Sunny Deol and Rajkumar Santoshi have given Hindi cinema some of the most popular films of the ‘90s. As the actor-director duo reunites for Batwara 1947, a retrospective celebrating their collaboration will see three of their classics – Ghayal (1990), Damini (1993) and Ghatak (1996) – re-released in theatres from July 24. In an exclusive conversation with us, the duo reflects on their enduring partnership, iconic characters and why stories of ordinary people fighting injustice continue to resonate.

Speaking about the re-releases and reuniting with Santoshi, Sunny says, “Our journey began with Ghayal, followed by Damini, Ghatak and now Batwara. We understand each other without having to explain too much, and that’s why our partnership works. There’s an unspoken understanding between us. All three films are about ordinary people standing up against injustice. Times and circumstances may have changed, but that fight never grows old.”

The actor is delighted that younger audiences will now get to experience these films on the big screen. “I don’t usually sit and watch my own films because I immediately start noticing what I could have done better. But seeing audiences, especially younger people, discover these films today is emotional. It tells you that an honest film never grows old.”

Talking about the characters he has played, Sunny says, “People remember the action, but I believe my real strength has always been emotion. The anger worked because there was pain, love or injustice behind it.”

Recalling his first meeting with Sunny, Santoshi says it wasn’t the actor’s physique or screen image that impressed him the most.

“It was his honesty. There was an innocence, emotional sincerity and a quiet confidence about him. People see the anger, the action and the larger-than-life moments, but I’ve always seen the vulnerable man behind that strength. That fascinated me. Whether it was Ajay Mehra in Ghayal, Govind Srivastav in Damini or Kashi Nath in Ghatak, they were never superheroes. They were ordinary men pushed to extraordinary limits.”

For Santoshi, reuniting with Sunny after three decades felt surprisingly effortless. “It never felt like 30 years had passed. Both of us have lived through success, disappointments and personal growth.

He adds, “Sunny never tries to impress people. He listens more than he speaks and never wears a mask, which allows a director to shape the character instead of fighting the actor’s personality. He also represents a kind of masculinity that is becoming increasingly rare.”

Santoshi believes audiences may have changed, but human emotions haven’t. “Today’s audiences have access to stories from every corner of the world, but human emotions remain the same. People still experience injustice and betrayal. Earlier, cinema externalized anger through powerful confrontations. Today, it is more internal and psychological, but anger itself hasn’t disappeared. If Ghayal or Damini were made today, I would make them differently because cinema has evolved. But their emotional core would remain exactly the same,” he says.

Aamir Khan and Sunny Deol have come together for Batwara 1947 — directed by Santoshi, starring Sunny and produced by Aamir. The collaboration is particularly interesting given their legendary box-office clashes over the years — Dil versus Ghayal, Raja Hindustani versus Ghatak, and Lagaan versus Gadar. How different is their relationship today?

Sunny smiles, “I never saw Aamir as a rival. Our films competed at the box office; we never did. Today, it feels wonderful that the same history has brought us together. He heard the story, believed in it immediately and backed it with complete conviction. We may be very different people, but our love for cinema is the same.”

There was plenty of laughter, a few life lessons and more than a handful of memorable one-liners when Akshay Kumar and Disha Patani joined us on the Bombay Times Lounge. With fans travelling from far and wide to be part of the show, Akshay had the audience hooked with his stories, humour and spontaneous exchanges, while Disha offered refreshingly honest insights into her journey. The duo will be seen this week in Ahmed Khan’s upcoming ensemble comedy, Welcome To The Jungle. Excerpts.

Akshay: Absolutely. It’s better to make fun of yourself, rather than making fun of other people, if I crack a joke, it’s usually about myself. That way, nobody else feels bad. At many award nights, I often see people get laughs by putting others down. I don’t agree with that.

Akshay: In reality what happens on set is that by the time you’re shooting a scene, you’ve rehearsed it so many times that you’ve already laughed through it. During the actual take, it doesn’t seem funny anymore (to the actors). Then you’re just waiting to see whether the audience laughs. I watched the film the other day and I laughed a lot. Now I’m just waiting to see how the audience reacts.

When I entered the industry, I came here to earn money. I didn’t know anything about cameras or acting. I loved performing stunts. I’d wake up, go to work, and enjoy myself. Initially, people only offered me action films. But over time, I started falling in love with acting. Then I met filmmakers like Priyadarshan, Rajkumar Santoshi, Neeraj Vora, and many others. I started loving characters and wanted to do different roles. I enjoy deconstructing myself. I don’t want a one-dimensional image. I don’t want people to see me only as an action hero or only as a comedian. I want to keep evolving.

Akshay: I work hard, but I take my time off. I get around 120 days off every year. If you are talking about work ethic, yes, you need to have that. I have always said this ki acting 17-20 percent bhi aati hai toh chal jayega, insaan accha hona chahiye. If you want to survive in this industry, it is important to be a good person and if you are punctual, and respectful of your producer’s time — this industry has a lot to offer you. That applies to everyone — character actors, junior artistes, dancers, and everyone else.

