Showing posts with label Ratna Pathak Shah. Show all posts
Showing posts with label Ratna Pathak Shah. Show all posts
Fawad Khan asked me, ‘Is the homosexuality a whisper or a shout?’-Shakun Batra
4:15 PM
Natasha Coutinho (HINDUSTAN TIMES; March 17, 2026)
As Kapoor & Sons clocks 10 years tomorrow, director Shakun Batra reflects on the making of the family drama, starring Rishi Kapoor, Fawad Khan, Sidharth Malhotra, Ratna Pathak Shah, Rajat Kapoor, and Alia Bhatt.
“There was a two-year gap between when it was written and when it finally got made,” Shakun reveals, adding, “Many actors turned it down. Actors were not comfortable playing homosexuals back then. At one point, I thought I’d never get to make it.”
Eventually Fawad came on board after a brief but defining conversation. “He asked me, ‘Is homosexuality a whisper or a shout?’ I told him it’s a whisper and he agreed immediately,” Batra shares, adding, “We didn’t show anything off-putting. The scene where Fawad breaks down in front of Ratna Pathak Shah saying he isn’t the perfect son, I watched it from the lens of an audience, not a filmmaker.”
The filmmaker also fondly recalls working with late veteran Rishi Kapoor. “There wasn’t a single day when Rishi ji and I did not argue on set, but after watching the film he showered me with so much love... His prosthetics were done by Greg Cannom, the Oscar-winning makeup artiste who worked with Brad Pitt in The Curious Case Of Benjamin Button (2008). Even Neetu ji (Kapoor, Rishi’s wife) didn’t recognize him in the get-up.”
Naseeruddin Shah can be short tempered when a show is coming up-Ratna Pathak Shah
8:02 AM
Tanvi Trivedi (BOMBAY TIMES; March 26, 2025)
In a chat with us, veteran actress Ratna Pathak Shah speaks to us about the evolving landscape of Indian theatre and working with husband Naseeruddin Shah. Excerpts from a conversation:
In the current scenario, do you foresee a better future for theatre?
Since 1974, I have been hearing how theatre would not exist in the future. Then we had television shows which took over and now OTT. Every time there was something new, people felt theatre would die, but it didn’t! Even after the pandemic, drama zinda hai! Of course, things have changed and actors and writers have adapted to newer times, but there are things that I don’t like, particularly the unnecessary use of projections used in live theatres now. The desire to make plays that are thinly disguised films is limiting in many ways. Making a living out of theatre is tough, but theatre satisfies a creative need.
Do you recall your first play with Naseeruddin Shah?
My first play with Naseer was Sambhog Se Sanyas Tak. We were a group of rather inexperienced theatres actors, and he had the most experience among us all. That’s how I met Naseer. It was not a good play, but it was a learning experience participating in workshops and acting in plays. Then, in the early 1980s, Naseer started directing plays, and he directed me in a few.
What is it like being directed by Naseeruddin Shah?
I like the fact that he communicates very well when he is directing. He is generous with his knowledge and knows exactly how to bring out the best in an actor. As a co-actor, he is very confident and therefore, never keen to grab attention, that makes working with him a pleasure. He’s extremely reliable — if he says he’ll catch you at a particular moment in a scene, trust me, he will. He is very strict with pronunciations. But mostly, I feel he is an easy director to work with because he knows what he wants and helps you if you are stuck in a scene. He can be short-tempered when a show is coming up. There are times when I don’t agree with his ideas but have never faced issues trying to convince him. So, we enjoy an interesting collaborative relationship when we work together.
As an actor, whether it’s theatre or films, what kind of roles interest you now?
Definitely not the overly dramatic ones. I want roles that reflect the world we live in today — something layered, something real. I like stories that need sensitivity and depth. Roles should teach me something, help me grow, and offer a fresh perspective on life to me and also the audience.
I was told to make one a biker chick with shorter outfit, says Dhak Dhak director Tarun Dudeja
9:02 AM
Dhak Dhak director Tarun Dudeja reveals how producers offered sexist script suggestions, as he shopped around his all-woman film for four years before Taapsee Pannu backed it
Priyanka Sharma (MID-DAY; October 19, 2023)
Why should men make the rules? This question forms the core of Dhak Dhak. But much like the women in the film, first-time director Tarun Dudeja had a long road to this realisation. Along with writer Parijat Joshi, he had initially begun with the idea of making a movie about a woman, who takes a trip to Khardung La to realise her late father’s unfulfilled wish.
“Over time, we realised this premise was wrong. Why should a man have to do anything with a woman’s decision to do something? The agency should come from within,” emphasizes Dudeja. And from there was born the Ratna Pathak Shah, Dia Mirza, Fatima Sana Shaikh and Sanjana Sanghi-starrer that tells the story of four women, whose road trip becomes a journey of self-discovery.
It took Dudeja and Joshi a year to develop the screenplay. What came next was harder—a four-year ordeal to find a producer who could back his vision.
“It took us four years to find producers. The constant rejections broke [us] from within. Then, there were suggestions given about the script that left me [boggled]. One was, ‘Make one of them a biker chick, shorten her outfits and show her legs.’ Another suggestion was, ‘Make it Ratna Pathak Shah’s on-screen husband’s last wish to go to Khardung La [rather than her own], and add his voice-over throughout the film.’”
Finally, Taapsee Pannu and Pranjal Khandhdiya entered the picture, producing it with Aayush Maheshwari, and Ajit Andhare of Viacom18 Studios. Dudeja says he lucked out with Pannu, Khandhdiya and Maheshwari, who became his pillars of support.
“Taapsee really liked the script. Her question was, ‘Who is directing it?’ She was told it was a first-time director, and then was shown my short film, Khayali Pulao [2020]. She felt that I knew how to capture emotions, and said, ‘I am here for you.’”
