Production houses contemplate playing previous hit films to increase footfalls, should cinema halls reopen
Upala KBR (MID-DAY; August 2, 2020)

Taking a cue from countries that have resumed operations of theatrical screenings amid the Coronavirus pandemic, Indian production houses will also screen their previous blockbusters to lure viewers back to cinema halls.

A trade source tells mid-day, "Some multiplexes and single screen owners are in talks with distributors and studios like Warner Bros India, Yash Raj Films, and Reliance Entertainment, among others, to showcase their blockbusters."

Devang Sampat from Cinepolis says that with the Indian audience comprising viewers of Indian and international content, they have a large slate to play with. "For the first two weeks, Cinepolis plans to screen 3D films like Avatar, Gravity, and Titanic, and Oscar-winning movies. Regional films will also be aired in accordance with each state," he says, adding that a survey conducted by their team has revealed that 86 per cent of moviegoers are eager to visit theatres. "Once we decide which titles we want to play, we will work on acquiring the rights."

Exhibitor Akshaye Rathi, who runs 17 single-screens across Maharashtra, Madhya Pradesh and Chhattisgarh, adds, "Single screens have been at the forefront of these conversations. Reliance has Rohit Shetty-movies like Golmaal 3 and Golmaal Again, Singham, and Simmba. Warner Bros has gone a step ahead and created interesting packages and catalogues where the best of their comedies and action films can be sent to the exhibitors. The idea is to rebuild the habit of watching movies at theatres and earn the confidence of our audiences."

WILL SOORYAVANSHI AND ‘83 MANAGE TO RELEASE ON DIWALI AND CHRISTMAS?

The Coronavirus-induced lockdown led to postponement of almost all big films across the world and Hindi film industry was no exception. However, while new release dates of most Hollywood films were announced immediately, Bollywood didn’t do that. But finally, with the country in unlock phase and many markets gradually opening up outside, Bollywood has decided to take the plunge.

Last week, Reliance Entertainment announced that two of it’s most awaited films, Sooryavanshi and ‘83, will be releasing in 2020 end. While Sooryavanshi will be releasing on Diwali, ‘83 will arrive during Christmas. Both are big-ticket films and are expected to work big time. Sooryavashi stars Akshay Kumar and Katrina Kaif and is a bit of Rohit Shetty’s much loved cop universe. The trailer was unveiled in first week of March 2 at a time when it was to release on March 24. It was met with a great response. What’s more, Akshay’s character of Sooryavanshi is also joined by Singham (Ajay Devgn) and Simmba (Ranveer Singh) and their chemistry, visible in the trailer, had added to the hype.

‘83, meanwhile, is based on Indian cricket team’s unbelievable victory at the 1983 World Cup against the invincible West Indies team. It stars Ranveer Singh as Kapil Dev and also features Deepika Padukone, Tahir Raj Bhasin, Boman Irani, Pankaj Tripathi, Ammy Virk and others. Directed by Kabir Khan, it was to release on April 10. It’s trailer isn’t out but there’s lot of buzz for the film and it’s sure to translate into healthy box office numbers.

Of course, a section of industry and moviegoers are apprehensive. The number of Coronavirus cases in India are all set to cross the 8-lakh-mark in the next 2 days and currently, on an average, 20,000 cases are being added daily. No one knows whether we’ll see a considerable decline of cases by Diwali. Also, theatres in the country haven’t resumed operations and no one knows if it’ll be allowed to restart anytime soon. Even if cinema halls are allowed to operate, how many people would actually come is a question.

However, there are also many who are optimistic. The Hollywood biggie Tenet, directed by Christopher Nolan, will release on August 12. If this film works and manage to pull audiences in India and elsewhere, it’ll give an indication that viewers are indeed comfortable to watch films in theatres. Also, many feel that moviegoers would be so bored sitting at home and watching films online that they would be desparate to come back to cinemas by the time Sooryavanshi and ‘83 release.

Only time will tell which scenario out of these come true.

Even as theatres have yet to open, Akshay Kumar's Sooryavanshi, Ranveer Singh's '83 announced as Diwali and Christmas offerings respectively; Reliance Entertainment CEO discusses how festival releases are a possibility
Uma Ramasubramanian (MID-DAY; July 1, 2020)

At the outset, the makers of Sooryavanshi and '83 had stated that the films would not bypass a theatrical release even as a cloud of uncertainty hung over the reopening of cinemas due to Coronavirus outbreak. Now, Reliance Entertainment has announced that the Akshay Kumar-led cop caper and Ranveer Singh-fronted sports drama will hit the screens on Diwali and Christmas 2020 respectively. The announcement comes at a time when theatres in India are a long way from throwing their doors open.