I’ve learned to believe in myself more and I believe that you should listen to everyone but ultimately, do what your heart tells you. I trust my intuition much more now. It’s been a beautiful journey. I’ve met wonderful people and made wonderful friends. At the end of the day, it’s about the time you spend with people, and I’ve been lucky to have good people around me.

Akshay: Yes, absolutely. I believe I have seen the world, but yeh samay joh hai, yeh unki aankhon se dekhne ka samay hai because they teach you so many things. For instance, when my son (Aarav) talks about fashion, I’m taken aback by how much knowledge he has at just 23. My daughter (Nitara) uses words that I don’t understand. Sometimes when she is sitting next to me and talking to her friends on the phone…I don’t know what she is talking about. They speak a different language. There’s a lot to learn from the young breed. If you want to survive, then you have to learn from them and learn their language.

My better half (Twinkle Khanna).

Brutal toh kuch bhi nahin hai. She can kill me with her words (laughs). Last week I was dubbing for Priyadarshan sir’s film, and I got a message from her while he was sitting next to me. I told him, Priyan sir, aaj main bahut khush hoon. He asked, ‘Kya hua?’ I said that my wife has sent me a message saying, ‘I loved your trailer.’ I am telling you, I don’t always get such messages. I have done many films where she has come and told me, ‘What rubbish is this?’ (laughs).

There is nothing to react to. I just put my head down and say... okay, I will try next time. Then, if the movie works, she says, ‘I don’t know how it ran.’

I believe that today success is yours, tomorrow it might not be, and someday it could come back. So don’t take success too seriously. Take the day as it comes. Take the week as it comes and just keep on working with utmost honesty.

I don’t think I have ever felt that. Since childhood, I have always felt like an outcast. I never felt like I belonged to one place. In my mind I am a wanderer and I think it is fine to be that way. You don’t always have to belong somewhere.

For Ali Fazal, the past two months were all about two cities and two different stories. Since October, the actor was filming the last leg of Rajkumar Santoshi’s Lahore 1947 in Mumbai and Punjab, juggling it with the Varanasi schedule of Mirzapur: The Film. Last week, he wrapped up his portions in the Sunny Deol, Preity Zinta, and Shabana Azmi-led period drama that is set against the backdrop of India’s partition.

Reflecting on being part of the Aamir Khan production, Fazal said that the experience surpassed his expectations.

“Working under Rajkumar Santoshi sir’s direction has been a masterclass, and sharing screen space with powerhouses like Sunny sir, Preity ma’am, and Shabana ji has been an honour. Each day on set felt like a lesson in humility and dedication to the craft,” he said.

What made the project all the more special is knowing that it told an important story.

The actor added, “Lahore 1947 is rooted in our history, but carries emotions that are timeless and speaks to everyone. This story reminds us of the resilience of the human spirit.”

Three decades in an ever-changing industry — and Bobby Deol’s journey feels as personal as it is cinematic. From the wide-eyed debutant of Barsaat to the fierce, magnetic Lord Bobby, who has captured a new generation of fans, his story is one of faith and reinvention. As he marks 30 years in films, Bobby joins us on Philips LatteGo presents Bombay Times Lounge powered by instax FUJIFILM for an emotional conversation — about his ultimate idol and biggest inspiration, the lessons that came with failure, and the joy of finding new ground in a new era of cinema. The full episode drops soon on the Bombay Times YouTube Channel. Here’s a glimpse of how Bobby won over the audience present at the show — with wit, wisdom, and that unmistakable Lord Bobby charm.

I never thought I would be sitting here and talking about completing 30 years as an actor. All I think about is…I want to be sitting here when I am 90 and doing this. I look up to my father (Dharmendra), and I hope I can work for as long as he has. He makes me stronger in many ways, and also, there is no scope for excuses – my father is turning 90 and he still wants to work, just seeing him ups my self-belief. I believe I’m here for 30 years as I have his blessings and so much love from the audiences because of him.

Barsaat took many years to be made, we started with the shooting when I was about 22-23, and the mahurat was on my birthday, January 27. The directors changed: Shekhar Kapur was directing it, and he got an offer from Hollywood for Bandit Queen. My dad told him, ‘My son’s career is as important to me as your career is to you’, so that’s how Rajkumar Santoshi came in to direct it. The premiere at Metro Cinema was one of the most exciting nights of my life. I was really nervous. I had to sit in the car with Twinkle Khanna (her debut film, too) and arrive at the theatre. I told her…Tina just hold my hand, I am feeling very nervous. And she was like, “What nervous?” You know how outspoken she is. It had rained that day (true to the title of the film). Back then it wouldn’t rain in October. It was a huge event and everyone from the industry was invited.

I am lucky that I have a huge family, I don’t need to talk to people besides my family and close friends. But if you ask me, I am friendly with Preity Zinta and Rani Mukerji. I have known them from the beginning. With Preity, I had an argument during the making of Soldier and then we got close. Even with Rani, we had an argument during Bichoo and then we became friends. Akshaye Khanna is also a sweetheart; he is a recluse but such an awesomely talented actor. I call him every year on his birthday.