While filming Dhak Dhak was a dream run, Dudeja was disappointed to see how his passion project was barely promoted ahead of its release. “It broke my heart. It did the same for Taapsee, Aayush, Pranjal and all our actors. With OTT and satellite rights, studios secure a profit, and then they don’t feel like taking a risk [by way of its theatrical run]. That’s a corporate-driven decision. Even if you want, you can’t do much.”
But Dudeja also believes that his pain has been balanced with the enormous love that he has received from all those who have watched the movie.
I joke that Meghna Gulzar has to direct me in an item number next-Fatima Sana Shaikh
8:46 AM
Looking forward to Dhak Dhak and Sam Bahadur’s release, Fatima thrilled that biopic realised her wish of working with Meghna Gulzar
Priyanka Sharma (MID-DAY; October 6, 2023)
It’s not often that you get it all—a best friend, a mentor of sorts and a lifetime of memories —on one movie set. But Fatima Sana Shaikh found that rare mix on the set of Dhak Dhak. On reading the script of Tarun Dudeja’s directorial venture, she knew she had to join the Ratna Pathak Shah, Dia Mirza and Sanjana Sanghi-starrer that revolves around four women on a journey of self-discovery.
“If I vibe with a director, I want to work with him/her, and Tarun is a lovely guy. He gave his all for this film. He was my best friend on the set,” begins Shaikh.
What made the experience richer was the talented cast. Sharing screen space with a veteran like Shah was akin to a masterclass in acting. “She gives [valuable] suggestions. Since she has been performing for years and is also a director, her understanding of acting is so deep. Whenever she talks, I feel I have to take notes,” she laughs, before heaping praise on Mirza.
“The whole country has a crush on Dia Mirza. As an actor, I want to be as good with my craft as they are.”
Shaikh will end the year with the December release, Sam Bahadur. She had more reasons than one to be part of the biopic on the late Field Marshal Sam Manekshaw—from the opportunity to play former Prime Minister Indira Gandhi, to incredible co-stars in Vicky Kaushal and Sanya Malhotra. But to her, it is the result of her love for director Meghna Gulzar’s work.
“When you see her on set, you understand what a genius she is, just on the basis of the amount of information she can retain. She is smart, detail-oriented and so sure about what she wants.”
Having one Gulzar film on her résumé is not enough for Shaikh, who has an odd request for the director, known for her sensitive dramas. “I keep joking with her, ‘Next time, you have to direct me in an item number.’ She tells me, ‘You don’t know what you are asking for,’” she laughs.
In her seven-year journey in the movies, Shaikh has been part of several acclaimed projects, including Ludo (2020) and Modern Love: Mumbai (2022). But the success of her debut film, Dangal (2016), stands out. Does she ever feel the pressure of topping the Aamir Khan-starrer?
“I can’t compete with how Dangal has impacted people. The only thing I can do is be a better actor than I was then. I was part of something very special, and such things don’t happen too often. Dangal will never be a shackle for me.”
I am not averse to songs, I am just not too fond of Hindi film music-Naseeruddin Shah
8:22 AM
Seventeen years after his last directorial effort left him frustrated, Naseeruddin Shah returns with a tender short film about relationships, casting family and friends
Jane Borges (MID-DAY; August 27, 2023)
In the early noughties, when filmmakers were successfully experimenting with ensemble casts and multiple plot threads, Naseeruddin Shah, with a reputation for being sagacious in his choice of films, joined the fray with his directorial debut, Yun Hota Toh Kya Hota (2006), a 9/11 hijack drama that was a collage of four inter-twined stories.
We meet the 73-year-old at his Bandra West residence, on a day when the sun and rain clouds are playing hide-and-seek. Shah is dressed in a multi-coloured checked shirt and was only minutes before our interruption, deep into a book; he looks back at the film as a mixed bag. “I was hurried into it [making the film],” he remembers, “And I didn’t get the time to consult anyone about the screenplay.”
In hindsight, he says, “I should have.” “I should have waited,” he repeats, “But the producer kept this carrot on a stick in front of me, and said, ‘we’ll launch it on your birthday’. I got tempted by the idea, became rather sentimental. It was released on my birthday… Not that it lasted very long at the box office.” If there’s any disappointment, Shah coats it with his dry humour.
Several years followed, during which theatre, and big and bit roles in the movies served as Shah’s creative fuel. “I was nervous about making another film,” he says. “I preferred [directing for] theatre, which is a living thing. You can keep adding to, subtracting from, improving upon, and it keeps evolving as you keep rehearsing and performing. Whereas a film is fixed in stone. Once it’s out, you cannot revise it.”
But Yun Hota Toh Kya Hota never really left him. “I have been thinking about it a great deal. It did not turn out quite as I had hoped.
Shah says the movie fell short on many scores—he had wanted to make something more “cohesive” where the four stories overlapped, and where characters of one story would appear in the other. “The Irrfan [Khan] story I was particularly most unhappy about, because there was so much more I could have given a great actor like him to do. I realized that you can’t have a central character do nothing; that’s exactly what he was. Lucky for me, Irrfan didn’t hold it against me.” He sums it up: “I was not really well prepared enough.”
While the film had left him with a terrible sense of frustration, Shah confesses he always itched to get back to direction. Dissatisfaction with some of the movies that he had acted in drew him to it in the first place—“I would try and think about how I could repair some of the absolutely ghastly scenes that I was forced to enact.”
The opportunity came recently with Man Woman Man Woman, which is also theatre company Motley Productions’ first short film production, with Trigger Productions and Royal Stag Barrel Select Large Short Films. Starring spouse Ratna Pathak Shah, son Vivaan, Saba Azad and Tarun Dhanrajgir, the 25-minute film is a tender story about relationships and second chance at happiness. It released on Large Short Films’ YouTube channel on Friday.
