While the Bollywood blockbusters in the last four to five years might have collected moolah at the box office, for filmmaker R Balki, they have had quite a negligible effect on him. In a statement that has now gone viral, Balki also called them “damn boring”.

“A few blockbusters that have happened in the last four or five years have actually been the worst films,” he said in a recent chat with MIT World Peace University. “Not only from an intellectual or artistic point of view but also from the old entertainment, ‘masala, paisa vasool’ kind of a feel. The fun has completely gone from our blockbusters,” added Balki, whose last film was the 2023 sports drama Ghoomer with actors Abhishek Bachchan and Saiyami Kher.

Talking about how the monetary side has complicated things, he continued, “There’s an economics associated with that stuff (theatrical projects). Now it’s just marketing — driving people towards believing something is good. So, by the time people believe it’s bad, the film has [already] made its money.”

Nature conservation is a cause that many Bollywood stars champion. With World Environment Day around the corner, many actors have joined forces to spread the good word. This year, Abhishek Bachchan will lead the United Nations Environment Programme (UNEP) and Bhamla Foundation’s World Environment Day campaign, the theme of which is Bhumi Namaskar. Bachchan will front the music video that also stars Varun Dhawan, Jackie Shroff, Sobhita Dhulipala, Malaika Arora and has been helmed by R Balki.

Asif Bhamla, the mind behind the initiative, says Gulzar and Javed Akhtar were among the first to hear the song and praise it. “Bhumi namaskar is about expressing gratitude to Mother Earth that keeps giving us so much, and we selfishly keep destroying it,” he shares.

The song is written by Prasoon Joshi, composed by Aman Pant and sung by Shreya Ghoshal, Sheykhar Ravjiani, and others.

While a cyclathon will be held on June 5 at Carter Road in Bandra to mark World Environment Day, an event has been lined up at the Carter Road amphitheatre for June 8. Bhamla is pleased that Bachchan agreed to be part of the venture.

“Mr Balki told me that bringing Abhishek on board wouldn’t be easy as he is shy. He is known to refuse ads worth crores. When we explained to him that he’d be giving back to Mother Earth through this, Abhishek agreed.”

Bachchan says he wants to do his bit for a greener planet. “I’m happy to be a part of this global campaign. Plus, Balki has curated this, whom I have immense respect for,” he says.

While Shroff is proud that the next generation is environmentally conscious, Arora says, “Healthy soil is essential for life on earth. Plants can survive without humans, but humans cannot without plants. This is a reminder [that we can] make a difference together.”

The Fifth anniversary of the National Museum of Indian Cinema (NMIC) in Mumbai was graced by the presence of notable dignitaries, including the Consul General of the Republic of Belarus, Aliksandr Matsukou, and Consul of Belarus, Anton Pashkov. The day saw an array of events including a guided tour for visually impaired students from The Happy Home & School for the Blind as well an enriching masterclass by acclaimed director R Balki, in conversation with D Ramakrishnan (GM NFDC).

Following the insightful conversation, cinema enthusiasts enjoyed the screening of R Balki's 'Ghoomer’. The highlight of the event was Balki’s unabashed take on content clutter, not undermining one’s talent and his penchant for addressing social issues without resorting to social messaging. Over the course of the two-hour session the Cheeni Kum director shared some wonderful insights, funny anecdotes and inspiring words for aspiring actors and filmmakers. Excerpts…

I don’t think there is a better film school than going to the set and working with several filmmakers. You learn about life. I was fortunate that I was able to get these experiences, so I didn’t feel the need to do a film school. It’s not that I did it without knowledge, I gained the knowledge. If you can go to a film school, you might probably learn things faster than I did but what you can’t learn is the art of scripting. Scripting doesn’t happen by going to a scripting school because there are a hundredth ways in which you can communicate a story.

Cinema is a tool to express a thought or a story that you have. Nobody is going to see the scale or grandeur of your movie if your story doesn’t touch them, isn’t relatable or doesn’t make them think. I prefer the term engaged, over entertained. There has to be an emotional connect. I don’t want people to be bored or switched off or be distracted while watching a film. Entertainment can be mistaken for laughing, dancing, jumping. People want to be engaged while watching a film.

When I did the Surf Excel commercial, people told me, ‘Everyone’s preaching hygiene and you are saying get dirty (daag acche hai)’! I feel if you are confident about yourself, you will celebrate your enemy. If you have the ability to defend yourself and remove the stains, why would you curse the stains? I am confident enough to celebrate my enemy which is dirt here so come get dirty. I believe cinema is also like that.

I remember I had gone to Amitabh Bachchan ji’s house during Cheeni Kum. Abhishek was there with him, and he was saying some extremely wise things, which is rare (smiles). He is usually the one who cracks jokes. Amit ji was pulling his leg by saying ridiculous things. They were completely opposite to their (father-son) character. I looked at them and said, “who is whose dad!” That thought stayed with me. I knew I wanted to make a film where I will reverse their roles. That’s how Paa happened.

Terms like ‘meaningful messaging’ scare me. If you want to look for meaning in life, go to a meditation app. Why watch a film? You need to be clear about your ambition from the beginning. My thoughts in cinema have been far more frivolous than my thoughts in ads. I always think cinema is serious so why not start with a frivolous thought? Even in Pad Man, my thought was not to convey a social cause. I don’t have a single social cause bone in my body. The film did a lot for menstrual hygiene and awareness, but I didn’t make it for that. I got to make a commercial feature film where the hero of the film was a sanitary napkin. I told Akshay Kumar that though he was the hero of the film, the actual hero was a sanitary pad.

