Currently riding high on the success of Operation Safed Sagar, actor Abhay Verma is looking to end his year on a professional high with the release of Shah Rukh Khan-starrer King, and he feels there couldn’t have been a bigger milestone. “I've got to work with Shah Rukh sir, Abhishek (Bachchan) sir, Rani (Mukerji) ma’am and all these personalities I have idolized. There's a temple in my heart and all these people reside in it,” he says.

Crediting Khan for being his source of inspiration, the actor says, “I saw dreams because of him. So, to come on the same screen with him was more than a dream. I didn't know it would come true so early, but just to be on the screen and make my work reach to Shah sir, it meant more than anything to me.”

Recalling a piece of advice that Shah Rukh Khan gave him, Abhay Verma shares, “Every word that comes off the legend's mouth just becomes legendary. I had asked him how did you choose your early films, to which he said, ‘Although the times were different, just work with people who love you and who you love’.”

The actor adds that it also complements his own philosophy as an actor. “I have taken my acting as democracy: to the people, by the people, for the people,” he says.

Reflecting on Khan’s approach on sets, Verma shares, “He just takes a chair, sits in the corner without disturbing anyone and sees how things are happening, how cinema is taking place. Even despite his injuries, or if he's feeling unwell, how he just gives everything, there's lots of learning from it.”

The actor also remembers a kind gesture by Bachchan during the shoot: “One day he was getting ready, and I told him that my family is in my van, so whenever he had two minutes, if he could let me know, I'll just bring them to him. He just stood up and walked to my van. He met my mom and said, ‘Hi, my name is Abhishek Bachchan and I'm working with your son in King’.”

Apart from King, Verma also has Laikey Laikaa and a film with Shanaya Kapoor in the pipeline, and with all his work, he hopes to break his ‘chocolate boy’ image.

“My biggest success would be that I break my image with every character that I play. I want my characters to live longer than me. I really don't want any image associated with me,” he ends.

Three decades in, and Rani Mukerji isn’t looking back, she’s looking ahead. With 71 films, a fiercely individual journey, and a National Award arriving right on cue, she stands as both a rarity and a reinvention in motion. In an industry quick to sideline women post marriage and motherhood, she’s quietly rewritten the rules, choosing honesty over hype, and substance over noise. At 30 years, this doesn’t feel like a culmination. If anything, it feels like a reset. On the new episode of the Bombay Times Lounge, which dropped this week on the Bombay Times YouTube channel, Rani reflects on the road behind and the road still unfolding.

It feels like I am starting a new journey, because obviously, when I see my earlier films, I don’t look the same. Also, now with my daughter turning 10, I think I’ll have more time to devote to films. I constantly want to reinvent and bring across a Rani to my audience that they haven’t seen before. I’ve been so fortunate that directors, writers and producers have thought of me for these amazing characters that I’ve got to play for the last decade, and that’s the decade where I got married and had a child. Fortunately, that didn’t come in the way of a director choosing me for a role. So, in a way, the audiences and the industry have helped me shatter the glass ceiling. They always say that once you go the family way, it’s the end of the road for an actress. But that’s not always true.

Having said that, while I love being an actress, I enjoy the whole part of being a housewife. I enjoy the fact that I’m a mother to my daughter. I enjoy that I get to look after my husband (Aditya Chopra). It gives me immense joy to see my husband and my daughter support me in my journey in films, as this kind of support is so important for every woman. I know there are so many women who probably want to go out there and work, but don’t have the kind of support they wish they had. So, I’m very grateful for what I have, and I always tell myself to not ever take these things for granted.

I always give importance to the story that needs to be told, without thinking about the box office and other things that come with it. The audience always connects with honesty, irrespective of the genre. The problem happens when stories are adulterated just for the benefit of the box office. Audiences are sensitive enough and instinctive, they can sense a good story and a good film. They are looking for genuine stories, so it is important to be honest about what you are doing.

It felt surreal. I think it was saved for this moment, probably because my daughter was old enough to understand what this means. The only regret I feel is that my dad, who was always my cheerleader, was not there to see it. My National Award has made my fans and well-wishers happier than me, as they have rooted for me all these years.

The change happened instantly. Seeing that little baby, that little piece of your heart and soul, changes everything in a moment. When you talk about the concept of love at first sight and falling in love with someone instantly, I feel the whole concept started when a mother had a baby. Seeing your baby for the first time changes that concept of love at first sight for mothers. That love for your child is unconditional, and it’s something you can’t describe. It could also be a one-way love because you don’t know how much the baby will love you back and for how long (laughs). But really, for me, love at first sight happened with Adira.

Sanjay Leela Bhansali’s Black. I think Black taught me to be grateful for the little things that we take for granted – like how we are able to see, talk, hear and walk. The film taught me to be grateful for the gift of being alive.

It was such a happy moment, as it was something that we both were so excited about. I started my journey in the movies with Shah Rukh Khan, and to receive my first National Award standing next to him – that in itself was an honour for me.