That was my biggest fear – what would my fans think? Because they mostly want to see the actors they love as the good guy. But now the audience’s mindset has changed, as they are exposed to so much content from around the world. So, when I got the opportunity to do Aashram, they accepted me in that character. I didn’t tell my dad or my brother (Sunny) that I’m doing the show, because I knew they’re from the old school of films, where they believe that if you have a certain image, you have to play those kinds of characters. From the word go, I always wanted to do different kinds of characters, but I didn’t get those chances earlier. I’m enjoying this phase of my career. I think it’s the best time for me as an actor.

He wants to be an actor and he is working on himself right now. I’m just hoping that I get somebody to work with who would launch him.

I think everybody knows me. I’m what I am. I say what I feel, and I think people see that and respect it. I don’t have a defence mechanism or portray something I am not. Sometimes I get carried away with things and I just have to control that. I guess that’s a very real trait, right?

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Last November, mid-day reported that Aamir Khan had suggested some changes to his production, Lahore 1947, after watching its first cut (History class again for hero, Nov 27). Looks like it’s time for director Rajkumar Santoshi and leading man Sunny Deol to implement Khan’s suggestions. We have learnt that by next week, Deol will be back on the set of Lahore 1947 for what will be the last leg of the period drama that explores the emotional journey of people caught in the turmoil of India’s partition.

The unit will head to Punjab for the schedule, the prep for which is underway. A source reveals, “Sunny and Santoshi sir will shoot most of these newly envisioned sequences in real locations of Punjab. The shoot will begin on October 10 and go on for 12 days.”

While Lahore 1947 also stars Preity Zinta and Shabana Azmi, the upcoming leg will involve only Deol, as other primary cast members are said to have finished shooting their portions. 

When the movie went on floors in February 2024, the makers were eyeing a 2025 release. An insider explains, “But as Aamir, Sunny, and Santoshi sat down to discuss the film’s progress, they unanimously agreed that it was more important to have a superior quality product than compromise on the vision for a quick release.”

The film is now readying for a 2026 release, with its post-production underway.

Be it Gadar 2: The Katha Continues (2023) or Jaat, Sunny Deol’s fans have relished watching him as a one-man army in his last two big-screen action entertainers. Would an understated drama that sees him as a family man have the same draw in theatres? Deol hopes so. mid-day has learnt that the actor — whose next, tentatively titled Safar, was originally planned as an OTT release — is now set to bring it to cinemas by the year-end. 

What brought on the change of heart? Apparently, the actor considers his performance in Shashank Udapurkar’s directorial ventures as his career-best and wants it to reach a wide audience.

A source reveals, “Sunny has shown Safar to many of his close friends, including Rajkumar Santoshi, Abbas-Mustan, and Rahul Nanda. They have all loved it, with many opining that the film will do for him what Satyakam [1969] did for his father, Dharmendra. A couple of months ago, Safar’s digital release was finalized, but Sunny’s friends convinced him to take the theatrical route instead.”

Also starring Simran Bagga, Safar sees Deol as a middle-aged man who decides to live the rest of his life in service of humanity. The senior actor wants to be fully involved in charting out its release plans. 

The source adds, “The makers and Sunny will decide the marketing plan, publicity strategy, and release date after the star returns from the US this week. They are eyeing a November or December release.”

Rukhsar Rehman, who began her acting career at the age of 17, was once considered a rising star. She stepped away from the industry due to family pressure. Rehman returned in 2005 with a new resolve, starting from scratch with auditions, rejections, and small roles.

“Acting has and will always be my passion,” she says. “I feel I have done well. But as an actor, we always feel, jitna mile utna kam hai. We are always hungry for more. Everybody knows me in the industry now, irrespective of how small the roles have been. It is a satisfying feeling when people reach out to me with projects.”

Over the years, Rehman built a solid body of work with films such as Sarkar (2005), God Tussi Great Ho (2008), Shaitan (2011), PK (2014), Uri: The Surgical Strike (2019), 83 (2021), and numerous television shows.

Now, she has two films lined up — Lahore 1947, directed by Rajkumar Santoshi and starring Sunny Deol, and Uttar Da Puttar alongside Annu Kapoor. While she remains tight-lipped about the former, Rehman reveals that working with Santoshi was a fulfilling experience.

“He is a sharp filmmaker, and very clear about his vision and how a scene needs to look. Many directors [keep their options open], which is not a bad thing to do, but sir is confident about how his characters would feel and react.”

Set during the Partition of India, Lahore 1947 follows the journey of Sikander Mirzaon, played by Deol. Rehman, who has wrapped the period drama, shares, “Rajkumar sir’s Andaz Apna Apna [1994] is one of my favourites. He is full of stories and anecdotes. During the shoot, I’d often ask him to narrate shoot stories from his earlier movies. During lunch, on set, he would always insist that we all sit together. I am happy to work with him.”

Rukhsar Rehman made her film debut in 1992 with a lead role in Deepak Anand’s Yaad Rakhegi Duniya opposite Aditya Pancholi. She also appeared in J K Bihari’s Inteha Pyar Ki (1992) opposite late Rishi Kapoor. In one of her interviews, Rehman confessed that she was offered Saugandh (1991), Roja (1992), Baazigar (1993), and 1942: A Love Story (1994), but was unable to take up the offers.