"We are committed to releasing the two films in theatres first. We are hoping that the situation will be normal in the next five months. If things are not under control by then, we will take a call at the time. As and when the government and exhibitors open cinema halls, the films will release," asserts Shibasish Sarkar, chief executive officer, Reliance Entertainment group. While Sooryavanshi was originally slated for a Gudi Padwa release, Kabir Khan's 1983 cricket World Cup drama was to hit screens on April 10.

Considering international markets are crucial to the success of such big-ticket ventures, Sarkar is happy to note that cinemas across the world are opening, albeit gradually. "For Hindi films, North America and the Middle East account for 70 to 75 per cent of the [overseas] business. While New Zealand, Fiji and the Gulf countries have opened up, Canada and some European countries are expected to follow suit. The situation in the US has aggravated in the past 10 days, but five months down the line, I am hoping that the countries will be active."

While exhibitors are apprehensive that footfalls may be drastically low when theatres reopen, Sarkar believes that the charm of the big screen will lure the audience.

He argues, "Alive, which released in South Korea this week, has witnessed one million footfalls so far." Sarkar indicates that the practice of re-releasing popular Bollywood films to attract audiences may be replicated in India. "If exhibitors want any of our films for a re-release, we will provide it to them."

Renuka Vyavahare (BOMBAY TIMES; July 1, 2020)

Bollywood has had a tumultuous past few months. From theatres being shut and shoots being stalled, the losses faced by the industry have been mounting. But, here’s some good news, finally. Those missing the big-screen, theatrical experience can now heave a sigh of relief. Multiple theatre chains announced yesterday that Rohit Shetty’s Sooryavanshi, starring Akshay Kumar and Katrina Kaif, and Kabir Khan’s '83 (on India’s 1983 cricket World Cup glory), starring Ranveer Singh and Deepika Padukone, will hit the screens on Diwali and Christmas, respectively. Both the films were originally slated to release in March and April this year, but missed their date with the theatres due to the Coronavirus crisis.

Confirming his film’s new theatrical release date, Kabir Khan told BT, “Yes, '83 will release worldwide in theatres on December 25. We were very clear from the beginning that we will not release it on OTT. We had assured the same to the theatre chains. It’s also good for multiplex and theatre business, fans and the industry at large. Of course, the film will come to the digital platforms later, but it has been mounted on a certain scale, shot a certain way and is meant for big-screen viewing. It’s a film that will resonate with the country and has the ability to turn theatres into a stadium. We want the audience to experience that. We are not in a hurry, so the wait is fine.”

Speaking about the delay, the filmmaker explained, “Theatres worldwide are slowly opening, depending on the situation in each country. I heard Christopher Nolan’s Tenet will hit some screens in August. Even '83 was to be released on April 10. Yes, I was disappointed when it didn’t, as you are keen to show your film to the world. But, the pandemic has shut down the world and is bigger than our ambitions. It’s a huge concern and humanity needs to emerge stronger from the crisis. Christmas is a good date. Anytime sooner wouldn’t have made sense. We can’t be sure about it, but we are good six months away so I hope things will get better by then.”

Kabir added, “We are constantly in touch with the theatre chains and all kinds of precautions will be taken. We won’t compromise on people’s health for entertainment.”

Shibasish Sarkar, Group CEO, Reliance Entertainment, who are presenters and producers of '83 and Sooryavanshi, said, “Makers of both the films were on the same page. These films are big-screen spectacles and we didn’t want to compromise or dilute the viewing experience. We wanted them to release in theatres even if we had to wait. This is a long process — exhibitors need to open the cinemas, the government has to grant us permission, and the audience needs to be safe, but we are optimistic. Both are global releases, but 83 will also be released in dubbed versions — Tamil and Telugu.”

He concluded, “People have been confined to their homes for so long, I am sure that they are looking forward to coming back to theatres in a few months from now.” Sooryavanshi and '83 are the first two films to announce their theatrical release date amidst the pandemic.