Recently, Adira wrote a letter to me where she declared me “the best mom in the world”. For me, that’s the best compliment, and nothing beats that.

Bobby Deol.

Shah Rukh Khan.

He put India on the global map with his beautiful creations. But beyond the genius, he’s only human. He carries a heart that misses his near and dear ones, especially the actor who had the biggest influence on him. Designer Manish Malhotra reflects on his bond with late actor Sridevi, which continues through her daughter, actor Janhvi Kapoor. Excerpts from The Right Angle with Sonal Kalra:

Late photographer Rakesh Shrestha liked my sketches and introduced me to actors for styling them. I went to meet Sridevi for the first time at Mehboob Studio in 1991 and I was a big fan even before I met her. She was in a red outfit and was just going to the set. She was quiet. Then she called me to do a sweater, which was a continuity sweater for Khuda Gawaah (1992). I went to meet her, and somehow we connected.

Then, in 1996, we were in Las Vegas and she told me she was leaving films. She said she worked from the age of four and she wanted her life to carry on. I remember getting a little lump in my throat. I was so attached to her. And in the 15 years when she didn’t work and gave birth to Janhvi and Khushi, I was the one person who was always in touch with her. And I still called her ma’am. I continued my respect and friendship because I think she really contributed to my career. Her death was a big loss to the film industry.

I’m very fond of South Indian food and ma’am would get it to my house. That’s something that Janhvi sweetly does now, which is so nice of her. Every month, she makes it a point to come over, spend time, and get food from her house.

I was there at Rani Mukerji’s first shot for Raja Ki Aayegi Baraat (1997), Kareena Kapoor Khan for Kaho Naa... Pyaar Hai (2000; she was the original heroine), Deepika Padukone in Om Shanti Om (2007), Alia Bhatt for Student Of The Year (2012), and Ananya Panday for Student Of The Year 2 (2019). So, I would say I’m the lucky mascot here. I’ve seen them grow and evolve.

In fact, with Kriti Sanon, Bipasha Basu and Lara Dutta, I worked with them before they became actresses, as models. I’ve seen their journeys from being newcomers to being established actors, with some even getting married and becoming mothers! Now we are working with the newer generation.

Kiara Advani and Sidharth Malhotra’s because the entire wedding was done by us. There were discussions about the décor, the surprises entry dance by Kiara, or the Reel that Sidharth did. And I forced them to put it up, saying, ‘Please put up this Reel!’ I am grateful to them for their love and respect. So happy! So I think that is one of my most cherished weddings.

Three decades in cinema, and over the course of 71 films, Rani Mukerji has navigated romance, drama, comedy and fierce, socially charged roles with equal conviction, constantly redefining what longevity for a leading woman in Bollywood can look like. From early films like Kuch Kuch Hota Hai, Saathiya and Hum Tum, to powerful intense roles in films like Black, Hichki, Mrs Chatterjee vs Norway, to the successful Mardaani franchise – her career has been marked by reinvention and a refusal to be boxed in by industry stereotypes. In a special Women’s Day conversation on the Bombay Times Lounge, she speaks about shattering the glass ceiling, channelling her angst around crimes against women through her art, and embracing vulnerability in a world that constantly expects women to “have it all together.”

I do feel that many of these roles helped shape the conversation around how women are portrayed in our cinema. My characters have often been written with agency and emotional intelligence. Hum Tum marked a shift towards urban, contemporary storytelling. Black beautifully portrayed the strength of the human spirit and a woman’s ability to rise above immense challenges. In Mardaani, my character broke stereotypes by portraying a tough, morally driven police officer, proving that women-led stories could thrive in action-driven narratives. No One Killed Jessica highlighted the power of women standing up against injustice. Hichki was a heart-warming story that addressed inclusivity and learning disabilities with great sensitivity. With Mrs Chatterjee vs Norway, I had the opportunity to anchor an intense and emotionally powerful narrative almost single-handedly.

I think it is important that certain things hurt you, as you can then make them into building blocks for your life, instead of letting it pull you down. To be resilient at times when you have been hurt shows true character. It is normal to go through that; it is part of growing up and part of evolving as a true artiste. Also, I think to live your life according to somebody else’s opinion of you is not an intelligent thing to do. In life, no one thing remains constant, so if people didn’t like my voice back then, it didn’t mean they wouldn’t like it forever. You can’t take what people tell you at first instant too much to heart. I’m very, very grateful for the comments – good and bad – because they have shaped me into the person and the actor that I am today.