​For years, talk of a sequel to Andaz Apna Apna (1994) has surfaced time and again. And each time, the response has been a familiar mix of “dekhte hain” and “kaam chal raha hai.”

Recently when Aamir Khan was yet again asked about the possibility of a sequel, the actor shared an update, repeating the usual, “Hum sab yehi chahte hain.” But he added that he and Salman will be onboard if they like the script. “Raj ji (director Rajkumar Santoshi) uski script pe abhi kaam kar rahe hain. Salman aur mujhe dono ko pasand aayi toh definitely karenge hum log,” Aamir said.

The family of the film’s late producer Vinay Sinha has now confirmed that serious discussions are ongoing. The producers, Namrata, Priti Sinha and Amod Sinha, shared that they are keen to take the legacy of the film forward. “Recently, Aamir bhai mentioned that Salman sir and he are keen on doing the Andaz Apna Apna sequel. We are thrilled that they both are excited, and in light of this, we will start talks with them right after the re release of Andaz Apna Apna on April 25,” they said.

“Talks with Rajkumar Santoshi ji have been ongoing for years. It also includes (those) during our father producer Vinay Kumar Sinha’s lifetime. However, nothing concrete has been finalized with him till now. We will make an official announcement under as soon as discussions with the actors and director are complete and a strong script is locked,” they added.

When a perfectionist like Aamir Khan is involved, every scene is scrutinised and every detail fine-tuned. So, it’s not surprising that the actor-filmmaker has suggested a few revisions for his next production, Lahore 1947, led by Sunny Deol. We’ve heard that Deol, who recently wrapped up the shoot of Jaat, is heading back to the set of the Rajkumar Santoshi-helmed historical drama.

A source close to the production reveals, “Aamir was going through the first cut of Lahore 1947 and felt that a few sequences could benefit from more dramatic storytelling. He shared his insight with Santoshi, and they unanimously agreed to bring in additional shots that can elevate the story’s visual intensity.”

Lahore 1947, also starring Preity Zinta, explores the emotional and physical journey of people caught in the turmoil of the Partition. Given the important story at its centre, Deol readily aligned his date diary with the patch shoot, which will commence in the second week of December

A crew member says, “A song is being incorporated to add to the grandeur of the narrative. For this, a set will be constructed at Mehboob Studios, beginning December 1. The team is looking at a 10 to 15-day shoot, which will include filming the song as well as some additional shots that will amplify the effect of crucial scenes. Sunny sir will wrap the patch shoot before going to Kashmir for the Border 2 shoot.”

It is not a surprise that everyone’s beloved movie Andaz Apna Apna, which celebrated its 30th birthday this week, had no takers when it released. With the exception of Hum Aapke Hain Koun!, 1994 mainly belonged to blood-thirsty action heroes seeking revenge.

Some of the top grossers of that year were Mohra, Krantiveer, Main Khiladi Tu Anari and Suhaag. Rajkumar Santoshi, the director of Andaz Apna Apna, was also coming off Ghayal and Damini, the origin story of Sunny Deol’s famous ‘dhai kilo ka haath’. In the midst of this festival of testosterone came Andaz Apna Apna which cast two superstars — Aamir Khan and Salman Khan — as foolish simpletons who remained foolish till the last frame.

There isn’t an angry bone in the film. This is a world where the hero can’t express his love to a woman because he has loose motions. The bad guy Teja’s grand evil plan is to steal his brother’s diamonds and buy a poultry farm so that he can breed chickens and eat omelettes.

Actor and casting director Abhishek Banerjee (Stree, Paatal Lok) says there is a “middle-class” quality to Andaz Apna Apna which makes it endearing and timeless.

“One of my favourite bits is when the villain asks Amar and Prem (names of Aamir and Salman’s characters, respectively) for a huge ransom and they arrive with a bag of coins because that’s all they have. I remember collecting coins was a rage at the time, and we all had piggy banks. It was so relatable,” says Banerjee.

Admirers of Andaz Apna Apna are often baffled by how Santoshi pulled off such silliness with conviction. How does one in all seriousness come up with lines like ‘Teja main hoon, mark idhar hai’, ‘Aap purush hi nahi, maha purush hai’ or ‘Yeh Vasco Da Gama ki gun hai. Kiske mama ki gun?’

And then there are the legendary stories of the film’s leading actresses Raveena Tandon and Karishma Kapoor being at loggerheads through the filming. At one point, they were tied together for a scene and forced to speak to each other.

Aamir Khan has also admitted that he hated working with Salman who he found to be “rude and inconsiderate”.

“I have also heard these stories. I don’t know how they managed those performances. In fact, I have taken Aamir’s style of repeating everything twice in the film like ‘maine bola tha, maine bola tha’ and used it in my performances,” says Banerjee.

Screenwriter Niren Bhatt (Stree 2, Bhediya) says it was only a few days ago when he met Paresh Rawal, who plays Teja, to discuss an upcoming project. But instead of doing the narration, he spent hours quizzing Rawal about the making of Andaz Apna Apna Hai.

Bhatt explains that the film takes some crazy creative swings that makes it one of a kind.