Shah says he was more prepared this time around, with Ratna and Vivaan contributing with suggestions to his script, and older son Imaad taking the reigns as associate director, helping with everything from the screenplay to the music, which he composed with Samar Grewal. “There’s [just] one song in the film… I am not averse to songs, I am just not too fond of Hindi film music,” shares Shah.
When Ratna, who has joined us for the interview with Vivaan, first read the script, she found it “charming and simple”. “It was also a story that required the actors to behave in an utterly natural and comfortable manner… those are things that Naseer is really good at. And there were lovely parts for each one of us. They were short and brief, but the scenes had enough meat in them.”
What helped a great deal, she says, was that everyone on the set were either friends or family. Sanah Abbott was second assistant director; Anil Mehta was cinematographer, and Hina Saiyyada, editor. “We’ve known everyone for years. It was really a carry forward of the way we do things at Motley, where the work is done in a collaborative fashion… eventually, it’s a bunch of friends making a film together.”
Actor-singer Saba Azad, who plays Ratna’s daughter in the film, she says, “is practically daughter to me”. She and Imaad have been musical partners for years as electro funk duo Madboy/Mink. At this point, the doorbell rings. It’s Saba who rushes to hug Shah and Ratna—her ‘Baba’ and ‘Mama’. They break away briefly from talking about the film to discuss her recent freezing cold holiday in South America. “The transfer of affection doesn’t have to be underlined there,” says Ratna reeling us back in, “These are the kind of moments that came naturally to us when we were performing.”
Saba, who has been looking for material that challenges her as an actor, says she was drawn to the film because she found it to be an “inclusive love story”. “It’s also unusual… we don’t often talk about older love and sexuality.”
The challenge for Shah was to translate that idea on screen in a shorter format, and “getting rid of the flab”. Film, as a medium, makes tremendous demands of a director. Shah describes the role as more “organizational and exhausting” than creative. Ratna says that while Naseer has been successfully directing theatre for several years now, to put those lessons aside and re-learn and re-invent for film was a hard-fought experience.
“It was more traumatic for him, than it was for us; we were frankly having a party,” Ratna laughs. Saba adds, “I think theatre functions in a more controlled environment than films; there are so many more variables on a film set. I remember the first scene, the rain came down on us, and it happened again and again.”
She says working with a meticulous director like Shah was an experience. “He knows exactly what he wants from the actor. I don’t know if this is something that comes from years of directing for theatre.”
The entire script was written keeping Ratna, Vivaan and Saba, in mind, except the elderly man, says Shah. “I was certain I would not play the role,” he says. Shah offered it to well-known actors, “but I realized they bring too much baggage.”
Ratna suggested Tarun Dhanrajgir, whom they knew from their early years as theatre actors. “We hadn’t met for close to 40 years. He was a slim lad back then, who had turned into a portly, personable, white-bearded, handsome gent. I had faith in his acting because we had worked together in two plays way back in 1982 and ’83.”
Dhanrajgir, who is based out of Hyderabad, joins us over a call and says he was a bundle of nerves because he hadn’t faced the camera in years, except for short roles in Telugu movies. “But it was an emotional moment for me… going back and working with Naseer and Ratna after all this time.”
Vivaan, who aside from acting in theatre and films, has also been writing novels (his third novel, The Forsaken Wilderness released earlier this year), says he and his father are great collaborators. “So much of my immersion in literature is thanks to what I have learnt from my parents. Baba is a brilliant storyteller. I remember, as a kid, when we used to go on these long car rides, he would synopsize the entire plot of Shakespeare. That’s how I was first exposed to The Merchant Of Venice and Macbeth,” he says and adds, “Another very interesting thing about him is his ingenuity as a dramatist. That really harks back to all his theatre work.”
Vivaan says his father’s adaptation, restructuring and re-formulation and of pre-existing literature for the stage, sets him apart. “That’s really what great screenplay writers do. It’s wonderful to witness Baba apply the same ingenuity as a dramaturge into this film.”
Actor-singer Saba Azad plays Ratna Pathak Shah’s daughter in the film
Like FRIENDS, Sarabhai vs Sarabhai should have a special one off episode-Rupali Ganguly
8:15 AM
Soumitra Das (BOMBAY TIMES; August 27, 2023)
Rupali Ganguly, who is currently riding high on the success of her ongoing TV show Anupamaa, was in Gujarat recently for a quick trip.
She tells us, “I visited Mehsana for an event and it felt special because during the first episode of our show, we had Anupamaa (her character) going to the Modhera Sun Temple. I also wanted to visit Ambaji Temple for a long time and I am glad that I could do that on this visit.”
She adds, “I love coming to Gujarat and I have grown up with Gujarati neighbours. I have an insane obsession with Gujarati food, and I love dal dhokli, Gujarati dal, undhiyu, lapsi and churma ladoo. In fact, there are days when I crave Gujarati food in Mumbai and travel to Borivali to have Gujarati thali. I have also picked up the language quite well and playing a Gujarati character in Anupamaa has been a wonderful experience.”
‘I took a seven-year sabbatical because I wanted to be a hands-on mother’
Rupali, who took a seven-year break from showbiz before making a comeback with her current show, says that it was “much needed”. She shares, “I wanted to be a hands-on mother to Rudransh (her son) and it was a very conscious decision to give priority to enjoying my son’s childhood. When Anupamaa was offered, I accepted it because the role was fantastic. It was the first show to have a female protagonist in her 40s and I am delighted that it resonated with the audience. A mother’s emotion is universal, and the makers deserve credit for creating an iconic show. The fact that there have been people who have copied it is a compliment.”