A filmmaker needs to be honest. I am not here to change the world. I am here to explore an idea that doesn’t destroy the world and gives me happiness. Even a Ghoomer wasn’t about showcasing the infallible spirit of a woman who loses her right hand in an accident and learns to bowl with her left. That’s a cinematic given. People tend to glorify anything that’s social as inspirational. It is an inspiring film; yes, but what’s the speciality in this inspiration? What new can you bring to the table is the trick. I believe when you are down and out you tend to be most creative. The biggest joy in Ghoomer was discovering that new bowling delivery in cricket.

I don’t agree with this notion that everyone must work for the film and no individual should want his/her talent to stand out because filmmaking is a group work. I like working with a cinematographer like P C Sreeram because he is a rebel who likes to show off. How can you be a craftsman if you don’t want to show your craft off? How can you hire the best man for the job and tell him to listen to you and expect him to curb his instincts for the sake of the story? The story is not driving him. It’s driving the film. I love the arrogance of artists who have faith in their abilities and put their craft first. As long as your craft doesn’t destroy me, please show off your craft. As a director if I ask you to not show off your talent then I am the devil. I am killing your abilities. I love people who are determined to show their abilities. I want people to notice a cinematographer, music director, choreographer, sound-production designer for the right reasons. If people remember you for the wrong reason, then you are doing a shoddy job. You can’t expect the artists to be submerged in the film. If you look at The Godfather, it works because everybody is showing off and delivers their best. That’s why I like working with P C Sreeram sir and Ilaiyaraaja sir. They are gifted with originality, and they know it. Cinema is all about 'look at me'. When anyone says we need to work as a team and the cause is bigger than individuality, that’s the biggest bull s***. Only when all eleven players try to play their best, will a cricket team succeed.

The presentation is a bit understated and subtle but OTT has some lovely stories about common people. I want these films to cut the walk though. I see content where people just keep walking endlessly long after the scene is over. Cut the walk! Someone is standing on a terrace and watching people aimlessly, thinking. Some filmmakers believe this creates an atmosphere. I get it and it’s their presentation but cut it faster.

It may have been over 15 years since “superstar” Shah Rukh Khan, and “superstar se bhi upar star” Amitabh Bachchan shared screen space. But, even today, brought together on the screen, the duo can get the entire nation to drop whatever they are doing, and pin their eyes on them. The titles that we used above were evidently stolen from a recent commercial that they featured in, with none other than R Balki at the helm.

For Balki, it is the camaraderie that the two share that makes their screen appearances seem so heart-warming. “I wish we could invite you to the shoot,” he says, adding, “they both had a blast while filming.”

Stating that the actors’ personal equation remains unaffected despite the comparisons that have been repeatedly made between them, he shares, “They are past any competition that people keep talking about. They are in a different zone. They adore each other and were like two kids in Disneyland during this shoot. Few people know that I have spent a lot of time with Shah Rukh and have an easy working relationship with him,” he says, fondly recalling an advertisement he shot with Khan a decade ago.

“It was an ad in which he had tackled questions on feminism when he was asked why an actor’s name precedes that of the actress on a film’s credit roll. He had responded, stating that would no longer happen. And till today, he ensures that his name comes later,” Balki says.

If the director has joined hands with Khan for several commercials, he has had the privilege of directing the megastar on several films, including his industry debut Cheeni Kum (2007), and the recently released, Ghoomer. “I often say that every actor should be like Amit ji. Shah Rukh also teases me about this. For me, Amit ji is Hindi cinema. I look at him as someone who can pull off anything. While shooting Ghoomer, Abhishek [Bachchan] told me, ‘I will perform this scene in a manner that is the opposite of the way dad does, but you will not like it, because you want everything to be done like ‘Bachchan’,” he laughs.

Evidently then, we’re eager to know if Balki intends to bring Khan and Bachchan together for a cinematic offering. “That’s not how I think. If I come across an idea that will justify their pairing, I will go to them. Then, they will decide if it is worth working on or not.”

The last two weeks have seen a stellar comeback for Indian cinema, with films such as Gadar 2, OMG2 and Jailer raking in the moolah. However, for films such as Ghoomer that are made on a smaller budget, the challenge of competing against big-budget blockbusters looms large. Earlier this year, Zwigato and Bheed also suffered a similar fate when they faced a box-office clash with Mrs Chatterjee vs Norway.

Trade analyst and producer Girish Johar says, “Strong word of mouth plays a major role in such cases. Even if a film is small, it can be saved from getting crushed under a big banner if the content is good.” He adds, “Exhibitors also want to have the scope of encashing. So, small films do get bottlenecked at times. If huge films like OMG2 and Gadar 2 are released, it is a golden period for them (exhibitors) to earn more by giving them more screens.”

Trade analyst Atul Mohan adds, “The market is mostly dominated by multiplexes and they believe that the cinema business is star-driven.”

Ghoomer director R Balki weighs in on the situation and shares, “We are aware that our film does not have enough screens right now, because of the OMG 2 and Gadar 2 fever. Had we waited, I would have had to release it in January next year to avoid a clash. It wouldn’t have been any different if it was released two weeks later because of Jawan and then the 2023 Cricket World Cup.”

Kamal Giachandani, CEO, PVR, says they are “judicious in terms of allocation”. He adds, “We look at the demand and decide which film would be shown more. Ghoomer has adequate showings.”

Joginder Mahajan, film distributor and general secretary, Motion Pictures Association, says, “For screen allocation, businessmen are not interested in knowing how a film is. In many PVRs, they screen a film on a Friday and if they see only five-six people in the hall, they discontinue the shows. Ghoomer ko ek-do shows isliye mil gaye because uska distributor strong hai.”