What has changed in the 12 years is that today, women are not willing to be silenced. They have a strong opinion; they are finding their voice and want their voice to be heard. Women have always associated the word fear since childhood. At some point in our lives, most of us have faced untoward situations. It happened to me. It’s probably happened to you. It happens to women, irrespective of their age and where they come from. And it doesn’t only happen outside, it happens within the walls of our homes too. All these experiences have hardened us in their own way, and the problem also is that women trust people easily. Today, we have no choice but to tell our children to be less trusting of people around them. It is something that has disturbed me from my younger days, and not being able to do anything about it makes me angry. The only way to channelize that is through my work, my art form. And having a daughter (Adira) changes the way you look at everything. Now my niece is 18, and she wants to be independent and travel and it worries me. It’s like a part of you is out there. Crimes (like in Mardaani) are happening as we speak. That is our reality. The film raises pertinent questions and talks about these uncomfortable truths. Today, we are living in scary times.

It is very difficult. I don’t think it is easy for women in any position. It generally comes from an attitude where no one wants to be scolded by a woman, no one wants to get a dressing down from a woman. For many, seeing women in a position of power can be unsettling. I think it’s more about the male ego, which comes into the picture. I have navigated this and also dodged it. You know, when people ask me why I cut down on doing so many films, the reason was a conscious one where I wanted to work with like-minded people. There comes a time in your life when you are in a position where you can pick and choose the people who you want as part of your journey. Especially after having my daughter, I think it’s so important that she knows what I am doing means something and that mamma is part of a story that has to be told.

Yes, absolutely! Not to say that I don’t love doing romantic roles. I really love romances and I am still waiting for somebody to write a really lovely love story.

Of course, we all go through that process and it’s natural to go through different hormonal changes which we have no control over. I don’t think we should fight it. But if there is education around these emotional journeys that women have to go through at every decade of our life, it will make life easier. If you have mood swings, it’s fine. It is okay to get exasperated. On some days, you’re so tired that your emotions get all mixed up with your physical exhaustion and you break down. Also, I think, this whole thing that we’ve always been told that women have to be strong to handle everything, that myth should be broken. Women should be given a break, because suppressing our emotions is the worst thing that we can do to our bodies and health. Sharing our sadness, confusions and the dilemmas that we go through with our close ones is important. A strong support system during such times can make a huge difference.

In the beginning, seeing the pride in my parents’ eyes made my life. Then, of course, came my husband (Aditya Chopra), and now, it’s my daughter. It’s important that people close to you and your inner circle are truly proud of you and root for you. That means a lot to me. The complete interview with Rani Mukerji will drop soon on the Bombay Times YouTube channel

There’s something about the 1990s superstars that not only makes them relevant but also sees them at the top of their game today. Director Abhiraj Minawala may have an idea or two about it. After all, he worked closely with Shah Rukh Khan and Salman Khan on Jawan (2023) and Tiger 3 (2023) respectively, while his latest directorial venture Mardaani 3 enabled him to collaborate with Rani Mukerji.

He found one striking similarity between the two Khans’ approach to work. He shared, “Their passion and dedication [are unmatched]. Their conversations are ‘Yeh karte hain, audience ko maza aayega!’ The thought is not that we should do this, but that the audience will love it. One thing common between them is that they think from a larger perspective of the audience. [It probably stems from] the fact that they started their journey as an audience, and then ended up here.”

The director is equally in awe of Mukerji, who has completed 30 years in the industry. Having worked with her on Mardaani 3, Minawala walked away with keen observations about her. “She has achieved a lot, but I’ve seen that she still comes on set with the openness that she is here to perform. She is willing to learn things and collaborate with the team.”

What if we told you that Rani Mukerji isn’t the only member of her family to feature in Mardaani 3? Few know that the actor’s niece, Myiesha Mukerji, served as the second assistant director on the cop actioner, which released on January 30.

It turns out when Abhiraj Minawala’s directorial venture was being set up, Myiesha, 19, expressed her desire to work on the project. Happy to see her niece taking baby steps in the film industry, Rani told mid-day, “Myiesha [worked] with the director on Mardaani 3. She is like my baby, and was the first baby of the house. Most pictures on the internet that people assume are Adira’s [her daughter], are in fact Myiesha’s. For her, working on the third part was a full journey as she also starred in Mardaani [2014] with me.”

The shoot was a novel experience for Myiesha. Not only did she learn the nitty-gritty of filming, but also saw Rani as a professional on set, far removed from the doting aunt that she is at home.

Recalling the shoot, Rani said, “Myiesha has seen her Pipi [Pishi, as an aunt is addressed in Bengali] at home, and it was a different experience for her to watch me perform on set. She saw me in a different light. It is also important for the young generation to understand the hard work that goes into making a movie.”

Rani Mukerji’s sister-in-law, Jyoti Mukerji, has a blink-and-miss role as a forensic pathologist in ‘Mardaani 3’

Sometimes talent is not the only factor; you need to be at the right place, at the right time. Janki Bodiwala, who plays a cop in Rani Mukerji’s Mardaani 3, will vouch for this. The actor was on a day trip to Mumbai and it surprisingly ended with her bagging the cop fare.