‘I have my guilt trips for not spending enough time with my son’
Rupali, who says that her husband Ashwin K Verma “took a back seat” so that she could pursue her dreams, says that she often has “guilt trips for not spending enough time with my son.” She shares, “Including travel, I have 14-hour days every day and like any mother who steps out of the house for work, I sometimes feel guilty. But my only solace is that Rudransh has one parent to look after him and I feel proud when I say that my son is more attached to his father. We speak over video calls throughout the day and my production house has been very supportive.”
She adds, “We have set roles for everybody-the man has to be the breadwinner, while the woman is supposed to be the homemaker and take care of the kids. In our case, there has been a role reversal. My husband wanted me to achieve my dream and get my due as an actor. I am proud and blessed to have a supportive husband like him. He is my agony aunt, cushion, and my biggest critic. He pans me completely if I perform badly. When I had apprehensions about doing Sarabhai vs Sarabhai because I felt that I would make a fool of myself, he said I must try to do something different.”
On her husband’s role in her professional journey
I met my husband in 2000, the year when I made my TV debut. We were just friends then and while everybody looked down upon TV, he said that the medium has a great future. After I played a negative role in Sanjivani, he said I should wait for something different. When I was offered Sarabhai vs Sarabhai, I was scared about sharing screen space with Ratna Pathak Shah and Satish Shah. But he convinced me to take it up.
On why she feels Sarabhai vs Sarabhai should have a special one-off episode
The Sarabhai vs Sarabhai cast is like family. We have a Sarabhai group, and everybody knows what’s going on in each other’s life. Like all viewers, I would also love to have another season. When we did season 2 in 2017 (Sarabhai vs Sarabhai: Take 2), Monisha (her character) Sahil (played by Sumeet Raghavan) ko chhod ke chali gayi thi. So, I feel there has to be a closure. Just like FRIENDS, we can have a special one-off episode; itna toh banta hai!
After 20 years, our bond has only become stronger, says Team Sarabhai
8:06 AM
In a chat, popular television show Sarabhai vs Sarabhai actors – Satish Shah, Ratna Pathak Shah, Rupali Ganguly and Rajesh Kumar – talk about the fun times and what keeps their friendship intact even after two decades
Tanvi Trivedi (BOMBAY TIMES; August 23, 2023)
They met around two decades ago when they began shooting for the iconic sitcom Sarabhai vs Sarabhai. The show ended, but the friendship between the actors has only grown over the years. Recently, we caught up with Satish Shah, Ratna Pathak Shah, Rupali Ganguly and Rajesh Kumar during one of their impromptu meets and saw how much fun they have even today. “Our friendship was cooked on a slow burner, unlike today, when everything happens quickly and fast through social media and instant messaging,” they said.
Rupali and Ratna’s make-up room shenanigans
As the four chatted over dinner at a suburban eatery, it was fun to hear them recount the good ol’ times. Ratna said, “I remember I had to share my make-up room with Rupali (who played Monisha) and the first thing I entered the room and saw was her bed with a pile of things. Being the tidy one, I wondered how I would share the room with her!”
Rupali responded, “She entered the room like a diva with two kapde ki thelis and my bed had a heap of things. I was petrified!” “Later, we got along really well and started trusting each other,” added Ratna.
Rupali spoke about how she was new to acting and both Rajesh and her used to get scared around the senior actors. She said, "I used to keep applying make-up and I remember Ratna ji saying that a lipstick will not help you act well and everyone used to bet on how many takes I would need to finish a scene (laughs)."
Rajesh added, "I remember a scene in which I had a one-page dialogue, I was fumbling and Satish ji finally walked out of the frame. Now, when I see that scene, I realize what a torture it was for him."
Rajesh, who still addresses Ratna as Momma, shared how they shot for the show in such a way that Satish Shah could leave at 6 pm. He said, “Satish ji was a senior actor and we would give him priority and shoot in such a way that he could go home at 6 pm. But soon, he started waiting for us.”
‘We have remained together like a happy family’
Rupali particularly recalls the flood situation in July 2005. “During those floods, I had to stay overnight at Satish ji’s home. I remember how he pulled out a T-shirt and short pants for me to wear at night and thankfully, his fridge was well-stocked with food,” said Rupali, who is currently seen playing the lead in Anupamaa.
Apart from these four, the Sarabhai gang also includes Sumeet Raghvan, producers Aatish Kapadia and J D Majethia and actor-director Deven Bhojani. Actress Vaibhavi Upadhyay, who passed away recently, was also a part of the show and the actors remembered her.
Talking about how their friendship has remained intact, Rajesh said, “We have remained together like a happy family even after the show ended. Even if we don’t talk with each other for 2-3 months, the bond is still the same. It is that kind of friendship where if one of us gets emotional, someone like Satish Shah cracks a joke and makes the situation light.”
Everyone shared my tiffin on set: Satish Shah
Satish shared how their tiffin boxes would be a point of conversation on the set. He said, “Ratna would get these tiny boxes of food and as a vegetarian, she always insisted on everyone eating vegetarian food.” Ratna responded, “Rubbish! I never did that.” Satish continued, “My tiffin was shared by all because my wife used to cook plenty of food.”
While Sarabhai Vs Sarabhai wrapped up on TV in 2006, the second season aired on OTT in 2017. So, is there a third season in the offing? “We would love to have a third season, but that is best left to destiny. We are all in different spaces in life, but our bond continues to be as strong as it was then. The bond we share is real,” they say.
