The shooting of Ram Gopal Varma’s Police Company was stalled for nearly five hours on Monday at a set in Versova, after technicians and daily-wage workers affiliated with the Federation of Western India Cine Employees (FWICE) refused to work over Rs. 1.32 crore in pending dues dating back nearly nine years. The impasse ended after Rs. 1.11 crore was transferred to FWICE, following which work resumed.

Birendra Nath Tiwari, President of FWICE, says, “Varma, who owed money to technicians and daily-wage workers for three projects, including Sarkar 3 (2017) and Officer (2018), had written a letter to us in 2019, assuring us that the dues would be cleared at the earliest and requesting that he be allowed to continue working. We kept following up with him, but he continued to avoid the issue. We contacted him again when we learnt that he was preparing to shoot his next project, but for almost a month, we were told that the payment would be made shortly and were asked not to take action.”

The association eventually decided to halt the shoot over the unpaid dues. Ashok Dubey, Honorary General Secretary of FWICE, says, “On Monday, we had no choice but to stall the shoot. We asked the cameraman, fighters and members of the lighting department not to work until the payment was made. The outstanding amount involved several departments, including fighters, spot boys and the sound department. After almost nine years, the workers finally received the money that was due to them.”

FWICE Chief Advisor and President of the Indian Film & Television Directors’ Association (IFTDA), Ashoke Pandit, adds, “It is high time producers recognize that technicians and daily-wage workers who contribute to completing a film also have families and responsibilities. We do not want to stop a shoot or cause difficulties because the producer can also suffer as a result. We will continue to seek action when payments are withheld.”

There was no response from RGV till the time of going to press.

Earlier in June, FWICE and Ram Gopal Varma clashed after the filmmaker took to social media to criticise the federation over its directive concerning Ranveer Singh’s Don 3. FWICE hit back at Varma, with Chief Advisor Ashoke Pandit objecting to his remarks and questioning his credibility on the issue. Pandit alleged that Varma owes more than Rs. 1 crore in unpaid dues to technicians and daily-wage workers since 2017, including those who worked on Officer (2018).

He said Varma had assured FWICE in 2019 that the dues would be cleared, but the payments remain outstanding. Pandit also defended FWICE’s role in protecting the interests of technicians and workers, maintaining that the federation has a responsibility to intervene when members’ payments are withheld. The exchange added another layer to the ongoing friction between Varma and the federation.

It’s going to get dark, gritty, and bloody when Ram Gopal Varma dives into the underbelly of Mumbai’s crime world, where the line between law and outlaw is razor-thin. Industry sources tell mid-day that early discussions are underway for the filmmaker to direct a biopic on celebrated Mumbai encounter specialist Daya Nayak. Multiple insiders indicate that the project will be backed by a big studio. 

“The idea has been around for a while, but in recent months there has been renewed movement on it. Right now, the priority is getting the screenplay right and deciding the lens through which Daya Nayak’s story should be told,” says a source familiar with the development.

The film could potentially be positioned as a revival of the ‘Company’ franchise. Varma had once planned to make ‘Company 2’, centred on encounter specialists, with Nayak reportedly serving as a consultant, says another insider.

“In 2010, there were conversations around fitting it organically into the larger world of ‘Company’. While nothing has been decided yet, it has come up during discussions.”

Ranveer Singh’s Don 3 controversy is far from abating. After the Federation of Western India Cine Employees (FWICE) announced at the June 3 press conference that it is withdrawing its non-cooperation directive against the actor with immediate effect, mid-day has learnt that the Producers Guild of India is stepping in again to resolve the dispute between the superstar and producers Farhan Akhtar and Ritesh Sidhwani.

The Guild is expected to hold another round of discussions in the coming weeks. When mid-day reached out to Manish Goswami, vice-president, Guild, he refrained from putting a timeline to it, but agreed that the body will reconvene to resolve the issue that sparked when Singh apparently exited Don 3, to be directed by Akhtar, weeks before it was to roll.

“The Guild is yet to formally table the deal. From here, it can go two ways. We encourage an amicable resolution and hope the parties can resolve the matter through dialogue. But there is always the court route, if that falls through,” said Goswami.

The Guild’s meetings are expected to focus not only on resolving the current conflict, but also on establishing clearer industry protocols around actor commitments and safeguarding producers’ interests.

Meanwhile, sources, who worked on Don 3, revealed that Excel Entertainment — which alleged a loss of Rs. 45 crore due to Singh’s exit — made payments to all associated with the project. “All payments were cleared last month. To ensure there’s not another instance of loss of livelihood for technicians, we hope this incident changes things for good,” said a source.

On June 3, in a press conference, FWICE announced the withdrawal of its non-cooperation directive against Ranveer Singh. Earlier in the week, the actor reportedly served a legal notice to the cine body against its non-cooperation directive. FWICE President Birendra Nath Tiwari said at the presser, “On behalf of the Federation, we would like to request Ranveer Singh to come and sit with us… No one has won or lost in this matter. Our legal department will respond to his legal notice.”

FWICE Chief Advisor Ashoke Pandit said the decision was taken following requests from other cine bodies.

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Asha Bhosle, whose incandescent voice lit up film screens over more than seven decades, died in Mumbai on Sunday.

Prime Minister Narendra Modi called her “one of the most iconic and versatile voices India has ever known.” Her voice had a “timeless brilliance” that elevated soulful melodies and vibrant compositions, he said.

Bollywood star Shah Rukh Khan described her voice as “one of the pillars of Indian cinema” and would continue to resonate around the world for centuries. Filmmaker Ram Gopal Varma said her voice gave Rangeela (1995) “an immortal soul and raw, youthful fire.” The title track Rangeela Re was a thunderclap that shook Bollywood, he said.

Cricket great Sachin Tendulkar called it “a deeply sad day for India, and for music lovers across the world,” saying time itself seemed to have paused, though her eternal songs would keep her timeless forever.