Sometimes, an unspoken heartfelt wish finds its way to realisation. To Angad Bedi, Ghoomer is that realisation. The actor, who plays a supportive partner to Saiyami Kher in the sports drama, recalls how he did a cameo in Gauri Shinde’s Dear Zindagi (2016), hoping it would catch the attention of her filmmaker-husband R Balki.

“Gauri Shinde said I should do Dear Zindagi because people would see me in a different light from how they saw me in Pink [2016]. I said yes because somewhere I thought that Balki sir might notice me. In 2022, when he offered me Ghoomer, I asked him if he wanted to test me for the role. He refused, saying, ‘I don’t need to because I remember that scene you did in Dear Zindagi.’ My one scene stayed with him for six years,” the actor beams.

Balki’s upcoming directorial venture also stars Shabana Azmi and Abhishek Bachchan. What makes Ghoomer even more special is that it gave Bedi a chance to explore the genre of romance.

“In romance, less is more. Your eyes, body language and actions [convey] a lot more than dialogues. Balki sir said, ‘You are in that phase of life where you are selfless, as you have a family now. I want that selfless energy for this character.’”

That the project united him with his friend Kher was a delight. “Saiyami was my first friend in the film industry. We started our careers together. We feel happy for each other on the signing of a new film, and look out for one another. We also bond over cricket.”

R Balki probably couldn’t have asked for a more apt place for the première of his next, Ghoomer. The sports drama—starring Shabana Azmi, Abhishek Bachchan, Saiyami Kher and Angad Bedi—will be premièred in Melbourne, considered the sports capital of Australia. It has been selected as the opening film of the Indian Film Festival of Melbourne (IFFM) that kicks off on August 11.

Ghoomer tells the story of a paraplegic sportsperson, portrayed by Kher, who excels as a cricketer under the guidance of her coach, essayed by Bachchan. For Kher, it’s a matter of pride that her movie will be screened in the country of the late Shane Warne, of whom she remains an avid fan.

“I couldn’t have asked for anything better than going to the land of the great Shane Warne to showcase our film. Playing a sport on screen was always my dream, I have been manifesting it since I started acting. I’m glad it has finally come true,” she says.

The première will be attended by Azmi, who had been keen to collaborate with Balki. When he offered her the part of Kher’s cricket-obsessed grandmother who encourages the protagonist to follow her dreams against her family’s wishes, the senior actor said yes in a heartbeat.

“Ghoomer has a delicious part for me. I haven’t watched the final cut yet, but it’s exciting to do such a variety of roles at this point in my career,” says Azmi.

Through the movie, director Balki wanted to go beyond a sports drama to show how people can turn an adversity into an advantage. He shares, “The movie is a tribute to sports and the reservoir of human resilience.”

When Lust Stories dropped on Netflix in 2018, India hadn’t witnessed too many homegrown anthologies. But creator Ashi Dua was willing to bet on the format, having previously tasted success with Bombay Talkies (2013). Five years and an International Emmy nomination later, Dua is ready with Lust Stories 2, which brings together directors Sujoy Ghosh, Konkona Sen Sharma, R Balki and Amit R Sharma.

“Casting [the right] directors is key to an anthology, and getting everyone together is hard. Thematically, we were in sync, but the brief was to experiment. Sujoy took the idea of lust and made a thriller. Amit went to Rajasthan and made a story about a family. Balki did a wacky story. Getting Konkona was the toughest. She had not directed anything after A Death In The Gunj [2017]. When I went to her, she came up with a cool story,” smiles Dua.

For the creator, having a woman director on board was non-negotiable as it would bring the female gaze to one of the stories.

“I was clear we needed at least one female filmmaker, if not two. To see things from female writers’ and directors’ perspective was important to elevate the idea. Another important facet is to have directors who tell stories sensitively. We don’t need to show sex to reflect lust. We didn’t want to titillate, and that’s a value we have stood by.”

The upcoming anthology stars Kajol, Neena Gupta, Vijay Varma, Tamannaah Bhatia, Mrunal Thakur and Tillotama Shome, among others. What’s interesting is that all four segments are led by women. Dua says it happened organically. “When we finished the shorts, we realized that all protagonists were female and not by design. The male actors have great roles, but each film is led by a woman.”

Actor Dhanush, who is currently working on Captain Miller, was recently honoured with the Youth Icon award at an event. While accepting the award, the actor spoke about his journey in the industry until now.

Dhanush said, “The Youth Icon award is a great honour. I never thought I would come this far, let alone win this award at the age of 40 (smiles). It’s just a reminder that there is always so much to dream, achieve, and conquer. When I entered the industry, I wasn’t accepted because of my looks. Despite this, I kept on dreaming of becoming so many things, and here I am. I have a lot more to achieve, and I take this opportunity to thank my parents, the almighty, and the wonderful directors without whom I wouldn’t have made it here.”

During a panel discussion that he was part of, Bollywood filmmaker R Balki said, “I watch more Tamil films than people here do because I have a connection with the South.” He added that he considers Dhanush to be very special. He said, “Nobody understands cinema like Dhanush. He is an excellent writer. I always find him to be very special. Actors like Suriya and Vijay Sethupathi are also doing a fabulous job.”

The Chup filmmaker also spoke at length about his love for Ilaiyaraaja’s music and how he finds Moondram Pirai to be one of the greatest films that Indian cinema has ever produced.

Talking about his own films, Balki said that his inspiration comes from incidents that are contrary to real life. “I draw inspiration from things that I wish they were rather than what they are,” he quipped.