After 17 years, Naseeruddin Shah turns director for short film Man Woman Man Woman
8:35 AM
Helming a short 17 years after his first directorial venture Yun Hota Toh Kya Hota, Naseer says its failure made him wary of creating features
Upala KBR (MID-DAY; August 18, 2023)
If Naseeruddin Shah is in front of the camera, you can be assured he will be a scene-stealer. Going behind the camera, however, is something he is wary of. Over 17 years since his maiden directorial venture, Yun Hota Toh Kya Hota (2006), the senior actor has picked up the directorial baton again for Man Woman Man Woman. The short film features his actor-wife Ratna Pathak Shah, son Vivaan Shah, Tarun Dhanrajgir and Saba Azad.
The veteran actor wrote the relationship drama with wife Ratna, and shot it in October over six days. At the writing stage itself, he envisioned Ratna and Vivaan in the central parts. He says, “Ratna plays a woman with a sense of humour, determined to enjoy every moment in her life, and who doesn’t cower down to people. For Vivaan’s role, I wanted him to shed his intensity as he had to play a quieter and more laidback person.”
Naseeruddin’s elder son Imaad Shah served as an associate director on the project. So, how was it collaborating with the family? “They are all actors on sets and don’t behave like family. Sometimes, they take a little liberty with me. Vivaan and Ratna have worked with me as a director, and know what to expect. In fact, at one point, I got angry and Vivaan gave me a hug and said ‘Baba, cool it.’”
Even as he enjoyed making the short film, the scars of Yun Hota Toh Kya Hota remain. The drama featured some of Hindi cinema’s finest actors, including Konkona Sens Sharma, Paresh Rawal, and the late Irrfan Khan.
“I was disappointed with the way the film turned out, and I take all the blame for it. I was focusing only on the actors, but fell short as far as imagining the scenes [was concerned]. Irrfan’s story was a big blunder. I feel terrible that I wasted a marvellous actor like him. I apologized to him as many of his scenes got cut. I won’t make a feature film again, though I may direct another short.”
We thought there was a woman ghost writer for Dhak Dhak-Sanjana Sanghi
8:34 AM
As Dhak Dhak’s poster is unveiled, actor Sanjana praises writer-director Tarun for perfectly capturing female perspective in all-woman biking drama
Priyanka Sharma (MID-DAY; May 13, 2023)
For all the male-led road-trip films seen on screen, it was about time Bollywood depicted women having a trip of a lifetime. The wish has been fulfilled with Taapsee Pannu’s upcoming production, Dhak Dhak, which stars Ratna Pathak Shah, Dia Mirza, Fatima Sana Shaikh and Sanjana Sanghi.
Sanghi says that the early stages of prep indicated that this would be an empowering project. She laughs, “Every day, I would think, ‘I have learnt to ride an Enfield. Is this real?’”
Tarun Dudeja’s directorial venture, the poster of which was unveiled recently, tells the story of four women embarking on a road trip across the Himalayas, which brings with it epiphanies and discoveries. Sanghi praises Dudeja for bringing insight and sensitivity to the story, steering away from the male gaze one would assume he inherently harboured.
“When we read the script, we thought there has to be a woman ghost writer on it. It’s [unusual] for a man to understand a woman’s heart and thought process so well. He says it is because he has grown up with sisters and aunts,” she says.
Dhak Dhak gave the actor many rich experiences — from riding a Royal Enfield to shooting in “83 unique locations”. But it is the joy of working with three leading ladies that she holds closest to her heart. “None of us asked the producers who else was in the film. We read the script for our characters, and loved them so much,” she shares.
In Pathak, Sanghi says she has found a valued friend and guide. “I want to have her level of passion at that age. Ratna ma’am did 50 per cent of the riding on her own. We didn’t want to tire her out, but she was a fighter, and would say, ‘I am going to do it.’ With her, I would have chai sessions by the river. She still is my go-to person if I am having concerns about work. She understands me and my fire within.”
Today, pan Indian films are our big attempt. Everything cannot be pan India-Ratna Pathak Shah
8:15 AM
Onkar Kulkarni (BOMBAY TIMES; May 8, 2023)
At the recently concluded FICCI Frames 2023 Ratna Pathak Shah, Renuka Shahane, Swwapnil Joshi and Manasi Parekh shared their thoughts on how regional cinema needs to hold its own amidst the current pan-India cinema wave during the session ‘One Nation: Many Cinematic Voices’. As they spoke about the survival of films from various languages across India, Renuka stressed on the constant competition Marathi cinema has faced over the years.
She said, “We have yet not really cracked the code of competition with Hindi or Hollywood films, which are released in Maharashtra. I think as an industry, we have not been able to crack the viability code because if we have to dream any further, then we have to crack that within our own state first before we experiment with audiences all over India.”
‘WE NEED A PARADIGM SHIFT IN THE WAY WE EXHIBIT AND DISTRIBUTE FILMS’
Marathi films, too, have excelled at the box office and made noise, but Renuka pointed out that the pace has been quite sluggish. The actress feels that Marathi cinema faces a lot of competition and the industry should come together to find a solution.
She elaborated, “Films like Me Shivajiraje Bhosale Boltoy broke records, and Sairat did exceedingly well. But these are exceptions, how do we make these exceptions a rule is a question. The industry must come together and find a solution for it. I think we need a paradigm shift in the way we exhibit and distribute films because there has to be space for experimentation, which is not in direct competition with the rates of commercial Hindi, Telugu or Tamil films, otherwise, our films are never going to cross that barrier. If we are constantly faced with that competition of viability, we just do not have the theatres where our films will be released or subsidized over a period.”