Ashalata Dinanath Mangeshkar was born September 8, 1933, making her debut as a singer in the Hindi film industry in the film Chunariya in 1948 at the age of 15. Three women dominated female playback singing at the time — her sister Lata Mangeshkar, Shamshad Begum and Geeta Dutt. Against this backdrop, carving out a niche was an almost insurmountable challenge. But she was undaunted, trekking from one studio to another, meeting one music director after another. She began to sing in low-budget films such as Madari (1950), Titli (1951) and Thokar (1953).

“Lata ji never reduced her fees. This fact worked in Asha ji’s favour. Music directors who could not afford Lata ji’s fees collaborated with Asha ji,” said veteran music critic Rajiv Vijayakar.

It was in 1957 that the turning point came in the form Naya Daur, when music director O P Nayyar brought out the best in her on an upbeat soundtrack brimming with hits, showcasing her vocals alongside those of Mohammed Rafi. She and Nayyar would go on to collaborate on other hit musicals such as Tumsa Nahin Dekha (1957), Howrah Bridge (1958), Kashmir Ki Kali (1964) and Mere Sanam (1965).

Life at this point was turbulent on other fronts as well. She married Ganpatrao Bhosale when she was 16 but that wasn’t a happy union, forcing her to become a single parent to three children. Later, she went on to marry R D Burman in 1980.

What made Asha Bhosle stand out were her sheer range and versatility, giving voice to a world of infinite possibilities. She could be the innocent, the nautch girl, the vamp, and, most memorably, the tawaif, delivering an outstanding performance on the Umrao Jaan soundtrack (1981).

In a career spanning more than 78 years, she excelled in almost every emotion, sentiment, mood or genre of Hindi film music, whether it was the cabaret song Piya Tu Ab To Aaja from the film Caravan (1971), the ghazals of Umrao Jaan, or the poignant classical song Mana Anand Bhayo in Vijeta (1996). She gave her voice to actors ranging from Madhubala, Vyjayanthimala and Asha Parekh to Mumtaz, Helen, Zeenat Aman, Rekha, Urmila Matondkar, Kajol and Madhuri Dixit.

Among her international collaborations, one of the last was her appearance on the Gorillaz album, The Mountain, released earlier this year. She also collaborated with Michael Stipe of rock band R.E.M. on the 2002 track The Way You Dream and with Boy George in 1991 for Bow Down Mister. Incidentally, UK band Cornershop’s tribute, Brimful of Asha, became a hit in the late 1990s after a Fatboy Slim remix.

“The range and versatility of Asha ji’s singing is unmatchable,” said Lalit Pandit of the music director duo Jatin-Lalit. “In playback singing, there are two types of singers — one who has a melodious voice and sings what a music director has created. But an artiste like Asha ji added new dimensions and nuances to songs. In the song Zara Jhoom Loo Main (Dilwale Dulhania Le Jayenge, 1995), just listen carefully to how she sings the words ‘thandi thandi pawan.’ It is her contribution. It took the song to another level.”

This ability to add subtle detailing became a hallmark of her career. Her collaboration with music director R D Burman in films such as Teesri Manzil (1966), Caravan (1971) and Ijaazat (1987) would spawn all-time classics Aaja Aaja, Daiyya Main Kahan Aa Phasi and Mera Kuch Saaman.

These underscored not only her vocal range but her intricate understanding of music. In fact, the initial inspiration for the composition of the song Mera Kuch Saaman from Ijaazat came from her own humming of the lyrics written by Gulzar.

Music composer Anu Malik, who had a long association with Bhosle, recalled how helpful she was to a newcomer.

“I was only a 17-year-old teenager when Asha ji helped me,” Malik said. “She was at the peak of her career in the 1970s, working with all great directors. But she made time and met me. She sang my first song in the film Hunterwaali (1977). She gave me so much love and affection like her son. This shows her greatness as an artiste who had empathy and care for people around her.

Beyond film music, Bhosle was known for her ghazal collaborations with the legendary Ghulam Ali as well as with Hariharan.

“One of the best qualities in Asha ji was that she always kept with the times,” shares veteran playback singer Udit Narayan. “There are singers whose voice quality deteriorates as they age or reach the last leg of their career. But Asha ji’s voice was always contemporary. This is the mark of a great artiste who represented not just music but the history of Indian cinema.”

Comparisons between the two Mangeshkar sisters were natural but weren’t really justified. “Both sisters must not be compared. Both represent history in different ways. In every field there are comparisons between two great people, whether it is Sachin Tendulkar or Sunil Gavaskar, or singers Pankaj Mullick and K L Saigal,” said Gujarati novelist and former music critic Anil Rawal.

“Both are great and provide a long and sumptuous thali of exquisite and diverse emotions to listeners.”

Bhosle sang more than 12,000 songs for more than 1,000 Hindi films. In addition to this, she sang in 20 Indian and foreign languages. She was awarded the Padma Vibhushan in 2008. Besides this, she won six Filmfare Awards for singing and two National Awards. She received the Dadasaheb Phalke Award in 2000.

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Months ago, Manoj Bajpayee told mid-day that his next, Police Station Mein Bhoot, would be a “creative shock” as filmmaker Ram Gopal Varma had evolved significantly (Ramu sees me differently from others, November 9).

When we met Varma recently and mentioned that his leading man was all praises for him, he smiled before replying, “He enjoyed shooting this film with me. I think he saw a different side to me because we had worked together before as well.”

The horror comedy is the latest collaboration of the duo, who earlier teamed up on Daud (1997), Satya (1998), Kaun (1999), Shool (1999), and Sarkar 3 (2017).

Evolution is necessary for an artiste seeking longevity in his career. Varma would be among the first to agree with that. Recently, at a film festival in Mumbai, the director spoke about embracing Artificial Intelligence (AI) in filmmaking. Naturally, we asked him if he would use it in his future films.

“Any technology will enhance the craft of filmmaking. It will be very stupid not to use it because people tend to resist any new technology.”