“All our iconic comedies like Half Ticket or Padosan have been about funny situations. Now suddenly comes a film that breaks all the rules and goes bonkers. It was totally out of the box. Santoshi himself was unable to recreate that madness in his later comedy films,” he says.

About a decade ago, filmmakers Hardik Mehta and Vivek Soni were commissioned by the erstwhile Phantom Films, owned by Anurag Kashyap, Vikas Bahl and Vikamaditya Motwane, to work on a sequel. Their film took off where the original ended, but with a new cast.

“We decided that this time instead of chasing money, Amar and Prem would chase social media fame. And Crime Master Gogo’s new goal was getting his own wax statue at Madame Tussauds. We had written the entire climax inside the museum,” says Mehta, adding that the dream was always going to be “a long shot”. Aamir Khan and Santoshi too have occasionally dropped hints about a sequel.

Bhavik Vora, founder of A47, an online store that sells pop culture merchandise, says he’s the ultimate Andaz Apna Apna super fan. He had watched the film twice on the same day with his friends at Mumbai’s single screen theatre Gaiety Galaxy.

“We have seen it so minutely that we know the little scenes and dialogues that others may have forgotten,” says Vora.

He pursued the producers Vinay Pictures, who own the rights of the film, for three years to let him create the official merchandise. It finally launched this week. He says it was a “pure passion project” to cater to the film’s dedicated online fan community that has kept it alive over three decades through dubsmashes, reels and memes.

Bhatt remembers a time when a director wasn’t understanding his pitch and he borrowed a tactic from the iconic scene where Aamir’s character explains a football match by moving around a bunch of glasses, and unknowingly foils a murder in the process.

“There were too many characters so I had to use that glass strategy. That’s how much the film is a part of our lives,” he laughs. “I would say the film is beyond cult. It’s a cultural phenomenon.”

In the early ‘90s, when Salman Khan and Aamir Khan were both “rising stars and heartthrobs, girls were chasing them everywhere.” This inspired director Rajkumar Santoshi, who had signed both actors even before finalizing a story, to come up with a plot – what if they are in a film where they were the ones chasing girls? “Dono ke apne apne andaz hain aur dono apne apne style mein chase kar rahe hain,” he thought – and thus began the journey of Andaz Apna Apna.

Rajkumar Santoshi and Dilip Shukla wrote the film in snippets format, with each snippet being an episode in itself. The film, with its situational, slapstick and language humour, has since become a cult comedy. As it completes 30 years, we take a look at the making of the film.

Rajkumar Santoshi had organized over 100 trials of the incomplete film. At the time, Aamir had said in an interview, “Mujhe lagta hai audience iss film ko bahut pasand karegi kyunki jab bhi iss film ka trial hota hai toh log hanshans ke pagal ho jate hain. Rajkumar Santoshi ne bahut hi achhi comedy banayi hai. Usmein situational comedy hai, slapstick comedy hai, language comedy hai.’”

Santoshi also recalled in an interview that when he showed the rushes to Saroj Khan, she fell off the sofa laughing.

Santoshi and Tushar Bhatia, the music director of the film, were both huge fans of OP Nayyar and wanted to create OP Nayyar-style music for the youth of the ’90s. They decided to keep the music vintage, which led to songs like Elo Ji Sanam Hum Aa Gaye and Ye Raat Aur Ye Doori. They decided to shoot the songs in the styles of Shammi Kapoor and Dev Anand.

On his birthday earlier this year, Aamir was asked about the film’s sequel. He responed, “Rajkumar Santoshi is working on the script for Andaz Apna Apna 2. Zyada excitement bhi hum log nahi dikha sakte kyunki usne kaam abhi shuru kiya hai. I am glad that he started thinking about it because it will be a great film for all of us to do and for the audience to watch.”

1. When Amar (Aamir’s character) is cutting the ribbon of the lockup as he’s the first one to enter it, Papa Kehte Hain from Qayamat Se Qayamat Tak plays in background

2. When someone asks Prem (Salman’s character), “Have you seen Sholay?”, he says he’s seen it 10 times. Amar says that Prem’s father has written it, which is a fact. Salim Khan co-wrote Sholay with Javed Akhtar.

3. In one scene, Salman hums Dekha Hai Pehli Baar from his own film Saajan (1991)

4. When Amar and Prem are doing the coin toss, Amar says, “Jo Jeeta Wohi Sikandar aur jo haara woh hai bandar” and the JJWS music plays in background

5. Aamir’s character calls Juhi Chawla J-J-J-J-Juhi, mimicking the K-K-K-K-Kiran dialogue from Darr, in which Juhi played Kiran

6. Mehmood’s character owns a film studio called Wah Wah Productions. This is a reference to Mehmood’s earlier film Pyaar Kiye Jaa (1966), in which he also owns a Wah Wah Productions

7. Gogo refers to himself as Mogambo ka bhateeja – the villain in Mr India Source: IMDB

- Initially there was another villain in the film – Zorambo, Mogambo’s younger brother, and to be played by Amrish Puri. Santoshi recalled in an interview that the character was supposed to be the opposite of Mogambo. “Amrish ji was playing Mogambo’s younger brother Zorambo. His dialogue was, ‘Mera bhai choti choti baaton mein khush ho jaata tha, main khush nahi hota. Nobody can make me happy.’ Zorambo’s costume was white, a stark contrast to Mogambo’s black attire.” However, the character was dropped from the film as it was getting lengthy.