Abhishek Bachchan will be seen playing Saiyami Kher’s cricket coach in R Balki’s next, Ghoomer. This will be the second time that Abhishek and Saiyami will share screen space; the two were earlier seen in the second season of the web series Breathe 2.

Saiyami’s character in the film is inspired by the story of Károly Takács, the late Hungarian righthand shooter who won two Olympic gold medals with his left hand after his other hand was seriously injured. In an exclusive chat with Bombay Times, Saiyami and director R Balki opened up about their film and more.

Balki said, “Ghoomer is neither a traditional cricket film, nor meant to be a women’s cricket story or about women empowerment or gender dynamics. We wrote this about four years ago. It’s about an individual’s resilience who refuses to wallow in self-pity. This character happens to be a woman. What Saiyami has done with this role is incredible. Abhishek also plays a complex character. How do you help a person without pitying their circumstances? He essays a man who has not had a great life but wants to help fulfil someone else’s dream.”

Saiyami revealed, “Cricket has always been my first love and I have played the sport right from my school days. To be able to play a cricketer on screen was thrilling, but the real challenge here was different. I play a differently-abled cricketer in Ghoomer. She has only one arm and she bowls with it. I am a right-handed player, but I had to bowl with my left arm here. We had to invent a new delivery, bowling action and norms of how the sport is played. I had to field, bat, and bowl with one arm. Despite knowing the game and having the body language of a sportsman, the training took me three months. We take so many things for granted in life. Essaying this character gave me a different perspective on life. Abhishek plays the man who inspires this physically challenged cricketer to become a champion. It is not just another film on cricket. It’s about the triumph of the human spirit.”

The actress was guided by cricketers like Yuvraj Singh and Ajinkya Rahane through this journey. “Most of my cricketer friends get bored talking to me about cricket, but various conversations with them helped. Cricket commentator and former left-arm spinner Murali Kartik was of great help in particular.”

“Lekin hamari jagah lega kaun? Humein hi karna padega bhai, bachhon pe nahin chhod sakte!” This banter between actors Shah Rukh Khan and Salman Khan in the post-credits scene of the record-breaking movie Pathaan has made fans go gaga. But, what may seem like an innocent conversation between two seasoned spies, Pathaan and Tiger, may actually be hinting at the larger picture — the future of Bollywood and the era of superstardom.

The answer, in some ways, lies in what Pathaan has done. Apart from breaking records and setting some, the major reason cited everywhere is that people thronged theatres to witness their King of Romance, Shah Rukh, turn into an action hero. Compare this to the chatter about how his career was deemed to be over up until now. 

Ever since a few films starring these biggies didn’t work, people started saying their time is over. Content became the hot word, especially with OTT coming in. 

However, Abhishek Pathak, who co-produced and directed Ajay Devgn’s hit, Drishyam 2 (2022) says, “Content and superstars together can fly so high. Obviously, content will only take you so far. Eventually, the star makes everything work. No one could have imagined Pathaan or Drishyam 2 without them (Shah Rukh and Ajay). Stars will never go away.”

“Superstars of the 90s can never be written off. Unfortunately, people are quick to write their obituaries after a film flops. They are a part of every star’s life. Ditto for SRK. Look how he bounced back. I can say that his name alone can sell tickets,” says trade analyst Taran Adarsh. 

Aamir Khan’s last film, Laal Singh Chaddha (2022), may not have worked, but his previous hits such as Dangal (2016) and 3 Idiots (2009) are proof of his fan base. According to filmmaker R Balki, SRK’s example is an exception. “A star like SRK is very rare. When he goes away for four years, people want to see him. I don’t know the broad classification of superstars, this is the case of one person here,” he says.

Adarsh says there are very few who have it in them, such as actor Ranbir Kapoor, but it will take them time. Whereas, trade expert Atul Mohan points out how some actors start calling themselves “superstars” after one or two hits.

The definition of a superstar isn’t just limited to box-office numbers; it has to do with impact they create on the audience. Manoj Desai, executive director, G7 multiplex and Maratha Mandir cinema, says, “Public ke dil mein jagah honi chahiye. Jo aam aadmi pe beet rahi hai, agar usse woh star connect kar paaye, toh log kehte hain, ‘Arre yeh toh meri kahaani hai’.”

R Balki, who has worked with the likes of Amitabh Bachchan, Akshay Kumar and Shah Rukh Khan, among others, says, “It is a person whom you are willing to pay money to watch; it is that simple!”

Known for films such as Cheeni Kum, Ki And Ka and Pad Man, R Balki gave a masterclass on the topic ‘Negotiating Aesthetics and Economics’ at IFFI (International Film Festival of India) 2022.

Balki said that a lot of films that fail at the box office or do not do well is because people don’t know about those films. He said, “We, in the creative world, tend to live in a bubble. A lot of people didn’t know a film like Chup even existed, and I thought it had free shows and it was great. A lot of my friends whom I met after years asked me, ‘So, what are you doing next?’, and I said I just did Chup, and they asked, ‘What is that?’ I was shocked and stunned. It didn’t reach people. Whether you like or not is different, you don’t even know about it then it is a problem.”

While word of mouth publicity gets a lot of credit for several films, Balki said he hates this cliche. “Word of mouth is mythical. I wonder how it happens? People watch the film and go and tell everyone to watch it? No. It has to be worked out in a manner so that there is already excitement around the project and all they need is a little nudge to go and watch the film. I feel a lot of creativity suffers because of a lack of science. I feel there has to be a scientific process behind word of mouth to be generated,” he added.