AI has certainly given rise to apprehension in many, including actors. The fear extends to filmmakers as well, noted Varma. “All the big-budget filmmakers are scared because a tool like Seedance [AI video generator] is creating sequences for a few dollars that hundreds of crores of rupees cannot do.”

So how does he plan to protect himself and not become a slave to AI? “You can be a slave only when it requires you. I don’t think AI needs you, to begin with.”

Almost nine years after the last instalment of the Sarkar franchise, filmmaker Ram Gopal Varma has announced its fourth chapter. The director tells mid-day, “The writing is done. I am starting the shoot in [mid-2026].”

Of course, it is impossible to imagine Sarkar without its principal cast — Amitabh Bachchan and Abhishek Bachchan. Asked if the father-son duo will return for the fourth film, Varma confirms, “Both Amitabh Bachchan and Abhishek Bachchan will be a part of the film.”

The story began in 2005 with Sarkar, followed by Sarkar Raj (2008) and Sarkar 3 (2017). While the Bachchan duo remained a constant through the franchise, the rest of the cast changed with each instalment.

While Varma chose not to divulge the names of any additional cast members, he revealed that he aims to wrap up Sarkar 4 within the year. Post that he will begin work on his previously announced thriller, Syndicate. The director says the project is currently in the casting stage.

After actor Vijay’s final film, Jana Nayagan, was postponed from its January 9 release for failing to receive CBFC certification following allegations that it hurt religious sentiments, several film personalities have voiced their support.

Taking to X, actor-politician Kamal Haasan wrote, “India’s Constitution guarantees freedom of expression, guided by reason, never diminished by opacity. This moment is larger than any one film… when clarity is absent, creativity is constrained, economic activity is disrupted, and public trust is weakened. Tamil Nadu and India’s cinema lovers bring passion, discernment, and maturity to the arts; they deserve openness and respect.”

Meanwhile, director Ram Gopal Varma posted on X, “It’s truly foolish to think that the censor board is still relevant today. It has long outlived it’s purpose, but it’s being kept alive out of laziness to debate it’s relevance now, and it is the film industry as a whole which is mainly responsible for this.”

He added, “Everything is available on the internet instantly, anonymously, and without a gatekeeper… And in this reality, for the honourable censor board to believe that cutting a word in a film, trimming a shot, or blurring a cigarette will ‘protect society’ is a joke.” HTC

In his first statement since the legal tussle with the CBFC at the Madras HC, producer Venkat K Narayana described the situation as “extremely difficult.”

In a video statement, he said, “On 5 January, we were informed that the film had been referred to the revising committee. With time running out to approach the revising committee, we approached the Honourable HC.”

With the fate of Jana Nayagan’s release now hanging in limbo, especially amid the upcoming Tamil Nadu elections, Venkat said the process has been both challenging and emotional. He added, ”Above all, we firmly believe that Thalapathy Vijay sir deserves the farewell he has earned through decades of love from his fan.”

Bollywood has long been a dominant force in India’s film landscape, but the growing pan-India appeal of south cinema in recent years has challenged its supremacy. With the exception of a few Hindi releases, many films struggled at the box office, fuelling the narrative that Bollywood was losing ground. However, the massive success of Dhurandhar, which has entered the Rs. 1000 cr club, appears to have shifted the conversation – something filmmaker Ram Gopal Varma strongly believes.

In a post on X recently, RGV wrote, “The fireball of the southies’ invasion into Bolly wood has been kicked back by Aditya Dhar. From what I saw of Dhurandhar 2, if the first scared them, the second will terrify them.”

Known for his blunt opinions, Ram Gopal Varma clarified that his comment was not intended to undermine South cinema or create a divide. Speaking to Bombay Times, he said, “I referred to South cinema because their potboilers follow a certain template. Korean cinema is known for its unique style, and so is South cinema. Aditya Dhar took the same masala template, but elevated it aesthetically. That’s what has shaken everyone.”

According to him, the success of Dhurandhar will force South filmmakers to reassess their approach to scripts and storytelling. “The film is far more mature and nuanced in its execution,” he said, adding, “What makes the difference is the detailing. Instead of exaggerated action where people fly or bounce unrealistically, the action here feels believable. That level of maturity and character clarity is rarely found in traditional masala cinema, which often veers toward the tacky.”

Discussing Dhurandhar’s grounded storytelling, Varma highlighted the film’s decision to move away from the concept of hero worship, “When audiences embrace something as intense as Dhurandhar, how will over-the-top pan-India films survive? When Ranveer Singh makes his entry, the intention isn’t to make people clap. He’s treated purely as a character who disappears into the story. Every character matters equally. You don’t just remember Ranveer – you remember everyone. Giving each character their due is extremely rare.”

Addressing the claims that Bollywood is ‘finished,’ Varma remarked, “People say Bollywood is done because it stopped making films people enjoy. South masala films dominated during that phase. But would those films work the same way if they released after Dhurandhar? South cinema often strives for a perfection that ends up looking unreal – be it overly glamorous heroines or questionable relationship dynamics. That disconnect matters.”

Reflecting on history, the filmmaker added, “Many South stars – Rajinikanth, N T Rama Rao in the ’70s and ’80s – rose to superstardom through remakes of Hindi films, especially Amitabh Bachchan’s. In the ’90s, Bollywood shifted from masala to musicals, driven by music companies turning producers. Then came a generation of foreign-educated filmmakers focused on slice-of-life cinema. The South, barring Malayalam cinema, never stopped making masala films, which is why their stars became nationally popular. But the storytelling sensibility often didn’t connect with North Indian audiences.”

He continued, “Dhurandhar uses the same action-masala template but grounds it in realism. It’s being discussed for its music, dialogues, cinematography and action. South films may generate huge numbers and entertain theatre audiences, but there’s often little to discuss afterwards – excluding period epics.”