- Aamir’s character was inspired by the Archie comic’s character Reggie. Archie was supposed to be Salman Khan’s character.

- Originally, Tinnu Anand was supposed to play Gogo. However, he was abroad during the shoot and couldn’t return on time. Nearly 70% of the filming had already been completed when Shakti Kapoor came on board.

A R Rahman received his seventh National Film Award on Tuesday, and he says it definitely feels like a first all over again. “As an artist, you always feel like you're shedding your skin, evolving into a new person. The artist who has evolved is the one getting the recognition,” he shares. Interestingly, Rahman won his very first National Award for Mani Ratnam's Roja, and now, over three decades later, he's being awarded again for a Mani Ratnam film.

Music lovers say that the music of Roja still feels as fresh today as it did back then. Talking about what he does as a musician to create timeless music, Rahman shares, "From the very beginning, I had all these tick marks - the music should be recorded well, produced well, and the intention of creating the music has always been very pure. There is a big hero so I should do better music for this and there us a small hero so I should just...no! My music was never like that, the music has to be timeless. Whether it's a small hero or a big hero, the music has to be timeless. What I do should reach the full potential of what I can do. Sometimes, when you're working on a movie, a great tune comes for a small movie, and everyone says, 'Why are you putting this tune in a small movie? Use it for a Rajinikanth movie.' And I say, 'No, this tune came to me for this person, and I can't cheat. I can't take it out and put it somewhere else.' So that is the route I always took."

Excerpts from a conversation -

Remembering how he felt when he received his first National Award, Rahman says, "I remember after I got my first National Award (for Roja), one of the reporters asked me, 'Do you think it is too early in your career to get a National Award for your first movie?' (laughs). After the first National Award, I felt like we have to go higher because the National Award is the highest recognition for any Indian musician. Even now, the National Award is something the whole nation acknowledges. As an artist, you always feel like you're shedding your skin, evolving into a new person. The artist who has evolved is the one getting the recognition. It's not the same thing - you've moved on from a lot of things, you're reinventing yourself, sometimes keeping what is good, sometimes letting go. So, this definitely feels like a first."

When the award was announced Rahman told us that it's a full circle, a National Award 32 years later, again for a Mani Ratnam movie. He says, "It is," and elaborates, "I think I was sitting with Mithun da and Mani Ratnam, and the minister Ashwini Vaishnaw asked something like, 'Where did you study?' I pointed at Mani Ratnam and said, 'Mani Ratnam university.' I think when you work with certain people, they bring out the best in you. And even without them asking, you understand. It's a telepathy that happens; after a while, they don't have to ask you. What they're asking comes as a mind impression, like, 'Okay, this is what he's thinking.' Then you go much further than what he's thinking, and he comes back and says, 'Oh! I like that. Why did you take so much time? Because you gave something far ahead of what I was thinking.' I'm like, 'Well, I had to take time.' So, we have a nice, interesting relationship."

Rahman says that because he had worked with so many traditional composers when he was young, he had to fight himself to break free from those influences. He says, "I had to take a 180-degree turn and say, 'I don't want to do what they did because I need to have a new experience.' So if they used one raga, I'd go and find another raga that was very unusual. Even in Roja, we used several ragas that were rarely used in Tamil. It was more of a North Indian raga, and when Tamil people heard it, it made North Indian people feel closer because they knew the ragas. Usually, Bhairavi, Yaman, and Todi are more common in South Indian compositions. So, I've consciously tried to move away from what is expected. Sometimes, some movies need a traditional score, and sometimes the director is ready to explore and gamble, and is ready for an adventure and then we have fun, which is what Mani Ratnam does."

Rahman says that a lot of research actually happened for the music of Ponniyin Selvan and he also had research material about what kind of equipment they had at that time, and then decided how to bring that sound from modern equipment and add it to the score.

He says, "Some of the instruments we got sound similar, and for others, we took some liberties and hid them in the score, which just adds to the musicality. We can go into anthropology-driven details, but the ultimate goal is to create an experience. It's about how truthful you are while giving people that experience because you're taking them to that era, and that era itself is a mystery because nobody really knows what happened. You imagine that, and imagination can be small or wild - most of the time, it's a wild imagination."

As Ponniyin Selvan has a sequel, so when he creates music for films which have sequels, how important is continuity? Sharing examples, Rahman says, "When it's a sequel, sometimes you have to continue with the score for continuity. Take the Bond movies. They have one theme that recurs. Different composers have done it too. Thomas Newman (Skyfall, Spectre) did it. John Barry (From Russia with Love, Goldfinger, On Her Majesty’s Secret Service, etc.) used to do it, and they all became the same theme.

It depends on the movie. If it's a continuation story, then it's better to have the same theme, like John Williams did for some of his work." (John Williams composed for many film series such as the Star Wars series, Harry Potter series, and Indiana Jones series.)