“I had gone to Mumbai for some other work. That very day, I got a call from Shanoo ma’am [Sharma, casting director], who asked me to audition for a part. I went [to YRF Studios], she helped me prepare, and then auditioned me. Later, when I was returning to Ahmedabad, she called and said that the [makers] had liked me and wanted me to come back. I thought to myself, ‘I had gone for some other work and now I’m doing a YRF film’,” she marvels, still surprised at how it all panned out.

If Bodiwala starred with Ajay Devgn in her maiden Bollywood film Shaitaan (2024), her second outing saw her rub shoulders with Mukerji.

“For the first two-three shots, I was quite nervous. But your co-actors’ energy helps you. She was so involved in her character that it set the tone on the set,” she says.

Off set, she saw a completely different side to Mukerji. “At the mahurat puja, she was there with her family. She was exactly how we are with our families. There was no hint of her stardom.”

The latest edition of Stars in the City at HT City’s Delhi office, saw Rani Mukerji engage in a light-hearted chat with her fans as she opened up about her experience of shooting in the Capital and the beautiful bond she shares with her daughter. The actor, who recently had the release of her film Mardaani 3, also answered some interesting questions from fans. Here are the excerpts:

Dono achhe lagte hain. Emotion mein aake action karna bhi bahut achha lagta hai... Emotion ke bina action sirf action hota hai, par emotion ke saath hua action kya action hota hai!

I feel beauty always lies in the eyes of the beholder, and today, the concept of looking at oneself has changed. Self-love and believing and trusting your own instinct has become the most important. What somebody else feels about you is not important any more, it’s about what we feel about ourselves.

Delhi has been a very important character in many of my films. I have shot so many films in the city and I love the chaat here.

Of course! Adira (10) is my best friend and I’m constantly seeding that thought into her mind, that I’m her best friend too.

No. Her main intention is that I catch the night flight today so I can go to her Sports Day tomorrow (laughs). She asked me, ‘Mumma are you taking your flight, are you going to finish?’ And I told her, ‘Of course, of course. I’m wrapping up everything and I’m rushing for your Sports Day’... It’s very fulfilling for me too and I’m dying to be there for the Sports Day and run along with the children. I’m the most enthu (enthusiastic) mother.

Compiled by Yashika Mathur

Released in the first week of January 2011, No One Killed Jessica became a film audiences returned to each time the case saw a new turn. At the time, director Raj Kumar Gupta was warned that January releases rarely worked and that films led by women didn’t work – his had two. Yet the filmmaker says his faith in the film never wavered, a belief shared by everyone involved in the project.

A decade and a half on, the film remains iconic – for its hard-hitting subject, its authentic portrait of Delhi, its grounded courtroom sequences, and for helping open doors to female-led cinema at the time. Raj Kumar Gupta, who also wrote the film, looks back at the project that quietly reshaped the space for women-centric narratives in Hindi cinema.

“I wanted to tell the story, there was no agenda,” asserts Raj, adding, “I chose to tell it through the eyes of the two protagonists. One was Sabrina’s perspective and another perspective came from a character (of Rani Mukerji) who represented the media and, more broadly, the people who were seeking justice – those who wanted to see that justice was done. That is how the narrative came together. My approach was to stay focused on these viewpoints. Of course, many other characters came in and out of the story, but the core always remained centered on these two perspectives.”

Raj says, “When this incident happened in 1999, I was in college, so I remember it very clearly. This case was stuck in my head. Later, when we were discussing possible subjects, it came up again, and I felt it was something worth pursuing. I had lived in Delhi during my graduation, I had seen the city up close, and I had a certain point of view – both about Delhi and about the case. That perspective is what brought everything together.”

He reflects, “It was a long and hard-fought battle for justice, and that was deeply inspiring – a sister who refused to give up, who kept fighting for justice. The way the media and others collectively came together to support the cause was also powerful. This reflects society at large and is inspired by real events, and that is what ultimately compelled me to tell it.”

For the character of Jessica, Raj shares that he had Myra in mind. He says, “She was my friend. I also clearly remember the iconic smile of the real Jessica – I could see that smile in Myra, and that was extremely important for me to get it right. Although it was her first film, Myra did a great job in it.”

Raj recalls, “While we were shooting the first party sequence, it was one of the most complex scenes in the film not just technically, but emotionally as well. In many ways, the entire argument of the film rests on that scene. How it was shot was crucial, because later in the film, this is the very sequence that would be discussed in the courtroom.”

Raj Kumar Gupta wanted to shoot the film largely on real locations in Delhi. He says, "Delhi had a certain grit, a certain rawness, and that feeling was essential to the film. We had to have Delhi in the film. In many ways, Delhi itself was a character in the story. In the opening of the film, we talk about Delhi almost as if it’s a living presence."

Because of that, it was important for me to shoot across the city and the film was shot at locations like ITO, Tees Hazari, the streets of Delhi, Chandni Chowk, and other real locations.

He says, "I wanted the film to feel as authentic as possible, to be filmed in the real spaces where these events unfolded."