Balki said that Bollywood doesn’t have a marketing mechanism. Not minicing his words, he expressed, “The marketing strategy is somebody is creating controversy, somebody is sleeping with someone, create some boycott, some ban. I don’t think we have found the science to market our films and a lot of creative people suffer because of it. Enough investment has not gone into developing how to market films and it is really very sad. So many people are pumping in huge bucks and yet the returns are so less.”

“If you are making 100 films and 90 of them do not make money, then there is definitely something wrong with the industry. There are pundits in this industry – producer pundit, director pundit, writer pundit, trade pundit and media pundits, and they all fall flat. They fall flat and they move on with the next theory without learning a thing. There are fantastic marketing people in cinema, but somehow when they get into this zone then their entire reading of data starts sounding outdated,” he added.

Balki further said that there is no formula for how films work. “It depends upon who does what. You can’t say the audience wants it. No, the audience wants damn good work. Who doesn’t want to see a good film, song or stars saying their best lines? But we all fall flat in understanding the theory without understanding the execution,” he added.

Balki said that the stars are making one fundamental mistake that they are getting caught up in the producers’ money making machine. He said, “(They think) If I want to charge this amount then I have to do this kind of work and only then will I be able to recover the money. A lot of smaller ideas could have become bigger if bigger stars would have invested in them. Some stars have experimented and have fallen flat and have chosen to not experiment again while some stars have gone for tried and tested formulas.”

He said that Kamal Haasan experimented in the 80s with films like Sadma. Talking about Shah Rukh Khan, he said, “Shah Rukh has done Dear Zindagi. He also experimented with Swades and Paheli. If those films had worked, it would have taken a different turn. He is one of the most intelligent people in Indian cinema.”

The opening ceremony of the 53rd International Film Festival of India in Goa on November 20 will see several celebrities not just walk the red carpet, but also perform on stage. As per festival officials, this year, Varun Dhawan, Kartik Aaryan, Sara Ali Khan and Mrunal Thakur are among the actors who will be performing at IFFI, while Ajay Devgn will be attending the opening ceremony of the festival.

This year, the National Film Development Corporation of India (NFDC) has introduced a new segment – Gala Premieres and Special Screenings. As part of the initiative, several other cine stars will be present to introduce their films and interact with fans. Union Minister for Information and Broadcasting Anurag Thakur, who will inaugurate the opening ceremony and also the Film Bazaar on November 21, says,

“This year, we have laid out the whole canvas of the festival such that multiple languages spoken in the country find representation in film programming. Masterclasses and in-conversation sessions with eminent personalities are lined up along with lively musical evenings and star-studded performances at the opening and closing ceremonies, with the massive support of the mainstream Indian film industry. To promote ease of business in films, the Film Bazaar has planned and curated pavilions meticulously to showcase the diversity and depth of India’s film industry. The 53rd IFFI is all set to captivate audiences worldwide.”

Ravinder Bhakar, MD, NFDC says, “IFFI celebrates the cinematic diversity of the country as well as the exceptional talent that our industry has. And this is what attracts celebrities to the festival. We are showcasing their talent and recognising their contribution to India’s rapidly growing content economy.”

Every year, IFFI invites prominent film personalities and cinema experts to conduct masterclasses and be a part of in-conversation sessions on various aspects of filmmaking. This year, filmmakers Shekhar Kapur, Mani Ratnam, Shoojit Sircar, R Balki, Gauri Shinde, Kabir Khan, Aanand L Rai and Luv Ranjan, besides actors such as Nawazuddin Siddiqui, Pankaj Tripathi and Anupam Kher will be present during the various sessions to talk about their work and journey, and give film buffs an insight into the process of filmmaking.

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The 53rd International Film Festival of India (IFFI) is set to commence in Goa on a grand note. The inaugural day (November 20) will see a slew of stars, including Varun Dhawan, Kartik Aaryan, Sara Ali Khan, Mrunal Thakur, Amruta Khanvilkar, Catherine Tresa and Ritabhari Chakraborty, walk the red carpet and perform, too.

A source tells us, “They all have separate performances on songs from their films. The theme of IFFI this year is 100 years of cinema, and the performances of these artistes are choreographed on the same lines.”

A French presentation of five performances as well as a Spanish Flamenco performance are also planned.

Anurag Singh Thakur, Union Minister for Information & Broadcasting and Youth Affairs & Sports, says the film industry has supported IFFI wholeheartedly this time.

“This year, we have laid out the whole canvas of the festival such that multiple languages spoken in the country find representation. Film programming, myriad masterclasses and conversations with eminent personalities are lined up, along with lively musical evenings, star-studded performances at the opening and closing ceremonies, with the massive support of the mainstream Indian film industry for the festival. To promote ease of business in films, Film Bazaar has planned and curated pavilions meticulously to showcase the diversity and depth of India’s Film Industry. The 53rd International Film Festival of India is all set to captivate audiences worldwide!” says Thakur.

It’s been a long run at the cinemas for Sunny Deol, who made his debut with Betaab in 1984. Among the many projects, he is currently working on are the sequel to Gadar and Apne 2, which will see him sharing screen space with son Karan along with father, Dharmendra and brother Bobby. The actor is now in a new phase of his career, where the story and screenplay matter more than a larger-than-life presentation of him on screen. In a conversation with BT, the actor talks about breaking stereotypes attached to his name, the 2. 0 version of his career and why Apne 2 is the most special film of his life. Excerpts:

I’m actually doing quite a lot of films right now. In fact, I have projects releasing in theatres, and there’s something interesting for the digital format, too. Some of my movies are already on floors, a few will roll out in a few months, and my content for the digital platforms is being worked on. I think that you have to give the audience different kinds of content instead of dishing out the same thing repeatedly, hoping this is what they want to see.