‘TODAY, THERE’S A NEW AUDIENCE WHICH WANTS MORE OF THEIR OWN LIVES REFLECTED IN WHAT THEY SEE’
We have ample and diverse stories to tell from across the length and breadth of our country. In such a scenario, Ratna believes that there’s no need to focus only on pan-Indian films. Sharing her, she said, “Today, kids in their teens pick up a camera and make something. So, there’s that enormous change in the accessibility to resources. There are cheaper resources available to make any kind of content on social media. All these things have led to different kinds of content being acceptable to different audiences. Our mistake is that we keep imagining that everything should be acceptable to everyone. Today, pan-Indian films are our big attempt. Everything cannot be pan-India!”
She added, “There’s a new audience now, which wants more of their own lives reflected in what they see. I think that’s the big difference. The audience doesn’t want only fantasy. They know that life is tough, and they want to see some reflection of that, so I think that is another big change. We are becoming aware that India is more than just a small band of people and a small band of ideas. That wonderful diversity of India, which I am so proud of and which we have read about in school books forever, is something we have genuinely managed to preserve over 5,000 years of civilization. We have kept our differences, isn’t that wonderful? But today, we are busy trying to homogenize and movies have played a part in that.”
Since my childhood, I haven’t been intimidated by people I look up to and respect-Sanjana Sanghi
8:20 AM
Rishabh Suri (HINDUSTAN TIMES; January 10, 2023)
Sanjana Sanghi isn’t taking the conventional Hindi film heroine route. At a stage when actors tend to choose roles with a mass appeal, she has opted for films where she gets to act alongside veterans.
In the upcoming movie Dhak Dhak, for instance, she will be sharing screen space with actor Ratna Pathak Shah, and in another project, actor Pankaj Tripathi will be playing her father. While working with such eminent names could get any young artiste jittery, for Sanghi, this has never been the case.
“Ever since my childhood, I haven’t been nervous or intimidated by people I look up to and respect. Somehow, I don’t go into that space. The credit also goes to how amazing Pankaj sir and Ratna ma’am are as people,” the 26-year-old tells us.
Equating them to “mentors”, the Rashtra Kavach Om (2022) actor adds, “They are so giving. [I learn a lot by] not just observing them, but the little things tell me about how I can improve my performance in a scene. As an actor, I feel lucky to get that... Pankaj ji, in fact, has literally been like a father to me since we were prepping.”
Interestingly, this is her second film with Tripathi, after Fukrey Returns (2017). But, things are different this time. “I never had a scene with him, I actually didn’t realize that we had been in the same film! Yes, technically this will be the second one, but this is just on another plane,” she quips.
Ratna Pathak Shah has poor tolerance to false notes while performing. She won’t let you lag in a scene-Viraf Patell
8:06 AM
Penning film that marks Ratna Pathak’s Gujarati debut, Viraf Patell says actor made his job easy
Hiren Kotwani (MID-DAY; December 31, 2022)
Following a 12-year journey in front of the camera, The Verdict — The State vs Nanavati and Bestsellers actor Viraf Patell is expanding his horizons as a writer. His maiden Gujarati film, Kutch Express, marks the first venture in the language that actor Ratna Pathak Shah will be part of. It also features Manasi Parekh in a woman-centric drama that sees the female protagonists tackle patriarchy.
It is owing to Parekh — who is co-producing the film with her husband — that Patel made his foray into Gujarati cinema with this venture that releases on January 6. “She asked me to test for it as an actor, and they eventually got me on board. Only when we had a reading session with all the actors did I get a sense of the whole script.”
When shoots were suspended due to the pandemic, he had the chance to mull over the screenplay. “We put in several hours over Zoom, and came up with a revised draft. Kutch Express is about being courageous.”
Referring to Pathak as the master on the set who was “a source of wisdom and joy,” Patell says, “Ratna ben has poor tolerance to false notes while performing. She won’t let you lag in a scene. The most important thing I learnt from her was that it is not enough to be good in a scene. The scene works if your co-actor also performs magically. Her interest lies in getting the entire scene right, not her performance alone.”
Check out Fatima Sana Shaikh's first look from Dhak Dhak
8:13 AM
Fatima on how she brushed up on her biking skills before Dhak Dhak rolled in Delhi
Uma Ramasubramanian (MID-DAY; May 30, 2022)
Barely a fortnight after Taapsee Pannu announced her new production Dhak Dhak, leading lady Fatima Sana Shaikh is zipping down the roads of Delhi on a motorcycle, shooting for the film. Playing a biker comes easy to her. “I knew how to ride a bike. So, my manager pitched [my name] for the project. I shared photos and videos of me riding a bike to show [the makers] that I could be this character. It was almost like I chased the film,” she smiles.
The actor brushed up on her riding skills for a week before she reported to the Delhi set. “Initially, I rode in and around my area, then started going up to Juhu and Carter Road.”
Dhak Dhak, helmed by Tarun Dudeja and also starring Dia Mirza, Ratna Pathak Shah and Sanjana Sanghi, revolves around the life-changing experience of four women who ride to the world’s highest motorable pass. With the theme of self-discovery, the film is right up Pannu’s alley.
“It’s wonderful when [stories] speak about empowerment, without it being in your face. Dhak Dhak is a personal story that ends up giving a [powerful message]. Everybody knows how Taapsee is — she chooses strong roles. If the producer’s sensibilities match yours, it becomes a smooth ride,” says Shaikh, who recently won praise for her performance in Modern Love Mumbai.
Delighted as she is to be part of the women-led offering, she is ecstatic about sharing screen space with Pathak. “She is a pataakha! She is a good [biker]. If she falls, she gets up and kickstarts the bike again. I love her.”
Taapsee Pannu’s production house announces new project, Dhak Dhak
8:46 AM
HINDUSTAN TIMES (May 16, 2022)
Viacom18 Studios, the production house behind powerful narratives and strong women characters from films such as Kahaani (2012), Queen (2013), Mary Kom (2014) and Padmaavat (2018), has joined hands with Outsiders Films in association with BLM Pictures for a new film, Dhak Dhak. Starring actors Fatima Sana Shaikh, Ratna Pathak Shah, Dia Mirza and Sanjana Sanghi, Dhak Dhak has been co-produced by actor Taapsee Pannu, Pranjal Khandhdiya and Ayush Maheshwari.