Back in 2006, on Republic Day, Rang De Basanti hit the screens and gave Indian cinema one of its most unforgettable protest scenes. A couple of weeks later, what India witnessed was the RDB effect when the film served as a catalyst for civic justice in the Jessica Lal case when thousands of people, including students, gathered for a candlelight rally at India Gate.

Raj Kumar Gupta shares, "While there are many places in Delhi, when we have to think of a place in Delhi, we think of India Gate. It became a place of collective rebellion. In No One Killed Jessica, we incorporated the protest at India Gate because in reality, people protested at India Gate after Manu's acquittal. I think India Gate is one of the locations in Delhi which evokes strong emotions."

He shares, "India Gate scene was the climax of the film. That sequence had a very strong emotional arc, and logistically it was a huge challenge. We were shooting at India Gate and had permission only for certain hours. On the same day, there was a major sports event happening, so teams were being shuttled through the area. That meant we had to finish the shoot within a very tight time frame. There was also a massive crowd present during the shoot, which added to the difficulty. Despite all that, the sequence was extremely emotional. It was designed to represent the end of the film through a song, and the light, the atmosphere, and the setting all had to come together perfectly. The challenges were many - managing the crowd, executing the scene within the limited time, and ensuring that the emotional weight came through. Most of the characters seen in that sequence are people the audience has already watched fighting for justice throughout the film - friends, supporters, and allies, so it was important to bring them together in a way that felt truthful and earned."

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"The story is about hope and justice. In real life also, people came together and justice was done. The story itself is driven by a tragedy; it should not have happened. I wanted to tell the story in a format where the story never goes dark. It was a very conscious effort. We were telling the story about real people. Life is about hope. The world runs on hope. I took a hard-hitting approach, but I also took an approach where it never gets too heavy to handle." - Raj Kumar Gupta

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Raj Kumar Gupta says, "Vidya and Rani come from different schools of acting. Vidya is very meticulous; she prepares for her character and is very methodical about her approach. With Rani, she is very spontaneous. You will not believe that five minutes back, she was laughing and joking. I got to work with two contrasting and opposite actors, and the character was also such that it gave me a wide range. Vidya Balan met Sabrina, but not before the film."

With a career spanning over 25 years, Abhishek Bachchan has several successful films to his credit. Yet, one movie that a lot of his fans and critics swear by is Guru. This Mani Ratnam film helped Abhishek garner love and appreciation in the industry. However, Abhishek says that if given another chance, he would love to work on Guru again, shot by shot, and do a better job.

In a chat, he said, “If given the opportunity to do the film again, I can unequivocally say that I can do a much better job today. Having said that, I don’t compare my movies or treat this as a benchmark to other movies because every film is different. But if Mani Ratnam gave me the opportunity to do Guru scene by scene, shot by shot again today, 100 percent, I’d do a much better job for him.”

On one hand, where Guru is loved for its storyline and performances, it also holds a special place in Abhishek and Aishwarya’s love story. “I proposed to her at the premiere, after the premiere in New York,” said the actor.

He further added, “But all my films are very personal. And I ensure that. There are possibly one or two that might not be as personal. But my rule of thumb is it has to be personal. If it’s not personal, then I’ll probably not do it.”

During the conversation, he spoke about another character and movie he did with Mani Ratnam — Yuva. Speaking about Lallan from Yuva, Abhishek shared, “The first time you are working with the great Mani Ratnam, you don’t say anything. But Mani sir involved me so deeply in Lallan, in the preparation of Lallan, and allowed me to have an opinion on him. He heard me very sweetly; he didn’t need to. I thought Lallan was the sweetest character, you feel for that guy.”

Walking down memory lane, he added, “There was this one scene in Yuva which sadly never made it to the final cut, which I thought was very important, wherein he’s had a huge fight with Rani (Mukerji), his wife, and she’s like, Why can’t you change? He’s lying down on the bed and she is sitting next to him. He is on her lap, and he is howling. Because she has caught him going back to what he was doing, and she’s trying to bring reform to him. So, she asks him, ‘Why can’t you change?’ And there was a line that Anurag (Kashyap) had written, which just summed it up for me. I felt so bad when I read that. Lallan says, ‘I am trying, lekin suvar goo khana chhodta nahi hai (A pig never stops eating shit or being around shit).’ I felt so bad when I read that. He said, I’m trying, but I don’t know anything else.”

Mumbai: Bollywood is set to pack its bags for Britain again. In a shot in the arm for UK-India creative collaboration, UK Prime Minister Keir Starmer announced in Mumbai that Yash Raj Films (YRF) will start work on three major productions in the UK from early 2026, a move expected to create over "3,000 jobs and boost the British economy by millions of pounds".

Starmer made the announcement on a visit to Yash Raj Studios, which marks 20 years of operations on Oct 12. He was accompanied by a delegation representing film powerhouses such as the British Film Institute, British Film Commission, Pinewood Studios, Elstree Studios, and Civic Studios.