(Cuts in…) R Balki’s films have unique worlds where I know I can work differently and do something distinct with my characters. The characters he creates, like the one in Chup, are not typical, larger-than-life breed of roles that I am offered all the time. They have a certain kind of layering. Balki has narrated a couple of projects to me after Chup, which I have loved, and I want to work with him on some of those because I have loved his style of ideation.

I love the idea of a film like Baap. It’s one of those films that not only features my colleagues from the ’80s, but it also has a unique story revolving around friendships and emotions; it brings back something from the bygone era and mixes it with new-age ideas. As for Apne 2 and Gadar 2, I was clear that unless we have something that could match the emotional quotient of the originals, we won’t go ahead with them. Apne 2 literally features almost all the Deol men. My whole family is in it. I didn’t want the writing to falter. I can now say that it has shaped up well. With the four of us in the same film, Apne 2 is one of the most special movies of my life. As for Gadar 2, we wanted a story that could emotionally be at par with Gadar. Gadar’s Tara Singh was not about pump ukhadna and chillana. It was a family’s struggle to fight divisive forces and be together. It had the ingredients of a great family film. We embarked on Gadar 2 only when we were sure we had something promising to take the legacy forward. It was a huge challenge to create something as good and live up to its name. I hope we have managed that.

I do feel that this is the most liberating phase of my career, and more so because of the digital world that has opened up, where you can make what you want and base your decisions on the strength and depth of a screenplay and story. You can play characters that you’ve never played, display a lot of detailing and layering in your performances and do what makes you happy as an artiste, without any box-office pressures. I feel that at one point in my life, I was typecast so much that my dhai kilo ka haath and my big action image overshadowed the characters and what they were meant to do in a film. But now, I can explore so much more. This is my time to fly as an actor and not struggle to keep an image alive. I am thankful for everything I’ve had, and I look forward to so many new experiences, roles, films and journeys, which will help me dive deep into my own emotions and enhance my understanding of life and cinema.

For as long as one can remember, Amitabh Bachchan has adorned the big and small screens around us. Whether he’s the angry young man, the revenge-seeking common man, the disciplinarian father, the army officer, the lovable father who is as vocal about his motions as his emotions, or the cool and affable TV show host — there’s no role that the actor hasn’t played with utmost ease and relatability. One might fall short of words to describe the phenomenon that is Amitabh Bachchan, but he never falls short of impressing his audience with one solid act after another.

On his 80th birthday, filmmakers from different time zones in his life talk about what truly makes him the BIG B!

My introduction to Amitabh Bachchan was his performance in N C Sippy and Hrishikesh Mukherjee’s Anand. One immediately noticed him, despite the towering presence of the nation’s then heartthrob, Rajesh Khanna. There was something so honest about him that he drew your attention, effortlessly. You couldn’t miss that he was a natural at what he did. Then, I saw Mehmood’s Bombay To Goa where he was the complete opposite of his character in Anand. When Salim-Javed suggested his name for Jay in Sholay, my attention was immediately drawn to the memory of these two films and his roles in them. 

He was almost the last one to be cast in Sholay. I didn’t want a big star; I had plenty already and handling so many people is a task, but when I heard Javed Akhtar talking about his work in Zanjeer, I decided to cast him. The industry had almost cast him out at that time; as he had a few failures behind him. But I think I was lucky to have nabbed him at the right time.

Sholay started our association. His role in Sholay was also not one that needed overplay. It was boisterous in parts. Of course, after his huge success, he became a one-man show who could do anything and everything so well. It became more and more difficult to capture him in something less. Zanjeer, Deewaar and Sholay just ensured there was no looking back for him. And his legendary run was not something anyone could have pre-empted; no one had thought, and no one could have

guessed he will rule this industry for 50 years. I am no exception to that.

Amitabh continued to grow. How tall can a man grow? Amitabh beats all descriptions and measures of success. The credit for that goes entirely to him. I was fortunate to have been on the National Awards jury twice, in 2010-11 and 2016. His performance in Paa was so incredible and totally different from what one expects of him. I had to give it to him. It was outstanding and rare. He won another one for Piku where his role as Bhashkor Bannerjee was so brilliant. Of course, the directors in both cases are fantastic, too. So, over years, you may keep feeling what’s left for him to do, and there is always going to be something more. There is no end to Amitabh Bachchan. He is forever!

I thought of a film for Amit ji when I made Cheeni Kum. I cast the story for him. It was the other way around. It wasn’t an older man falling in love with a younger woman. It was a story that wouldn’t work without Amitabh Bachchan and Tabu. He’s not an old man; he’s Amitabh Bachchan.

He comes packaged with his trademark sarcasm, wit and poker-faced rudeness — that’s just a perfect blend. My equation with Mr Bachchan has been exactly the same from day one till now. Even today, if I have an idea, I message him and if he likes it, I write it out for him. I love the mystique and enigma that he is, and I don’t want that shattered. I don’t want to analyze it. Being nervous around him just breaks that enigma. So, I have never been nervous in front of him and he, too, has made me so comfortable. He is an aspiration for everyone, and my relationship with him is that of a huge fan and a person who is aware of what I like about him.

It’s surreal that I have worked with him. I remember when we were making Paa, we both were convinced about the film. Abhishek and Vidya needed convincing. Even when Mr Bachchan says the deepest of things, he has still eyes and a still face which is the power of a great actor. People don’t often understand that when you act, you don’t have to make it loud and evident. Mr Bachchan doesn’t, and that’s his superpower!