The film, co-written by Parijat Joshi and Tarun Dudeja, and directed by Tarun Dudeja, revolves around four women’s life-changing journey to the highest motorable pass in the world.
Pannu says, “At Outsiders Films, we aim to produce films that are meaningful and entertaining. We have attempted to give audiences a visual experience that they have rarely seen on screen. Dhak Dhak narrates the story of four women who realise that freedom has to be owned and is never given.”
Ajit Andhare, COO, Viacom18 Studios, says, “Dhak Dhak is a heart-warming story of four women undertaking a trip, breaking out of their cocoons and discovering themselves through this journey of introspection and adventure.”
Khandhdiya adds, “The partnership with Viacom18 Studios is a significant step for Outsiders Films. Dhak Dhak is a first-of-its-kind story about strong characters and a memorable bike ride in picturesque locations.”
I was just not looked at, maybe because I was Naseeruddin Shah’s wife-Ratna Pathak Shah
8:27 AM
Titas Chowdhury (HINDUSTAN TIMES; April 11, 2022)
Actor Ratna Pathak Shah, who has been part of critically acclaimed films such as Mandi (1983) and Mirch Masala (1987), says that besides being part of the commercial cinema space, star system also penetrated the art film circuit back in the day. And that, she believes, is what kept her from working frequently: “Our filmmakers weren’t adventurous when it came to casting. They always chose the ones who grabbed eyeballs. In art cinema, it was all about Naseeruddin Shah (husband), Om Puri, Shabana Azmi and Smita Patil.”
Shah rues the dearth of opportunities for her other contemporaries, too: “It was much later that (actors) Pavan Malhotra and Pankaj Kapur got the parts they deserved. Supriya (Pathak; actor and sister) never got the parts she deserved. And I was just not looked at, maybe because I was Naseer’s wife, and they thought I was not interested in working. Thankfully, that’s done with and dusted.”
The Thappad (2020) actor heaves a sigh of relief, as she’s getting to work at a time when most people have retired. “My skill has improved in the last 20 years. Maybe that’s why I’m getting the kind of roles that you see me doing,” Shah ends.
I wish that I had followed my parents’ advice-Vivaan Shah
8:19 AM
Juhi Chakraborty (HINDUSTAN TIMES; April 9, 2022)
Vivaan Shah started his career with small roles in big multi-starrers, such as 7 Khoon Maaf (2011)and Happy New Year (2014). But looking back, the actor, who is the son of actors Naseeruddin Shah and Ratna Pathak Shah, feels he took the wrong approach. “I made the mistake early in my career of chasing stardom and success. I started off in the business thinking I am here to be a star. Somewhere along the way, I realised that no, I am an actor [first],” the 32-year-old tells us.
Speaking of what his parents think about his journey, he says, “They never bought into this business of stardom. But when I started in 2010, it was a very different climate in the industry. My peers were filling my head with all kinds of idiotic advice on how to be a leading star. My parents told me not to listen to the bulls**t. But as a young, immature person, I did not listen to them. Rather than trying to evolve as an actor, I was greedy to become a star. I wish that I had followed my parents’ advice.”
But Shah does feel fortunate to have done the big films that he did. “The projects of mine that the audience is familiar with, are the ones with big people. For the last seven years, with the exception of A Suitable Boy, the stuff that I’ve done has not reached an audience,” he says, adding that he has been constantly employed in the last 12 years. “I am still working hard and evolving as an actor. I hope that people get to see more of me,” he signs off.
Every actor worth their salt would consider it a privilege to work with the talented Paresh Rawal-Manasi Parekh
8:08 AM
Actor Manasi Parekh credits writers for meaty roles and change in audiences tastes
Kavita Awaasthi (HINDUSTAN TIMES; March 22, 2022)
She is on cloud nine with the reception of her recent Gujarati film, Dear Father. Calling the experience “incredible”, actor Manasi Parekh remarks, “Every actor worth their salt would consider it a privilege to work with the talented Paresh Rawal sir (actor), who has done over 150 films. It was great to have a substantial role that gives takkar to his character in the film.” Though the team knew the film would work, they were surprised with its response.
Parekh has been an actor since 2004, with a number of hit TV shows, including Kitni Mast Hai Zindagi, Gulaal and Sumit Sambhal Lega to her credit. Later, she debuted in Hindi films with Uri: The Surgical Strike (2019). “I am at an interesting juncture in my career. My Hindi film career is a few years old that started with Uri, which I was happy to be part of. The usual trend is that actresses in their 20s do many Hindi films and in their 30s, things would peter out, but that is not the case anymore. In fact, now there are so many interesting roles out there for my age group,” says the 35-year-old.
Parekh gives credit to the writers and audiences who have accepted actors “who are not playing a quintessential, good-looking actress”. “I always had wonderfully etched out roles in the TV shows I did. But back then, I didn’t get film offers and maybe koi specify requirement hogi. And after Uri, people have been offering good roles. Moreover, my experience, marriage, and motherhood have added value to my performances. Earlier, actresses were told if you want a career, you can’t marry or become a mother. But my career surged post marriage,” says the actor, who will be seen in Jab Khuli Kitaab, co-starring Aparshakti Khurana.
Having starred in some acclaimed Gujarati films, Parekh is thrilled with the growth of Gujarati cinema. “There is an overarching trend of audiences and their tastes changing. The lockdown and pandemic, too, have amplified things. Today, people are ready to watch films in any language. Pehle Bollywood zyada dekhte the, but now they have become more open to different languages,” says Parekh.