Comparisons between Dhurandhar and Varma’s own films, like Satya (1998) and Sarkar (2005), have been inevitable. Responding to that, he said, “Human conflict is universal – whether it’s the American mafia, Mumbai’s underworld, or any other setting. What matters is how the conflict is portrayed. The Godfather (1972) became a global benchmark because of how it was made. That’s what great cinema does.”

Urmila Matondkar running on the beach in an oversized white ganji. Or dancing on the streets of Mumbai with abandon, as others join in. Some images of Rangeela (1995) remain iconic even today, 30 years after its release. “It’s thrilling because it shows that people never forget such timeless movies,” says Matondkar of the film that has been restored by Ultra Media and is re-releasing today.

Centred on Matondkar’s Mili, the Aamir Khan and Jackie Shroff-starrer told the story of a girl-next-door pursuing her acting ambitions and love. In a way, Mili redefined the Bollywood heroine — while the styling influenced fashion trends across the country, Ram Gopal Varma’s directorial venture gave us a heroine who celebrated her sensuality.

“I certainly didn’t think of it from that perspective when I did Rangeela,” reflects the actor. “There was a lot of relatability as she was from a middle-class family. Manish Malhotra and Ram Gopal Varma created Mili’s look. The entire team contributes to a film’s success, and it’s one of the career-best works of these people.”

Another element that made waves was the unusual choreography to AR Rahman’s chartbusters — be it dancing by the beach in Tanha Tanha, or Mumbai streets becoming Matondkar’s stage in Rangeela Re. Legend has it that the leading lady stepped in for choreographer Saroj Khan on more than one occasion and designed some steps herself.

Mention this to the actor, and she shares, “When I met Saroj ji after Rangeela’s release, she told me that I should have also been credited as a choreographer. I was so embarrassed. [Such a compliment] coming from a master like her was something to be proud of. There were some pieces like the opening of Hai Rama and Pyaar Yeh Jaane Kaisa Hai, and a few steps here and there that I had done. I have done that in other movies as well.”

Rangeela marked the beginning of a successful collaboration between Matondkar and Varma. Why haven’t we seen them team up after Varma’s production Ek Hasina Thi (2004)? She says, “There is really no reason. He had great collaborations with most of his actors like Amitabh Bachchan ji or Manoj Bajpayee. He worked more with them. I was [cast], depending on whether the movie required me or not.”

What makes a good horror film truly terrifying? It’s not just the blood-curdling screams, eerie silences or sudden jump scares — it’s the invisible architecture behind the fear. The best horror filmmakers know that real terror lies in storytelling, emotion and technical precision. Crafting fear that lingers long after the credits roll demands far more than prosthetics and dim lighting; it requires vision, patience and a deep understanding of human psychology.

As Halloween approaches, BT speaks to directors who have ventured into the dark corridors of horror cinema to decode what makes the genre so challenging and rewarding to create.

For any director, the heart of a horror film is its story. Without it, scares feel hollow. Pavan Kirpalani, who directed Ragini MMS and Phobia, emphasizes that a strong script and invested characters are the foundation. “What makes a good horror film is a good script, a good story and a good theme. You have to invest in the story; invest in the world you’re entering into. Then the scares are just packaging. An action movie without a story is hollow. Once you have characters that you care about, the horror becomes intriguing, and the stakes are higher,” he explains.

Aditya Sarpotdar, director of Munjya and Thamma, believes relatability amplifies fear. “What always works in a good horror film is a relatable set-up. When you fear the unknown, it has to exist in a world you recognise,” he says. Recalling Bhoot directed by Ram Gopal Varma, he adds, “A ghost in a Mumbai apartment was terrifying. I thought... why wouldn’t the ghost be around where I am? That relatability is everything.”

Despite the recent success of films like Shaitaan and Stree 2, directors admit that pure horror remains a hard sell. “It’s difficult to get horror films backed by producers. A horror comedy is easier because it casts a wider net. Straight horror, production-wise and money-wise, is tougher to mount. We are still nowhere close to what the West is doing with it. We are still barely scratching the surface when it comes to horror,” says Pavan Kirpalani.

For director Vishal Furia, passion is paramount. “A filmmaker’s absolute love for the genre is what it takes to make a horror film. Unfortunately, people in India make horror films just to make a quick buck. But then they end up making a shoddy horror film, which is why the genre has not evolved in Bollywood. But if a filmmaker really puts his passion and love into the film, then he can make something interesting out of it,” he states.

When asked if it is a challenging genre to direct, Aditya Sarpotdar says, “Horror is difficult to direct because making the audience enter the world that you’re building depends on many factors, like the way you tell the story, the performances and other technicalities.”

Vishal Furia adds, “When the actor feels scared is when the audience feels scared. Even the person playing the ghost has to be mentally and physically strong. Under layers of prosthetic and constant retakes, performance can suffer. That’s why it’s one of the hardest genres to direct.”

On the other hand, Pavan Kirpalani believes, “A horror movie is easier to make as you’re only striding one tone.”

Once the story is set, horror lives in the craft. Vishal Furia, of Chhorii fame, believes this is a very technical genre. “Every department has to work perfectly. One misstep, and the scene could look funny or pull the audience out. The mood has to be consistent. The DOP, sound designer, prosthetics team, editor — everyone must be in rhythm. One bad lighting cue can kill a scare,” he explains.

Pavan Kirpalani echoes this and adds, “Making a horror film is a technical process. Sound, prosthetics, VFX, camera work, lighting — everything has to align. But most important is, what the character is doing, driven by the story.”

Thirty years after its release, Ram Gopal Varma’s iconic Rangeela still enchants the audience with its blend of sweetness, sensuality and cinematic magic. The film has been restored in 4K and will be rereleased in India theatrically on October 10. We caught up with RGV to discuss his celebrated film, featuring Mili (Urmila Matondkar), Munna (Aamir Khan) and Raj Kamal (Jackie Shroff). Excerpts:

Around that time, Aamir’s films hadn’t worked. Urmila’s films also didn’t work. I am from the South, so no one really knew what to expect from this film. In fact, even the music was a new form. Rangeela’s songs didn’t sound like the hit film songs of that time. Whenever something new comes, people tend to get disoriented, but by the time the release came close, the music caught on.