Starmer spent time touring the studio - meeting actor Rani Mukerji, sitting in for a short screening at YRF's private auditorium, chatting with technicians, and even trying his hand at the studio's console board. Mukerji is wife of YRF chairman Aditya Chopra.

"Bollywood is back in Britain, and it's bringing jobs, investment and opportunity, all while showcasing the UK as a world-class destination for global filmmaking. This is exactly the kind of partnership our trade deal with India is destined to unlock-driving growth, strengthening cultural ties and delivering for communities across the country," said Starmer.

The UK PM's two-day visit to Mumbai comes as part of his first major trade mission to India, following the landmark UK-India trade deal signed in July. The trade deal is meant to lower tariffs on British goods, improve market access and raise bilateral trade by £25.5 billion a year, with UK exports projected to grow by nearly 60%.

The 125-member delegation accompanying Starmer includes CEOs, entrepreneurs, vice-chancellors and cultural leaders, marking the largest UK govt trade mission ever to India. Among the companies represented are Rolls Royce, British Telecom, Diageo, the London Stock Exchange, and British Airways, alongside growing SMEs and start-ups from across the UK.

An MoU between the British Film Institute and India's National Film Development Corporation is also proposed to encourage co-productions and sharing of resources.

Culture Secretary Lisa Nandy who visited India earlier this year said, "Partnerships between Bollywood and British studios make complete sense for our Creative Industries Sector Plan."

The potential is huge. Oscar-winning Slumdog Millionaire, made on a £12m budget, generated around £300m for the UK economy.

For YRF, the return to UK will mark the end of an eight-year hiatus in filming there. It also celebrates 30 years of Dilwale Dulhania Le Jayenge (DDLJ), the cult romance that spanned England, Switzerland, and Punjab's mustard fields. "The UK holds a very special place in our hearts," said YRF CEO Akshaye Widhani.

Widhani added that the company is currently producing Come Fall In Love, an English stage adaptation of DDLJ, in the UK. "So, we are thrilled to join hands with UK again... and discuss how India and UK could come together to push the content landscape globally..."

“All I need is the right role and the right mind to collaborate with, and I’m game to work in the South any day,” shares Rani Mukerji. The actress’ only South Indian film was 25 years ago — Kamal Haasan’s Hey Ram (2000). Rani, who was recently in Pondicherry to shoot for the third instalment of the Mardaani franchise, spoke about working in the South films, and why she keeps returning to the character of female cop Shivani Shivaji Roy.

Currently reprising her role as police officer Shivani Shivaji Roy for the third time, Rani says she is fortunate to have the Mardaani franchise in her filmography. “Its success is special because it busts myths in our industry that female-led films are seldom success stories. It’s quite empowering to have the lead role in an action genre, and the franchise demonstrates how our audiences want to support a femaleled franchise. It also shows how society wants to see a woman’s success story due to her sheer merit in a male-dominated profession. I hope the franchise has impacted people’s minds to empower their girls to become police officers,” she says.

The actress adds that she considers the franchise and her character as a tribute to the Indian police. “I have the deepest respect for people who have chosen a profession for which they had to dedicate their lives in the service of others. Mardaani is a humble tribute to the Indian police force, especially the women cops who are the true mardaanis of India,” she signs off.

Rani says she is game to take up a film in the South if the right script comes along. “I’m always looking for disruptive scripts that present women in the right light. When the right script comes along, the audience can see me in a South film. I just need something that’s exciting and inspiring so that I can add value to the director’s vision,” she shares.

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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Actor-filmmaker Prithviraj Sukumaran has had two releases this year, first being the pan-India film L2 Empuraan, which he also directed, followed by his recent release Sarzameen. Ask if it becomes difficult to be just an actor on set after directing on another set, Prithviraj says it’s the opposite.

“I was having this conversation with SS Rajamouli (filmmaker) sir just the other day that, for some strange reason, before I turned director, it was sometimes tough for me to switch off the technician in me. I used to land up on locations multiple times and just be very aware of what they are trying to attempt there,” he says, adding, “But after having turned director, I find it very easy to just completely switch off that facet when I’m just acting.”

The 42-year-old elaborates, “Now, I just want to be told by the director what they’d like me to do. That’s what I enjoy the most. I don’t know if it’s a conscious flip that I’ve made, but ever since I’ve done my first film as a director, the easiest thing for me to do is land on a location, switch off the technician mindset, and just be the actor, and I completely enjoy that.”

Sarzameen featured the actor opposite actor Kajol. Interestingly, he started his Hindi film career with her cousin, actor Rani Mukerji in Aiyyaa (2012). Mention this to him and Prithviraj says, “Both of them are fantastic actors, so that makes things a lot easier for anyone working with them. I also think both of them are similar, because they’re very instinctive as performers. Both sort of rely on that momentary instinct when the director calls for action, which is wonderful for a co-actor, because each take seems like there is something fresh in it.”