Over the years, I’ve worked with Mr Bachchan at different levels. The first time I had a chance to watch him up close was when I gate-crashed his ad shoot (made by my then company). I wasn’t part of the process then, but I have been such a fan since childhood that I couldn’t resist being on that set and silently observing him. I came home so happy that day. Then came the Kaun Banega Crorepati campaign where I interacted with him one-on-one. I usually don’t get nervous, but I was meeting my childhood hero and working with him was something else.

Over the years, I worked with him very closely and got to know him more closely. In my movie Bhoothnath Returns, he was the central character. Today, I can say that our relationship is a bit more than professional. His values are intact, and they will remain so. They’re in his DNA. His punctuality, discipline, hard work and dedication are unmatched. As an artiste, you know how big he is and yet, he is willing to understand and give his best for your vision.

Describing Amit ji as an actor is like sooraj ko deepak dikhana. Words will always fall short. In my opinion and understanding of him, he’s a better human being than an actor. He’s par excellence in his field but he’s a far, far nicer human being. He respects everyone’s time. That’s the reason he’s never late. Waqt aur insaan dono ki kadar hai unko. He never wants anyone to bear losses. And with him in the team, people automatically fall in line. Koi kitna bhi experienced ya naya ho, he treats everyone like his teachers. He listens intently and tries every possible method to give the director what he’s looking for. He has no ego and no hassles.

Whenever he enters a set, he has that little naughty smile and he jokes around and has fun with everyone. We filmed Khakee and Family together. We had shot Power for seven days and then I regret not being able to complete it. But anyone who has worked with Amitabh Bachchan will agree that he’s like an addiction, he just spoils you for life. If you don’t work with him, you feel something is just missing. But working with him is also a responsibility; as you have to justify his presence in a movie. On his 80th birthday, I just wish he continues his run till beyond 100 years.

Sumeet Vyas played the role of Sridevi’s classmate in the English speaking course and says he holds English Vinglish close to his heart for a variety of reasons. “Some projects come to you at a certain stage in life, and they make you change yourself. This was that for me, I have only fond memories, no bad ones,” he shares.

It was the 39-year-old’s first big project at that point in his career. “It was the first time I worked in a fully commercial film setup. Thankfully for me, I was working with Gauri Shinde, R Balki was the producer. They were such grounded people, and Sridevi too. My impression of the film industry hence was that, ki sab log iss industry mein aise hi hote hain. But of course, later I met a bunch of a***oles (laughs). Since then, I have been seeking that kind of set-up,” adds Vyas.

Majority of the film was shot in New York, and for the actor, it was his first trip to United States. “It was also my first time shooting abroad. I had so much down time during the shoot, we would only shoot on weekends. So Monday to Thursday we were free, Friday to Sunday we would shoot. It was sort of like a paid vacation,” he says.

Gauri Shinde’s directorial debut English Vinglish (2012) was a raging success, commercially and critically. A film that marked late Sridevi’s comeback, its impact was such that schools were taking students to theatres to watch it, women found the inspiration to start their own business. While the filmmaker doesn’t remember much of this, 10 years later, the obstacles she faced to make the film remain fresh in her mind.

“My decision to make my film with a female lead met with a lot of resistance. It was about a middle-aged woman wearing a saree. These were odds nobody would want to dive into. There was no violence, no sex, nothing that would set the ball rolling very easily. We went through hell,” the filmmaker tells us on a call from London.

The film’s story revolved around a housewife, played by Sridevi, who can’t speak English properly and is ridiculed by her husband and kids for the same. Her journey of coming into her own forms the rest of the plot, and this is something producers wanted to alter.

“They wanted a superstar as her husband. Then, they said we should not shoot in New York. They wanted me to compromise, they wanted Sridevi to dance because she is Sridevi. They thought she should do an item song. I said I would rather put the film aside and not make it. Then, Balki (R Balki, filmmaker-husband) decided we should produce it ourselves, and that’s how our production house was formed,” says the 48-year-old.

The inspiration behind the lead character, she says, is her mother. The latter ran a spices business, and that’s how the maker chalked out the character of a woman who managed a sweets business. Shinde recalls how her mother would often say that if she knew how to speak English well, her business would have flourished. “English is almost like a deciding factor in our country. People don’t think you’re cool until you can speak it,” she says.

With the success of their 2009 offering, Paa, establishing that their collaborative efforts have many takers, it was only a matter of time before R Balki and Abhishek Bachchan joined hands again. In the filmmaker’s Ghoomer, Bachchan plays a cricket coach to Saiyami Kher, thereby tackling a subject that is dear to the Indian masses.

Bachchan junior’s acting abilities, he says, has undergone drastic change in the decade gone by. “He is no longer weighed down by the pressures of the project, or his character. He has learnt to relax for the camera, without losing the punch in his performance. He is an understated actor — intense, but with a certain casualness behind his simmering intensity. When actors showcase the character’s depth with ease, [the performance] sparkles. I love how secure he is, and this comes from tremendous understanding of his craft,” he says.

If Bachchan banks on his demeanour to grab attention, Kher lights up the screen with her dramatic portrayals. Considering her athletic capabilities, she would arguably be a top contender for any sports-related film. Balki agrees.

“Saiyami is possibly the only real sports person in the industry. She is a real athlete, so the film’s intricacies have been absorbed beautifully by her. There were days when she’d surprise me with her performance. Once, I went up to her and asked, what is so [upsetting] in your life that you can cry the way you do, in a second? She can emote at the snap of a finger. She is a reservoir of talent.”

