next week. The development could split the Hindi film industry right down the middle, as Bahl has already filed defamation suits against fellow directors Anurag Kashyap and Vikramaditya Motwane for comments on his alleged sexual wrongdoings. Phantom Films, founded by Bahl, Kashyap, Motwane, and film producer Madhu Mantena in 2011, was disbanded last year following the controversy.

Bahl, 47, who entered the Bollywood A-listers’ club with the 2014 blockbuster Queen which won the National Award for Best Hindi Film, was accused by the woman of sexual harassment on a trip to Goa in 2015. Subsequently, the film’s lead actor Kangana Ranaut along with Kashyap and Motwane spoke about Bahl’s alleged misconduct, culminating in his removal from Super 30 - a biopic on educationist Anand Kumar - which is produced by Reliance Entertainment.

Shibasish Sarkar (right), Group CEO, Reliance Entertainment, confirmed the clean chit to Bahl and him being credited for Super 30. “Yes, it is true that the internal complaints committee report has exonerated Vikas Bahl. With the committee clearing Vikas, we don’t have a choice but to reinstate his credit as director of Super 30,” Sarkar told Mumbai Mirror yesterday.

This newspaper has learnt that Reliance Entertainment’s internal complaints committee probed allegations with due diligence. “Despite repeated reminders, the complainant did not appear before the committee,” a source told. “Those associated with the complainant and the respondent were interviewed by the committee. It also recorded documentation and correspondence between the two and based on this, it has unanimously concluded that Vikas Bahl stands exonerated of all charges levelled against him,” the source said.

After the allegations came to light in 2017, Bahl had clarified that the woman was not an employee of his company but a friend, and that they had collaborated on a project. “I’d like to sit across the table and talk to her. I want to ask her whether I have crossed the line, whether I did anything to hurt her, and if she feels that way, I’d like to apologise to her. I have known her for long. For two-and-a-half years she has never made me feel as if she is uncomfortable (around me). I have worked very hard to be the person I have become. I do feel victimised, but I don’t know what to do about it,” Bahl had said then.

On October 8, in the wake of the #MeToo movement in India, Hrithik tweeted, “It is impossible for me to work with any person if he/she is guilty of such grave misconduct. I am away and have access to only sporadic information. I have requested the producers of Super 30 to take stock of the apparent facts and take a harsh stand if need be. This is not to be hushed or brushed under the carpet. All proven offenders must be punished, and all exploited people must be empowered and given strength to speak up.”

Sources said that Bahl wrote to Reliance Entertainment to launch an investigation as the company or Phantom Films never received a formal complaint from the woman. “The woman said the incident took place in 2015—the same year that the Reliance-Phantom merger happened. Over the next two years, till April 20, 2017, Reliance did not receive any complaint nor did it have an idea of any such alleged incident. The company always had an internal complaints committee to deal with such issues but no compliant was registered with it either,” the source said.

Upcoming web series features Baahubali actress as a politico
Himesh Mankad (MUMBAI MIRROR; February 21, 2019)

Ramya Krishnan, who portrayed the unflappable Sivagami in SS Rajamouli’s Baahubali franchise, is now set to play a queen in a period-drama. The actress’s next, a web series titled Queen, will see her in the role of a prominent politician. Directed by Gautham Vasudev Menon, whose Tamil directorials Vaaranam Aayiram (2008) and Thanga Meengal (2013) bagged the National Awards for Best Feature Film in Tamil, and Prasath Murugesan (Kidaari), the show will air on the free-of-cost digital streaming platform MX Player.

Queen narrates the story of a political icon who ruled with benevolence and with an iron hand. Talking about the digital boom, Vineet Jain, MD, Bennett, Coleman and Co, points out that India is on the brink of an on-demand entertainment revolution with quality content emerging as the most important proposition to attract customers. “MX Player has been empowering talented Indian artists, content producers and independent film studios to produce unparalleled premium content that strikes a chord with discerning viewers. The platform’s launch with five MX Original series, over 20 shows planned for the year and free music streaming is a reaffirmation of its commitment to offer the most comprehensive mobile entertainment experience in India,” he asserts.

The MX Originals include Famously Filmfare, a chat-show that gets up close and personal with film stars along with four web series, namely Aafat, Hey Prabhu, Immature and Lots of Love. The platform already has 36 crore subscribers and offers 1,00,000-plus hours of free entertainment in Hindi, English, Punjabi, Gujarati, Marathi, Bengali, Bhojpuri, Kannada, Malayalam, Tamil and Telugu. 

Meena Iyer (DNA; January 24, 2019)

It is such a strange coincidence. When three-time National Award winner Kangana Ranaut met the media in Varanasi for the launch of Manikarnika - The Queen Of Jhansi on May 4, 2017, she had spoken about how she wanted to don the director’s hat immediately after she had finished shooting for the historical. At that point, the reins of the project were held by South filmmaker, Krish (Radha Krishna Jagarlamudi) and the style maven was contributing to it as the protagonist. However, fate had other plans and she, eventually, ended up in the driver’s seat.

Recalling her first experience as the captain of the ship, the actress, who is dressed in a beautiful chiffon sari with pearls adorning her neck, smiles and tells us, “I don’t know how it happens, it comes naturally to me. You must have noticed that my craft drastically changed with Queen (2014) as I had helmed a short film, The Touch (2012), earlier. I contributed a lot towards writing and all of that. Where direction came from, I have no idea. I’m comfortable in this job. In fact, scarily comfortable, honestly (smiles).”

She adds, “I see directors complaining all the time. They find it intimidating. They feel they’re not valued enough as a technician, they are the first to come to the set and last to leave, unless one is a star director. Then, it also depends which hero you sign on, your calibre doesn’t matter. Even the biggest directors are struggling to get dates. Obviously, they don’t get paid as much as actors, they work behind the camera, they lead a deglamourised life. From the recce to the art, whatever happens before the fame, is where the director lives.”

However, the talented artiste exclaims, “Having experienced both sides (acting and direction) and understanding how underprivileged this side of filmmaking is, I still feel there’s something magical about it. I can’t help but keep falling for it.”

Quiz her if the historical’s huge canvas overwhelmed her when she had to step in midway to take over the reins and she replies, “To be honest, when producers Kamal ji (Jain) and Zee Studios approached me with the idea, they said, ‘The way we want to make it, we don’t see any director doing justice. There hasn’t been a proper period action film in our industry. We’ve had period dramas either about love stories or revenge. But no one has made an action film set in history.’ They were considering roping in Nick Powell (of the Bourne Identity and X-Men: The Last Stand fame) for the action and were like, ‘What ’s left is drama. So, why don’t you do it?’ I told them it doesn’t work like that. I was not sure this is my genre, and this couldn’t be my first film as a director. Later, when this whole thing happened, my biggest concern was the movie’s scale, theatrical approach and the grand operatic cinema that I don’t identify with at all. So, I had all these obstacles. However, Krish had already set up a huge portion of it, which was of great help.”