Vaibhavi Merchant, who received her second National Award for Best Choreography on Tuesday, has spoken about battling health challenges like peripheral vision loss and thyroid issues for the first time. The 49-year-old, who was honoured for Dhindhora Baje Re (Rocky Aur Rani Kii Prem Kahaani, 2023), opens up about her body transformation.

“I was diagnosed with thyroid in 2017; it is a hereditary issue. Despite working hard and trying several diets, my body showed no results until my endocrinologist put me on a slow, sustainable plan. I also started playing badminton,” she shares.

But soon after, Vaibhavi was diagnosed with an autoimmune trigger. “I had peripheral vision loss in my right eye,” she reveals, adding, “It could be due to the Covid vaccine or the shoot schedule of Tiger 3 (2023). We shot throughout Europe — including Italy, which was badly affected by Covid — and I spent long hours in a mask, which affected a nerve.”

Vaibhavi was put on steroids at the time. She recalls, “It made me gain another 10 kg. To date, people ask me why I wear glasses indoors, but I have to do what I can to protect my eyes. My right eye is still affected, but hasn’t hindered my work.”

Despite the stress on her body, she has learnt to adapt to the situation: “I never gave up, though I still have 5 kg to lose and muscle mass to gain. It’s important to be guided by a doctor, and to love your body the way it is.”

Her slim physique at the ceremony, captured by actors Shah Rukh Khan and Rani Mukerji, also surfaced on social media. “I got so many messages about how people loved SRK and Rani rooting for me. They made my day special by capturing beautiful photos and videos. Rani is my soul sister, Shah Rukh just knows how to make you feel special,” she ends.

Marking a major milestone in her career, Rani Mukerji received the Best Actress honour at the 71st National Film Awards for her performance in Mrs Chatterjee vs Norway (2023). While the award was announced in August, the 47-year-old formally accepted it on Tuesday in Delhi from President Droupadi Murmu. Speaking in her first interview after the ceremony, Rani opens up about what the win means to her.

Reflecting on her initial reaction to the win, the 47-year-old says, “It was surreal to hear the news. That day, I was performing a Griha Pravesh puja for my new office, located at the place where my dad (late filmmaker Ram Mukherjee) used to live. I had him on my mind throughout the day. Just after finishing the puja, I received the call informing me about the award. I felt that it was my dad’s blessing; the timing made his presence felt.”

Rani feels winning the award for a film she poured her heart into is even more special: “The character of Devika was someone I had modelled on my own mother (former playback singer Krishna Mukherjee). It feels like both my parents have blessed me with this National Award. It’s a very personal moment.”

The actor expresses that the National Award feels very different from the other awards she has received over the years. “Seeing the joy and pride in my mother’s eyes, and witnessing the happiness of my fans, it feels like this win is more for them than for me,” she explains.

Rani also shares her thoughts on celebrating this moment with actor Shah Rukh Khan and filmmaker Karan Johar, who won National Awards this year as well and have worked with her on several films. “It feels like a full circle moment. But I hope this circle becomes more like an eternity ring, something that never ends. My wish, for myself and for all of us, is to keep striving to make stronger Indian films and work hard to elevate our film industry to the best in the world,” she ends.

New Delhi: It was a night of star power and cinematic pride at Vigyan Bhawan on Tuesday as President Droupadi Murmu honoured stalwarts of Indian cinema at the 71st National Film Awards.

The spotlight, however, belonged to Malayalam superstar Mohanlal, who received the Dadasaheb Phalke Award, while Bollywood icons Shah Rukh Khan, Rani Mukerji and Vikrant Massey walked away with top honours in acting categories.

Mohanlal, already decorated with the Padma Shri (2001) and Padma Bhushan (2019), was visibly moved as he accepted Indian cinema’s highest recognition. “I am deeply humbled to be the youngest recipient and only the second ever from Kerala. This moment is not mine alone, it belongs to the entire Malayalam film fraternity,” he said. Sharing the honour with colleagues, he added: “I never dared to dream of this moment. It feels magical, it feels sacred.”

President Murmu presented the award to Mohanlal amid a thunderous standing ovation. Fellow superstar Mammootty called him “a true artist who has lived and breathed cinema,” while Prime Minister Narendra Modi praised him as someone who “epitomizes excellence and versatility.”

In perhaps the most Bollywood-dominated edition of the awards, Shah Rukh Khan won his first National Award for Best Actor in over two decades for his blockbuster ‘Jawan’. “This award is a blessing. ‘Jawan’ was a film made from the heart, and I dedicate this to every fan who has stood by me through the years,” Shah Rukh said.

Actor Vikrant Massey, who shared the Best Actor award with Shah Rukh for ‘12th Fail’, credited director Vidhu Vinod Chopra for his journey. Rani Mukerji was honoured as Best Actress for ‘Mrs Chatterjee Vs Norway’. “This film was about the power of a mother’s fight. This recognition belongs to every woman who has faced injustice and refused to give up,” Rani told mediapersons.