Meanwhile, Balki has his attention trained on his upcoming Netflix’s anthology series, Lust Stories. The film reportedly stars Mrunal Thakur and Neena Gupta. “I hope people will be surprised to see that we’ve made a film on this theme, sans any lust. We have made a U-Rated film on lust,” he signs off.

R Balki remembers that one of the early reviews of his directorial debut 'Cheeni Kum' (2007) was so scathing that he stopped reading them altogether. It’s almost his way of delivering poetic justice that in his latest film 'Chup: Revenge of the Artist', a serial killer attacks movie critics. “How can it be such an unfair world where someone can write something and get away with it? It is sometimes agenda-based. I thought of this story in 2010,” he begins.

Even as he sat down to write the script of the Sunny Deol, Pooja Bhatt, Dulquer Salmaan and Shreya Dhanwanthary starrer, the filmmaker knew it had to be a balanced narrative. He didn’t think twice about reaching out to film critic Raja Sen.

“Rishi [Virmani, writer] and I discussed that it’d be nice to have an outside perspective on it. I had not read Raja’s reviews until then. When I called him, he was blown by the idea. I took two days and read everything that has ever been written about me. I discovered that Raja has trashed me the most. It was beautiful to sit in front of someone who trashed you, and start murdering him on paper,” he laughs.

Balki believes the purpose of getting a film critic on board was served, as the movie argues both sides of the case. “I didn’t want to make it from a filmmaker’s point of view alone. What the other side thinks needed to be included as well. Raja gave me insight into what critics feel when they are critiquing.” The intention behind the thriller was to evoke respect for cinema, adds the director.

“As an audience, they have the agency to say what they feel. But a critic is supposed to be sensitive to the art, and guide people to understand the conversation the film is trying to have. He is not the judge.”

On National Cinema Day (September 23), movie buffs thronged cinema halls, as the tickets were modestly priced at Rs. 75. From Brahmastra being sold out in almost all theatres, to Chup: Revenge Of The Artist and Dhoka Round D Corner, every film benefited. Now, to mark the festive period, film tickets will be priced at ₹100 till September 29.

Rajender Singh Jyala, chief programming officer, INOX Leisure, tells us, “After a positive response to the Rs. 75 plan, we thought of experimenting some more. We wanted to see if lower ticket prices get the same response again or if it was just a one-day phenomenon. If it gets the same kind of response, we can discuss about this (low ticket rates) with the stakeholders.”

Films such as Chup: Revenge Of The Artist managed to rake in the moolah due to the cheap pricing, says director R Balki: “It doesn’t immediately position itself as a mass film. The Rs. 75 pricing opened us up to the fact that so many people want to come to the theatres; it’s only the high ticket prices that keep them away.”

The focus should be on getting more people to the theatres, than just making one ticket expensive, feels exhibitor Akshaye Rathi. “I hope the movie-going business can go back to being more accessible,” he shares.

The festive period is usually accompanied by hiked ticket prices, as big films usually release around this time. So, why reduce the prices? Trade analyst Taran Adarsh says it’s because people are in the mood to spend during this time. “They travel, shop and watch films. When you keep ticket for as low as Rs. 75 and Rs. 100 on weekdays, it’s a great idea.”

What cannot be missed is the fact that the ticket prices have only been reduced until September 29, so two big films that release on September 30 — actors Hrithik Roshan and Saif Ali Khan’s Vikram Vedha and filmmaker Mani Ratnam’s Ponniyin Selvan: I (PS 1) — will not be available for Rs. 100 per ticket. 

Jyala emphasises that producers feel if the budget of a film is high and the ticket prices are low, the recovery won’t happen: “Hence, Vikram Vedha and PS 1 will play at a regular price.”

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“Would you go to watch more films at cinemas if tickets cost less?” – when we asked moviegoers this, almost all of them responded positively. And guess what? Multiplexes are listening and hence it was not just on last Friday (National Cinema Day) when tickets cost only Rs. 75 or this week when all films playing in theatres will cost you only Rs. 100 (offer lasts till Thursday), but cinemas are planning to experiment with an affordable pricing model in the long run.

Following the two-year hiatus due to the pandemic and later due to high ticket prices, when moviegoers registered a record of over 65 lakh consumers in a day on National Cinema Day, it led to discussions on lowering average ticket prices and hence the experimenting phase in cinemas has begun.

Kamal Gianchandani, President, Multiplex Association of India (MAI), says, “There is a lot of experimentation being done by various cinema operators at this point. Disney, Dharma and other studios, who have films playing in theatres, have been very supportive in this regard. We are constantly listening to our customers and other stakeholders of the business. We have always taken ticket pricing and other similar decisions keeping the interest of consumers and all stakeholders in mind. We will continue to do so in the future.”

Rajender Singh Jyala, Chief Programming Officer, INOX Leisure Ltd, says, “This week is an experiment to see if people will come on weekdays at this price. After Thursday once the numbers are in, we will analyze it and decide our next step.”

Does this mean that cinemas will continue to keep lower prices? “Yes, we are experimenting with this. Will it be 112 or 120 or 150 and so on that’s what we will decide. But 75 and 100 are too low to sustain. Big budget films will not be able to recover with this price,” he adds.

Recently, when Mani Ratnam visited cinemas for an event, it was reported that there was a discussion on keeping tickets for Rs. 100 only for his upcoming release Ponniyin Selvan: I. However, Gianchandani has denied this.

He says, “This is not true. There has been no such request from Mani Ratnam. He is fully supportive of all ticket pricing-related initiatives that are being taken by the cinema operators.”

Similarly, there were other reports saying that the makers of another upcoming release Vikram Vedha have suggested the same but Jyala says that there has been no such discussion with the makers of this film.