Whether it's a big-budget film or a small-budget film, Rahman says it does not matter to him. Because his name is associated with the movie, when films don't have the budget, he has often paid from his own pocket.

He shares, "Sometimes, even for a big movie, a small score works, and it doesn't have to have 200 instruments every time. And sometimes, for a small movie, you need a big score. The film might not have the budget, but I say, 'It's fine, it's my movie, my name,' and I go ahead and book the orchestra. For instance, there is a movie Gandhi Godse - Ek Yudh (2023) that Rajkumar Santoshi directed, and it had a small budget. It required a very, very big sound, so we went ahead and did some of the score. He said, 'I don't have the budget for this,' and I said, 'No worries, I'm paying for this.' (Laughs)

Rahman says that he had these very strict standards from the beginning, and says, "See, for me, there is a truth, an honesty and that's important. I have to look at the music. To give an example - the first jingle that got me noticed, I was paid Rs. 2,000 bucks, and I used to charge Rs. 20,000 at that time. If I'd thought about money then, I wouldn't have worked very well on that. I always feel like money comes as a blessing, but your work is more important. How you work, what you give, should stand the test of time. I should feel proud of all my films and work."

It’s almost pack-up time for Sunny Deol on Lahore 1947. On Tuesday, director Rajkumar Santoshi will call it a wrap on his period drama, which went on floors in Mumbai in February. Sources tell us that the actor-director duo had an intensive schedule that has brought them to the finish line.

“It has been a non-stop 70-day schedule. Over the last few weeks, the unit was shooting the climax, which involved an elaborate train sequence, at Film City,” says a source close to the production.

Backed by Aamir Khan, Lahore 1947 also stars Preity Zinta, Shabana Azmi, Karan Deol, Ali Fazal and Mithun Chakraborty. As soon as the shoot is completed on August 12, Santoshi will dive headlong into editing.

“There will be a few days of patch work, but the principal photography is almost done. They are on track for a January 2025 release. Raj-ji is excited about what he has been able to capture through the film. Besides the climax, he is particularly proud about how the ambitious crowd scenes have shaped up. The team had created two grand sets at Film City and Madh Island for the project,” says the insider.

While the movie marks Deol’s first collaboration with Khan, it is his fourth offering with Santoshi after Ghayal (1990), Damini (1993) and Ghatak (1996).

Director Rajkumar Santoshi teamed up with actor Aamir Khan in 1994 for the comedy film Andaz Apna Apna, which went on to become a cult classic. The duo is reuniting 30 years later, this time with Khan stepping in as the producer for Santoshi’s upcoming film Lahore 1947, starring Sunny Deol.

All praise for the actor-producer, Santoshi tells us, “Aamir monitors every progress of the film. He keeps a watch on everything that is happening. He is a hands-on producer, and I am amazed by him.” The film also stars Preity G Zinta, Shabana Azmi and Sunny’s son, Karan Deol.

Santoshi is particularly impressed by how Khan, despite juggling multiple projects in the capacity of a producer and actor, is making time to come on the sets of his film. Besides Lahore 1947, the Laal Singh Chaddha (2022) actor is producing a film starring his son, Junaid Khan, and another with comedian Vir Das. All three films are currently on floors. Meanwhile, he is also shooting for Sitaare Zameen Par, co-starring actor Genelia Deshmukh.

“Yet, he takes out time for everything. He is always available on a phone call, checking progress and inspiring the team. Whenever he has time, he drops by on the sets and motivates everybody. He is a great artiste and a great producer,” says the director.

Along with boasting some big names like Aamir Khan as producer, filmmaker Rajkumar Santoshi’s next Lahore 1947 will also see the father and son, actors Sunny Deol and Karan Deol collaborating on-screen for the first time.

Talking about adding Karan to the cast, Santoshi says, “I always saw promise in Karan. I spoke to Aamir, and he said yes to auditioning him. Karan, too, came out with flying colours. I am confident that he will deliver and will stand strong opposite Sunny Deol [in the role].” So does that mean the two will have a face-off on screen? “Yes,” says Santoshi, adding, “There are some dramatic situations [between the two] in the film.”

Santoshi also tells us about papa Deol’s reaction to casting Karan. “Sunny has faith in my abilities as a director to extract a good performance from my actors. It’s important to bring Karan’s potential in front of the audience, so Sunny was very happy,” says the filmmaker.

Lahore 1947 also marks actor Preity G Zinta’s return to Bollywood. Having shot with her for 25 days, Santoshi is all praise for her: “Preity is coming back after a gap, and she is a wonderful actor and has performed well.”

In November, it will be 30 years to Andaz Apna Apna (1994)—the madcap comedy that introduced us to the happy-go-lucky duo Amar and Prem, to Crime Master Gogo’s “ghagra” and Teja’s “mark”, and an amateur kidnapping plan. It’s not surprising that even today, fans are rooting for a sequel to the Aamir Khan and Salman Khan-led comedy.

Director Rajkumar Santoshi and the family of the late producer Vinay Sinha, too, have often expressed interest in making a second instalment. Now, we hear that the director has begun writing the sequel with his original leading men in mind. But there’s a catch—the film’s rights rest with the late Sinha’s children, Namrata, Amod and Priti.