Huge credit to writers Neeraj Vora and Sanjay Chhel. What really makes a film last is how unforgettable its characters are, because no matter how much time goes by, human emotions remain the same. With Munna (Aamir Khan), Mili (Urmila Matondkar) and Kamal (Jackie Shroff) still etched in our minds, the passage of time doesn’t matter anymore. The story of Rangeela will find appeal today or 30 years before it was made.

Cinematically, I would say my inspiration was the 1960s Hollywood musical, The Sound Of Music. Although it’s not the same story, Rangeela is also a love story where there’s no conflict at all. There is no antagonist either. Everyone is nice – Mili, Munna and Kamal. There’s not a single bad person, but the situation creates the conflict. I love the aspect that Rangeela is a sad kind of a story where your heart goes out to Aamir, but at the same time, you can’t really hate the other person either.

When you’re working together for a long time, and especially when a film becomes so successful, you tend to make the next film with the same actor.

Urmila can give versatile expressions, which I realized after seeing her in the song Hai Rama. That’s the reason I cast her in such a wide variety of films – a horror film like Bhoot, the gangster film Satya and a caper like Daud. I made Rangeela because of her. Why I wanted to make Rangeela was because I felt inspired seeing a song of hers in my Telugu film (Drohi with Nagarjuna). The origin of Rangeela stemmed from my desire to showcase Urmila’s sensuality and her beauty. She had never worn such revealing clothes in the films she had done before that, but I told her, if you feel beautiful about your body, you shouldn’t be conscious. That bindaas attitude, the fact that she’s not aware of herself, and the fact that she’s not intending to create an effect on somebody else created a wild, animal-like, exotic feeling in the audience. The most memorable aspect of Rangeela was to look at Urmila through the camera.

When I heard the songs of Roja, I was blown away. The kind of new sound, packaging and production that Rahman created was something no one had ever heard. It was inspiring for me to capture that visually. When the music is generic, everyone from the choreographer to the actor comes up with a predictable output, but because it was so unpredictable that no one had a choice but to reinvent themselves.

Ramesh Sippy with Hema Malini and Amjad Khan on the sets of Sholay

Sholay, the 1975 blockbuster that redefined Indian cinema, turned 50 earlier this year. Touted as the greatest Indian film ever made, the film was honoured at the Toronto International Film Festival (TIFF), a recognition that speaks volumes for its timeless appeal and cultural influence.

Director Ramesh Sippy says, “Making a film is a lot of hard work. So, when it receives appreciation at the end of the day, it feels good. After all, being appreciated is an important aspect of moviemaking.”

Sholay created characters that became a part of popular cultural lore. However, Sippy dismisses the notion that the cult film helped him crack the formulaic moviemaking code in Indian cinema.

He says, “No one makes a good film with the thought that it must have some good songs, action that hasn’t been seen before, or a romantic scene that stands out. You begin with what you have, a bunch of writers who give you a strong storyline that you build up with good characters.”

Sippy says, “I was fortunate to have fine writers like Salim-Javed on board. Together, we were able to develop a powerful script. Casting the right actors was equally crucial. With music by R D Burman and lyrics by Anand Bakshi, we had a fabulous score.”

Surprisingly, Sholay did not open to a great start at the box office initially. He recalls, “Sholay was a very expensive film. It would normally cost Rs. 50-60 lakhs, but Sholay cost Rs. 3 crores, and trade pundits felt the movie would not be able to recover the money that was spent on it. No film had recovered that kind of cost, so they felt, what’s the point of it being a well-made film? We discussed the excessive criticism surrounding the film, but finally decided to leave it as it is. We thought time would tell and it did tell.”

The casting process of Sholay is the stuff of legends, with stories about Dharmendra initially wanting to play Thakur, while Sanjeev Kumar eyeing the role of Gabbar Singh.

Sippy shares, “If one character is more colourful, the other one seems to have more depth. Jaya Bachchan, playing the silent Radha, was just as important as the chatterbox Basanti, played by Hema Malini. It was the same in the case of Mr Bachchan as Jai, the silent and calm contrast to Dharam ji’s flamboyant and outspoken Veeru. It all worked out beautifully. However, it was not easy to make a film like Sholay. Most films are made in 40-50 days, but for Sholay, it took us 300 days to shoot it. We put our shoulders to the wheel as a team and plodded on.”

Sippy is firm in his belief that Sholay should never be remade. He says, “I will never make Sholay again. If the film is still being remembered after 50 years, does it make sense to make it again? Films like Sholay become timeless, which is why 50 years later, we’re still talking about them. If somebody else wants to remake Sholay, they can, but I personally would not want to.”

In 2007, Ram Gopal Varma attempted exactly that, with Ram Gopal Varma Ki Aag, but the film failed to resonate with the audience. Sippy recalls, “Ram Gopal Varma had come to me wanting to remake it, and I very politely suggested to him not to. However, every maker has a right, and I told him it’s entirely his decision.”

Fiza, released in 2000, celebrates its 25th anniversary today. On this milestone, the film’s writer-director, Khalid Mohamed, shares, “These 25 years seem like yesterday. Looking back, there’s a sense of self-fulfilment and pride.” He calls actors Karisma Kapoor a “dream to work with” and Hrithik Roshan the “most immersive” actor.

Khalid says he wasn’t meant to helm the film originally but was “pushed into directing” after filmmaker Ram Gopal Varma, the first choice, didn’t work out. It was cinematographer Santosh Sivan who stepped in with a suggestion: “Why don’t you direct it yourself?” Later, Karisma also joined Santosh in encouraging Khalid.

Though Khalid had written screenplays for films like Mammo (1994), Sardari Begum (1996), and Zubeidaa (2001), directing had its own challenges: “Of course, there were some tough days, like when we didn’t have enough resources to show a large room.”