The Evening reflected cinema’s diversity: ‘Kathal—A Jackfruit Mystery’ was named Best Hindi Film, Sudipto Sen won Best Director for ‘The Kerala Story’, while Shilpa Rao took home Best Female Playback Singer for Chaleya from ‘Jawan’.

The 71st National Film Awards couldn’t have gotten starrier than this. Superstar Shah Rukh Khan won his first National Award in his 33-year career for his double role in Jawan (2023). The actor shared the honour with Vikrant Massey, who won it for 12th Fail (2023). Bollywood entertainers seemed to dominate the awards as Rani Mukerji took home the Best Actress award for Mrs Chatterjee Vs Norway (2023).

On the one hand, Khan’s fans saw the win as overdue, considering his restrained act in Swades (2004) was overlooked by the National Film Awards jury 20 years ago. On the other hand, some social media users called the Jawan win “laughable” and “a joke”.

The Best Director award went to Sudipto Sen for The Kerala Story (2023) — a win that will presumably be debated over the next few days. The movie, which centred on the alleged coerced religious conversion of Malayali women, was widely criticized. An elated Sen called the win “validating”.

He told mid-day, “I would’ve been even happier if the film had also taken the top honour, but this recognition validates everything we set out to express through The Kerala Story.”

With Rocky Aur Rani Kii Prem Kahaani winning the Best Popular Film Providing Wholesome Entertainment, co-writer Ishita Moitra told mid-day, “It’s Karan Johar’s [filmmaker] hard work and love that shines in this film.”

The film also won Vaibhavi Merchant the Best Choreography award. She learnt about the win when we called her. “This is overwhelming. You’ve broken the news to me,” said a surprised Merchant. 

Deepak Kingrani, who bagged the Best Dialogue award for Sirf Ek Bandaa Kaafi Hai, said, “This win is important as [it gives us] courage to write and producers to pump money in such films.”

New Delhi: Hindi cinema dominated the 71st National Film Awards on Friday with superstar Shah Rukh Khan winning his career’s first best actor award for ‘Jawan’ alongside Vikrant Massey for ‘12th Fail’, which was also named the best feature film.

Rani Mukerji won the best actress honour for ‘Mrs Chatterjee vs Norway’, her first award. The awards for 2023 were announced by jury head Ashutosh Gowariker. He said Shah Rukh had delivered a “powerhouse performance, balancing raw intensity and emotional depth, and bringing to life a hero who fights not just the enemy, but societal boundaries, creating two unforgettable cinema personas”.

Sudipto Sen won the best director award for ‘The Kerala Story’, which also got the cinematography prize. It had sparked a row for its portrayal of women being converted and recruited by ISIS. ‘Rocky Aur Rani Kii Prem Kahaani’ was the best popular film .

Rani Mukerji, who has clinched the National award for best actress, said, “I’m overwhelmed. For me, this award is also a validation of my 30-year body of work, my dedication to my craft with which I feel a deeply spiritual connection and my passion for cinema and this beautiful film industry.”

‘Jawan’, which minted over Rs 1,100 crore at box office worldwide, was a highoctane thriller from filmmaker Atlee and featured SRK in the dual role of Army officer Vikram Rathore and his jailor son Azad.

The jury praised Massey’s performance as one that portrayed the transformative journey of a village boy with “raw honesty and emotional depth”. In a statement, Massey (38), said it was a dream come true moment for him.

Meghna Gulzar’s ‘Sam Bahadur’ was recognized as the best film promoting national, social and environmental values and won the award in the make-up & costume category.

Vaibhavi Merchant won the best choreography award for ‘Rocky Aur Rani Kii Prem Kahaani’ song ‘Dhindhora Baaje’, while Shilpa Rao was named best female playback singer for ‘Jawan’ track ‘Chaleya’. Sanya Malhotra-starrer ‘Kathal: A Jackfruit Mystery’ was named the best Hindi film.

While Hindi cinema ruled in the main categories, regional movies were recognized in categories such as best supporting actor as well as actress and in technical segments.

Best Film in AVGC (Animation, Visual Effects, Gaming & Comic) went to Telugu film ‘Hanu-Man’, which also won the best action direction award. The National Award for best screenplay was shared between Telugu movie ‘Baby’ and ‘Parking’.

Filmmaker Ashish Bende won the best debut film by a director for Aatmapamphlet, a coming-of-age drama that resonated with audiences and the jury alike.

Overwhelmed by the recognition, Bende said, “Getting a national award was always a dream for me, but I did not know that my dream would be realized in my directorial debut. Though it is an award for direction, I feel that it is not a solo award but an award for the entire team of Aatmapamphlet. The film was made during Covid-19 pandemic with a lot of effort, and today all those efforts have paid off.”

Bende will receive the Swarna Kamal for this award.

He added, “The Marathi film industry has along legacy of quality films, and today I feel proud that I am part of this rich tradition. The award will personally encourage me to keep doing quality work.”