In 2022, Santoshi had mentioned to mid-day that he had a concept for the sequel to the cult classic. Sources say the filmmaker, who is currently directing Aamir’s home production, Lahore, 1947, is simultaneously writing the comedy. This is at odds with the plans of the Sinha family, who, in 2019, reportedly intended to take the brand ahead with stars from the current crop.

A source reveals, “In 2019, rumours were rife that the producers wanted to make Andaz Apna Apna Reloaded with Ranveer Singh and Varun Dhawan. While their characters were to be named Amar and Prem, they were to have completely different backgrounds and the story would have no relation with the 1994 original. At the moment, the makers are treading cautiously on the matter. They are undecided whether they want to rope in Aamir and Salman with a top director at the helm, or cast gen-next stars. Regardless, it’s certain that Santoshi cannot make a sequel without the Sinhas’ go-ahead.”

When mid-day reached out to Priti, she asserted that only the family can take the brand forward, with a director of their choice. “Andaz Apna Apna is a legacy film, and as its rightful owners, we have to be careful about taking it forward. Talks of a sequel have been happening [within my team] for a long time. When it happens, we’ll proudly announce it with everyone,” she said.

The family is planning to celebrate the movie’s 30th anniversary. “Last year, we launched the Andaz Apna Apna memorabilia website and this year too, there’s an idea to celebrate the anniversary of this cult classic.”

Rajkumar Santoshi’s lawyer Binesh Patel has confirmed that the filmmaker has been granted bail in the cheque-bouncing case and that the court has postponed the judgement for the next 30 days.

During a hearing in the case on Saturday, the court ordered a two-year jail sentence for Santoshi while asking him to repay double the amount that he allegedly owes to a businessman, who claims that the cheques issued to him by the filmmaker bounced. The Jamnagar court in Gujarat has allowed Santoshi a 30-day stay to appeal against the order. It will allow Santoshi to challenge the verdict in a higher court.

In the same context, the filmmaker’s advocate Patel stated that they will appeal against the magisterial court’s judgement. As per a statement from him, “The court has stayed its judgement for 30 days and granted Mr Santoshi bail after we sought time to appeal against the judgement at a higher forum.”

Patel added, “The prosecution didn’t produce any documentary evidence to prove that Mr Santoshi had taken money at all. Instead, a third party had provided 11 altered cheques of Rs. 10 lakh each, which Mr Santoshi was not aware of.”

The director, who has helmed films such as Damini (1993), Ghatak: Lethal (1996) and Andaz Apna Apna (1994), is currently working on his next with actor Sunny Deol, produced by actor Aamir Khan.

Rajkot: A Jamnagar court on Saturday sentenced film producer and director Rajkumar Santoshi to two years’ simple imprisonment in a seven-year-old cheque bounce case lodged by a businessman. The director of Bollywood hits like Ghayal, Damini, Andaz Apna Apna and Khakee was also asked to pay Rs 2 crore to the petitioner, double the amount borrowed from him.

His upcoming film 'Lahore 1947', featuring Sunny Deol and Preity Zinta, is being produced by Aamir Khan Productions.

Rajkumar Santoshi was sentenced to 2 years imprisonment and fined Rs 2 crore under the Negotiable Instruments Act for bouncing cheques worth Rs 1.10 crore. The cheques were given to Ashok Lal, a businessman in the shipping industry, as a loan for movie production. Lal filed a civil suit after Santoshi failed to repay the money.

From Border 2 to Gadar 3, Sunny Deol is amused by the many sequel speculations doing the rounds. Gadar 2 (2023) was a blockbuster, which has led the rumour mill to work in overdrive.

“People like to speculate,” says the actor. Clearing the air, he adds, “These rumours have been there since Gadar 2 released; ‘Yeh part 2 kar raha hai, voh part 2 kar raha hai’. Arrey, kitni sequels kar raha hoon? Har cheez ke rumours hain. I will announce it myself.”

The 66-year-old’s next, Lahore 1947, will be directed by Rajkumar Santoshi. “Gadar 2 was successful, so this film is happening,” says Deol, adding, “We’ve been working on this film for the past 15-17 years, but it wasn’t happening. Gadar 2 opened a lot of doors for us. People have seen us (Santoshi and Deol) working together in three films in different genres, and all were masterpieces.”

They have worked on Ghayal (1990), Damini (1993) and Ghatak (1996). While signing new projects, Deol doesn’t feel “insecure” or think about “people’s expectations” from him. “If I love the subject, I will do the character,” he ends.

An elaborate round of scouting for appropriate locations to film Sunny Deol’s next came to an end after the makers of Lahore 1947 zeroed in on Vrundavan shooting studio at Madh Island.

A source tells mid-day of the film that will be backed by Aamir Khan’s production house, that the makers have set up a refugee camp for the shoot. “[Director] Rajkumar Santoshi has a certain palette and vision in mind for the scenes. This shoot will be different from the ones that have been canned by Aamir Khan Productions. Aamir is certain that the director will run with his vision, and his role will be relegated to that of a producer alone. The first day of shooting is February 12. This week, the team will be working on the logistics,” says the source.