Funding was also major concern until a new producer came on board. “The film had been started with loans derived from friends by co-producer Pradeep Guha and myself,” Khalid explains.

Sharing how the music became a huge asset to the film, he muses, “I lucked out.” Anu Malik “was in his element”, and A R Rahman composed Piya Haji Ali for free. Gulzar’s lyrics for Aaja Mahiya also “worked wonders for the song,” Khalid adds.

Shabana Raza Bajpayee recalls playing Shehnaz Sulaiman, Hrithik Roshan’s love interest in Fiza: “I remember when I got the narration of the story. I liked it so much, not just its canvas but the bunch of talented people who were involved .”

The 50-year-old actor reveals that her main goal during production was to get director Khalid Mohamed to broaden her role. “My only aim was to somehow persuade Khalid to increase my scenes, as I loved the story so much and, like any other aspiring actor, I wanted to be there in more frames,” Shabana explains, adding, “No one could deter him even a bit from the original plot.”

She also reflects on working with her husband, actor Manoj Bajpayee, who played Murad Khan. “Manoj had a small but memorable role,” she says, adding, “Every character was an anchor to the story in their own way; that’s what makes the film more special.”

Actor Manoj Bajpayee is making waves for his trademark knack of playing middle-class men and turning the ordinary into unforgettable stories in his latest release, Inspector Zende. Now, he is reuniting with filmmaker Ram Gopal Varma after 27 years.

Manoj, 56, joined Sonal Kalra, Chief Managing Editor, Entertainment and Lifestyle, in this week’s episode of The Right Angle with Sonal Kalra, and opened up on the money struggles of actors across mediums, and how passion, not validation, drives him.

Very difficult shoes to wear (laughs). I’ve been crazy about acting since I was 10 and I still am. I’m not giving any gyaan, nobody wants that. [But] today, too, I feel every great role should only come to me and no one else. If you want to buy a nice car, live in a nice house, wear good clothes, or tour the world through your acting, don’t go for it. The ratio of people who achieve that is very low. The passion for your work must always be present. If you want to act because without it you might die, then come.

That’s very difficult to judge. Ask anyone who won a National Film Award last year, and most won’t remember. But they’ll remember Sirf Ek Bandaa Kaafi Hai and Joram (both 2023) as great films, even though they didn’t get any National Awards. What matters to me is how great the films are and how proud I am of my work. Awards are for one evening; your work will be remembered. You can’t get an award to validate your work; if you are doing that, it’s a great injustice to yourself and your films.

I never get paid (laughs). And nowadays, even those in theatres aren’t getting paid like they used to because of the risk and budget constraints. On OTT, I’ve been busy for seven years. The biggest advantages are out-of-the-box stories and actors getting respect, and writers and directors getting employed; it’s a win-win situation for all of us, including the platforms. Theatres are slowly making a comeback, but budgets are lower. I really want all mediums — films, OTT, and satellite — to do really well. If they do, there won’t be a monopoly, and that will only be good for filmmakers, actors and all creative departments.

I’ve finished one schedule, and I am completely zapped. He is the real OG (laughs). This guy has not gone anywhere; he is going to be back, and how! Ramu’s ability to go beyond anybody’s imagination as a filmmaker, his courage, and his audaciousness have not changed! But he has become very inclusive. Unlike the Ramu I saw and experienced during Satya (1998), Shool (1999) and Kaun? (1999), this one is like a three-year-old kid in a candy store. And even today, he sits down with you and tells you what has gone wrong with him in all these years. The output so far is mind-blowing. A director like Ram Gopal Varma can always come back and throw you out of your alignment; he is that kind of talent.

One of the best things we heard this summer was Ram Gopal Varma’s announcement in April that he was reuniting with Manoj Bajpayee for a horror action comedy titled Police Station Mein Bhoot. Three months since, it’s time for the filmmaker-actor duo to head to the sets. mid-day has learnt that Varma will call action on the film from July 26 in Hyderabad, where they will shoot for a month.

When it comes to the duo, expectations are sky high, especially since they gave us the iconic Satya (1998) that catapulted Bajpayee aka Bhiku Mhatre to overnight fame. Several promising films followed — from the underrated Kaun (1999) to the cop drama, Shool (1999). This time, they are attempting a new genre together as they tell the story of Bajpayee’s cop, who kills a notorious gangster and is possessed by him in turn.

A source reveals, “Manoj will begin shooting Police Station Mein Bhoot at a bungalow in Ameerpet in Hyderabad. The bungalow will be converted into a police station. Ramu has written a wild story that sees how Manoj’s character transforms from an honest cop to a maniacal one after he is possessed by the gangster’s spirit and the police station becomes haunted.”

Police Station Mein Bhoot, which also stars Genelia Deshmukh as Bajpayee’s wife and Rajpal Yadav, will be shot over four schedules.

The source adds, “After the Hyderabad leg, the remaining schedules will be conducted in parts of South India. Ramu wishes to wrap it up by the year-end.”

Fardeen Khan grew up in an environment that was all about movies. In a chat with us, he shares that while his father, actor-filmmaker Feroz Khan, gave him a launch pad, he also told him that beyond that, he would have to find his own foothold. “It was crucial for my father that his children create their own identity. He was protective but always insisted that I had to earn my own goodwill and place in the industry,” says the actor.

Fardeen agrees that he had the privilege of being from a film family, but he was also aware that there was a certain responsibility that came with it. “As time passed, I built my own relationships, separate from my father’s legacy. I grew up learning from him – not just as an actor, but seeing him as a producer and director. I had a front-row seat to how films were made and the challenges filmmakers faced. And that taught me to balance both the actor’s and producer’s perspectives, so I’ve never caused trouble for any producer,” he shares.