She adds, “There are many exciting things happening in Gujarati cinema. After doing Gol Keri (2020) and Dear Father, I am now shooting a film with (actor) Sharman Joshi and another Gujarati film with (actor) Ratna Pathak Shah. Suddenly, a number of mainstream Hindi actors are stepping into Gujarati films. While the south industry is established, Gujarati is still growing. It is exciting to be part of this growing industry. That is a telling sign of changing times.”
Supriya Pathak keen to work with Ratna Pathak Shah, Naseeruddin Shah and Pankaj Kapur
8:15 AM
Vinay MR Mishra (HINDUSTAN TIMES; March 9, 2022)
Actor Supriya Pathak has been on repose for the last couple of days. Her daughter, actor Sanah Kapur, married actor Mayank Pahwa in an intimate ceremony in Mahabaleshwar last week. And while it was a “small event”, Supriya and her husband, actor Pankaj Kapur “were geared up to make it memorable for the guests”. “I don’t think it has sunk in yet,” says Supriya, as she talks about her daughter’s marriage.
The photos from the wedding have been doing the rounds on social media and one featuring Surpiya, Pankaj, and actor-couple Ratna Pathak Shah (Supriya’s sister) and Naseeruddin Shah caught everyone’s attention. In fact, a Twitter user commented, ‘Somebody cast them together in a film please.’ Mention this to her and Supriya quips, “Somebody listen to them (laughs). If someone wants to make a film, we have all the actors in the family. Even my younger son is making his debut.”
Ask her what it’s like when all the veterans are under one roof and she says, “Pagalpan. It’s crazy. We don’t talk about work, as we have a lot to talk about.”
Talking about how the wedding ceremony of her daughter unfolded, she shares, “Sanah looked like a fairy. When she walked down [the aisle] with her father, they played a beautiful song (the Punjabi folk track, Madhaniya). It was an emotional moment. I cried for quite a bit. But then, I was elated when they spoke the vows.”
On a parting note, the Khichdi actor calls actors Manoj and Seema Pahwa (the groom’s parents) “family” and adds, “We have known each other for centuries. Mayank is like my son.”
There is stability and depth to such romances-Paresh Rawal
8:18 AM
Paresh Rawal, who is teaming up with Ratna Pathak for Hum Do Hamare Do, proud that Hindi films are exploring mature love stories
Mohar Basu (MID-DAY; October 29, 2021)
"Kya alag kism ki kahani hai!” That was Paresh Rawal’s first thought after the narration of Hum Do Hamare Do. “I found the premise of adopting parents quirky,” begins the senior actor, who has joined Rajkummar Rao and Kriti Sanon in the comedy. While the film focuses on the protagonist’s efforts to woo his ladylove, director Abhishek Jain also showcases an elderly romance through Rawal and Ratna Pathak Shah’s characters.
With the movie coming a few years after Badhaai Ho’s (2018) success, Rawal is glad that filmmakers are developing mature love stories. “Usually, romances are associated with the youth. The only other elderly love story with recall value is Cheeni Kum [2007]. You need such films to be grounded and mature. What people are unable to bring on screen is that the intensity of love increases with maturity. There is stability and depth to such romances.”
The senior actor was delighted to join forces with Pathak whom he has deeply respected since their theatre days. “When you have a tremendous actress like her, you can approach every emotion from a fresh perspective. The material is only a part of our job; the rest is about enhancing the written word.”
Collaborating with Rao was another draw for Rawal. Describing himself as a “huge fan” of Rao, he says, “When I first watched Shahid [2013], I didn’t have his number. I called up Hansal Mehta twice. I have seen every film of his. He is truthful in every performance. This new generation of actors is full of gems.”
With Hum Do Hamare Do, we are presenting an idea that has not been spoken about-Rajkummar Rao
8:12 AM
Known to front novel stories, Rajkummar on how the Japanese concept of renting families has been adapted for Hum Do Hamare Do
Mohar Basu (MID-DAY; October 18, 2021)
Expect Rajkummar Rao to find a novel story and throw his weight behind it. The actor says that the ingenious theme of Hum Do Hamare Do that revolves around renting a family, a concept fairly popular in Japan, drew him to the project. That, and the fact that it has no reference point in India. “I have always striven to break conventional ideas. [We are] presenting an idea that has not been spoken about."
"When I first heard the story, I wondered, ‘Why can’t it become a norm in India as well?’ There are so many lonely old people out there, and so many lonely [youngsters]. They can come together to become a family,” begins Rao, when we chat with him on Sunday morning.
But making the idea palatable in India can be difficult, especially since the concept of family here is intrinsically linked to blood relations. “We aren’t trying to be preachy with this film, but it’s possible that lonely people can complete each other by simply being together.”
Reuniting with his Bareilly Ki Barfi (2017) co-star Kriti Sanon has Rao smiling. But his most precious take-away from director Abhishek Jain’s social comedy is the friendship he forged with Paresh Rawal. “I am fortunate to call Paresh sir my friend now. When I meet artistes I admire, I become an acting student all over again. I would bombard him with questions on his films and his process. We would play chess; he is a fine player but I am not that good,” he says, adding that Rawal and Ratna Pathak Shah’s command over their craft left him mesmerized.
From Shahid (2013) to Stree (2018), Rao has built a career by choosing stories that are off the beaten path. He is glad to note that Bollywood too has undergone a shift in the recent past, with the lines of hero, heroines and villains blurring. “We are now living in times when content is the real hero. People now are much more interested in good stories and character graphs. That said, there will be all kinds of films. Even Hollywood does its big-screen extravaganzas, [balancing it with] a Marriage Story [2019]. We are doing exactly that here as well.”
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