Over the years, Fardeen believes he has built his own goodwill in the industry. He says, “I’d like to think I earned my reputation. I have worked with several filmmakers like Sanjay Gupta, Mudassar Aziz, and Ram Gopal Varma multiple times. Also, whenever there’s been a tough situation, I’ve taken responsibility to resolve it personally.”

Recalling the time when his debut film, Prem Aggan (1998), directed by Feroz Khan, failed at the box office, Fardeen says, “When Prem Aggan didn’t succeed, I was quickly written off. My father sat me down and said, ‘Son, we made an effort, but we failed. You’ve got a college degree, you’ve learned from my experiences and from your own life. Now, you’ll have to pave your own way.’ He told me he would support me for one year, but after that, I would have to be on my own.”

In a recent post on X, filmmaker Ram Gopal Varma took on the makers of the Ram Charan-starrer Game Changer for allegedly showcasing inflated box office numbers. Varma’s post revived the debate around filmmakers overstating a film’s earnings to create the impression of success and positive word-of-mouth reviews.

With Game Changer, however, it is clear that this issue isn’t just prevalent in Bollywood, but in southern cinema as well. Despite it being a long-standing practice, it seems to benefit no one in the long run. We ask trade experts if there is an endgame to misleading audiences.

Game Changer producers reported that the film earned Rs. 186 crore on release day, January 10. If true, this would make the film the fourth-best opening for an Indian film ever, behind Pushpa 2,Baahubali 2, and RRR.

However, as per trade sources, the film opened under Rs. 100 crore worldwide; in fact, data portal Sacnilk reported a collection of only Rs. 80 crore. A source from within the Telugu film industry tells us, “Generally, [film teams] do this within a margin of 10-15%. but what Game Changer did is way beyond 70-80%.” The insider adds, “It is usually done to satisfy the fans or a hero’s ego.”

Distributor Sanjay Ghai explains that filmmakers often use terms such as gross or net value in their marketing to confuse audiences who might not understand the distinction. “Public ko yeh sab samajh nahin aata. Unko ko bas itna samajh aata hai ki film Rs. 500 crore cross kar gayi.”

While Ghai clarifies that distributors have no say in the numbers, he continues, “South aur north dono jagah halat kharab hai par janta sab janti hai sach kya hai.”

Notably, films in the past year such as Jigra and Kalki 2898 AD, among others also faced scrutiny for allegedly inflating box office figures. But why is this done?

Trade analyst Atul Mohan says that the motive is primarily to shape public perception: “Yeh sab perception build karne ke liye kiya jata hai.” Pointing out that accurate first-day collection reports are typically only made available the following afternoon, he shares, “The numbers that [makers] project in the first three days is all marketing; it is done to make people curious.”

Vidhu Vinod Chopra, Director: “Marketing today is full of lies. Influencers are paid to promote fake narratives. When theatres are empty, producers buy their own tickets and spread false box office numbers. I’m being honest—my film released yesterday, and very few people showed up. No one else will admit their film didn’t have a good opening.”

Bhushan Kumar, Filmmaker: “I can’t speak for others, but I don’t believe in this; it’s made-up. Maybe [numbers are increasing] through corporate bookings. That doesn’t mean people are buying tickets since the halls are empty.“

Anil Sharma, Director: Film agar achchi hai toh number badhao, ghatao koi farak nahin padhta. Ab time ho gaya hai branding ka, sabko brand banana hai. Kuch saal baad sirf poster reh jaate hain branding waale. But this doesn’t help the industry or actors.actors.

Karan Johar, Filmmaker: During an interview in October, the filmmaker confirmed that inflating numbers was a long-standing practice in Bollywood. “Yes, numbers are fudged, true,” he had said.

Atul Mohan, Analyst: I think this began with Ghajini (2008), when the Rs. 100 crore clubs started. Everyone wanted to brand themselves as champs. Now it’s at a point where before the first day is over, posters claim that a film is ‘close to Rs. 25 crore’ and so forth.

Kartik Aaryan, Actor: On Thursday the actor said, “Some people [inflate the numbers], and some don’t. It has reached a level where the lines are so blurred that you have to guess how much a film has actually earned. Audiences are smart... they use their own judgment rather than relying on numbers. Eventually, I think films find their [own] space.”

Urmila Matondkar made fitness fashionable much before Bollywood lapped up the gym culture. Her chiselled body and glam quotient, especially in Rangeela, and her dance moves in songs like Kambakth Ishq and Chamma Chamma were a game changer in the ’90s. When it came to her performances, the director with whom she delivered some of the highs of her career was Ram Gopal Varma (RGV) with films like Rangeela. Bhoot, Jungle, Kaun? and Satya. With Satya (1998) back in the cinemas, Urmila reunited with the talented cast and crew of the film recently, including RGV, who for the longest time considered Urmila his muse. Over the years, rumours of a fallout between the two have been a topic of chatter within industry circles. In an exclusive conversation with us, Urmila addressed the speculations for the first time and recalled her memories of Satya.

Talking about how she had to drop the glam girl image and remodel herself as a girl-next-door for the film, Urmila says, “When Satya happened, I was probably the only known face in the movie. Rest were talented newcomers. RGV was counting on me to pull it off. Rangeela made me a huge star and Satya made me unlearn that. When you have spent many years trying to become somebody and have to shed that status overnight to become a nobody, that was me in Satya. My character Vidya in the film has no identity of her own, she is literally relevant because she happens to be Satya’s neighbour. To step back into a girl next door avatar was a huge challenge. I remember using my mother’s old saris which she was on the verge of giving up and draping them because I felt it was perfect for the role. I am glad I could use my star status in a film that went on to become one of our finest.”

Appreciating RGV’s contribution to cinema, Urmila adds, “Ramu ji is undoubtedly one of our finest filmmakers. Look at his body of work and the kind of talent he got into the film industry. Not just actors, but cinematographers, technicians, writers and music directors. At the screening of Satya’s re-release, Sriram Raghavan, Madhu Mantena and Anurag Kashyap were there for him as they all had started out with him. He is an institution in cinema. I am proud of the work I have done with Ram Gopal Varma. If the right opportunity comes along, I would love to collaborate with Manoj Bajpayee and Ramu ji again.”

Dismissing rumours about their fallout, Urmila revealed, “There is no such thing as we stopped working. There was no fallout between RGV and me. I even did special songs in his movies like Company and Ram Gopal Varma Ki Aag. The 90’s media was obsessed with everything about me except for my acting capability. Today, people openly talk about nepotism. Back in the day, too, there were actors around me who came from film families. Many couldn’t handle the fact that this nobody coming from a middle-class Marathi background was simply doing her work and shining. I made it on my own without anyone’s backing. I will say this proudly, that I am a people made star. My work has always spoken for itself.”

Urmila’s biggest grouse is her portrayal by the media in the 90’s. “My body of work included films like Kaun?, Bhoot, Ek Hasina Thi, Pinjar, Rangeela, Maine Gandhi Ko Nahin Mara… but I was still slotted as an item girl or a sex siren. Rangeela is also about a simple girl, who dreams big. The sexy image you see of her is her screen image or a character’s fantasy. I am glad the media today has a deeper understanding and a different perspective on women,” she says.

Speaking of the process of working with RGV, Urmila says, “It’s not that I was in every movie that Ramuji made. I am sure he didn’t think that he would put me in every movie either. He is a director who gives you great freedom to explore and that is a lot of work. He expects the actor to do a lot of work. He puts you in a dark room and tries his voice to guide you through that room, but it is you, who has to find your way out. It is you who must take that character to the finality. This work process is great and not so great part of him. It grows you tremendously as an actor, but those who cannot find their own way will not be able to make it.”

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In a post on X, filmmaker Ram Gopal Varma talked about Satya and wrote, “Some of my later films might have been successful but I do not believe that any of them had the same honesty and integrity which is in SATYA.”

He added, “When Francis Coppola was asked by an interviewer about a film he made after GODFATHER, whether it would be as good, I could see him squirming because I could see that it didn’t occur to him. No one asked me about any film I was about to make post SATYA whether it will be as good, but what’s worse is that I didn’t ask myself… whatever little of my life is left, I want to spend it sincerely and create something as worthy as SATYA.” Addressing Urmila, he added, "“Satya went so beyond the rangeela glamorous quotient you were already known for. It is you alone in Satya who made the film much more than just a gangster drama to give it a deeper soul. It’s no small feat to stand out in such a man’s world, but you did it unbelievably effortlessly.”

The makers of actor Ram Charan’s latest outing, Game Changer, have filed a police complaint against around 45 persons for allegedly leaking a pirated version of the film online.

The pirates reportedly also demanded money from members of the production team before the release of the film and warned that they would leak the pirated version if their demands were not met.

But as the producers did not give in to the demands, plot points of the film were shared online two days ahead of its release on January 10. Eventually, on the day of the film’s release, an HD pirated print was leaked on various internet platforms, such as Telegram. An investigation is on to ascertain if the accused individuals committed these crimes independently or as a group.

Directed by filmmaker S Shankar, the movie features Charan and actor Kiara Advani in the lead roles. The project, which marks the director’s first Telugu film, sees Charan play dual roles — that of a politician and an IAS officer. HTC

Filmmaker Ram Gopal Varma has called into question the reported box office figures of the Ram Charan-starrer. This comes amid controversy over discrepancies in the box office numbers claimed by the producers and those reported by trade sources. While the producers claimed that the film made Rs. 186 crore on the first day, trade sources quoted figures well below Rs. 100 crore.

Taking to X on Monday, Varma wrote sarcastically, “If @ssrajamouli and @SukumarWritings sky rocketed Telugu cinema in real time collections into a fantastically stratospheric heights thereby sending legitimate shock waves into Bollywood, the people behind G C succeeded in proving that the south is much more FANTASTIC in being a FRAUD.”

Filmmaker Ram Gopal Varma’s Satya (1998) gave Bollywood two gifts—an iconic gangster drama, and a powerhouse performer in Manoj Bajpayee. Their collaborations since have resulted in experimental films, some hits, others misses. Now, the actor is set to reunite with his mentor for a movie, seven years after their last collaboration, Sarkar 3 (2017). Almost as if reading our mind, the first thing Bajpayee tells us is that it’s not a gangster drama.

“I am doing Ramu’s next project. As soon as the script is ready and a window opens in my schedule, we’ll do it. It’s not a gangster film, but it will be a vintage Ram Gopal Varma film,” he promises.

When it comes to the actor-director duo, one can expect unconventional stories. Think the psychological thriller Kaun (1999), or the road-trip-gone-wrong thriller Road (2002). What can we expect this time?

“[A few months ago], Ramu called me saying that he has a story developing in his mind; he hasn’t shared [the details]. Ramu has given me a career, and I always tell him that if he asks me to stand in any frame, I will stand there. He’ll call me after a few days with the storyline.”

Sequels are money-spinners these days. Would he and Varma consider a sequel to Satya, or their cop actioner, Shool (1999)? Bajpayee picks Shool 2 over Satya 2. “To see my character Samar Pratap Singh again, in a retired stage, would be an interesting storyline. He is on the verge of retirement, looking back at the life he had and how he has lost everything,” shares the actor.

Tell him his fans would love to see him reprise the role of Bhiku Mhatre from Satya, and he says, “I cannot play Bhiku Mhatre at my age today as he was a fireball; I don’t have that energy today. I’ll be happy if you just give me a chair to sit on and perform. There are no gangsters in our modern corporate world today. The mafia is all wiped out.”  

Irrespective of whether it’s an original story or a sequel, Bajpayee is simply glad to team up with the filmmaker again. It is Varma’s rebellious streak that the actor values the most.

He shares, “Ramu brings unpredictability to the scenes. He is unpredictable and I love that about him. There is a rebel in him even at this stage, a revolt against all that is conventional. That makes his films far more exciting.”