Kirti Kulhari on how her character in The Girl Ob The Train remake has been given more prominence than in the source material
Uma Ramasubramanian (MID-DAY; June 23, 2020)

Even as she continues to win praise for her performance in the second season of Four More Shots Please, Kirti Kulhari has trained her focus on her next, The Girl On The Train remake. The Parineeti Chopra-fronted psychological thriller has Kulhari play the cop investigating the murder that is at the centre of the narrative. While the source material — the Paula Hawkins novel — and the 2016 Hollywood screen adaptation dedicated little time to the character, Kulhari says director Ribhu Dasgupta has fleshed it out in the Hindi version.

"It's my second outing with Ribhu. He wanted me to be part of the film after seeing my performance in Bard Of Blood [2019]. While the scope of the character was quite limited in the original, Ribhu has developed my role further in the film. Now, it is almost a parallel track [to the protagonist]," reveals Kulhari.

With several films seeking a digital premiere due to Coronavirus lockdown, buzz suggests that the thriller too may explore the route. "We had a word with the director, but, [the decision rests with] Reliance Entertainment [producer]. Right now, everyone is gauging the market and trying to determine what the next six months [will bring]."

Onkar Kulkarni (BOMBAY TIMES; June 17, 2020)

Sushant Singh Rajput’s death by suicide has triggered a major conversation in — and on — Bollywood. People from various sections of the film industry have come out on social media and spoken about Bollywood’s ‘insider-outsider’ theory. There are a few who have also highlighted the struggles they have faced in the industry to find acceptance as an outsider.

Yesterday, filmmaker Abhinav Kashyap, who has directed films like Dabangg (2010) and Besharam (2013), in a long social media post, lashed out at talent management agencies saying, “These people don’t make careers. They ruin your career and life.” In the post, he also blamed Salman Khan’s family for sabotaging various projects in his own career. He wrote, “So, here is my story 10 years after Dabangg. The reason I moved out of making Dabangg 2 ten years ago is because Arbaaz Khan in collusion with Sohail Khan and family was trying to take control of my career by bullying me. Arbaaz Khan sabotaged my second project with Shree Ashtavinayak Films that I was signed up with by personally calling their head Mr Raj Mehta and threatening him with dire consequences if they made a film with me. I had to return the signing money to Shree Ashtavinayak films and moved to Viacom Pictures. They did the same thing. Only this time the sabotager was Sohail Khan and he intimidated the then Viacom CEO Vikram Malhotra. My project was sabotaged, and I was made to return my signing fee of Rupees 7 Crores plus interest of Ninety odd lacs. It’s only then that Reliance Entertainment came to my rescue and we forged an enduring partnership for my film Besharam… (sic).” He went on to claim that over the years, several of his other projects were also sabotaged and he was also given life threats.

He added, “My enemies are sharp, cunning and always attack me from the back and stay Hidden. But the best part is after 10 years, I know who my enemies are. Let it be known that they are Salim Khan, Salman Khan, Arbaaz Khan and Sohail Khan...Unfortunately, truth is on my side and I am not going to give up like Sushant Singh Rajput. I refuse to cow down and will fight on till I see the end of either them or me. Enough tolerance. It’s time to fight back.”

When we reached out to Arbaaz Khan, he sent us the links to some of Abhinav’s previous interviews with the media, and said, “Please do take time to watch the contradictions in his own words (referring to Abhinav’s past interviews). We have taken the legal course, and that’s all I have to say. Do watch his interviews. Do I need to say much?”

Talking to us, Salman Khan’s father Salim Khan said, “Ji haan, humne hi sab kharab kiya hai na. Aap pehle jaake unki filmein dekhiye, phir hum baat karte hai. Unhone mera naam daala hai na unki statement mein. Unhe shayad mere pitaji ka naam nahi pata. Unka naam hai Rashid Khan. Unhe hamaare dadaon aur pardadaon ke naam bhi daalne dijiye. Let him do whatever he wants, but we are not going to waste time reacting to what he says.”
----------------------------
I THOUGHT IF AFTER DABANGG, I MAKE DABANGG 2 THEN I CANNOT GET OUT OF THIS DABANGG GENRE: ABHINAV IN 2013

It was a case of natural progression. I thought if after Dabangg, I make Dabangg 2 then I cannot get out of this Dabangg genre and I will have to make Dabangg 3 and I will have to make Dabangg 4. I will have to repeat myself over and over again. If I didn't do well then no one would give me a chance yeh keh ke ki isko toh sirf Dabangg aati hai. So, it was very important that I do something out of the box. Dabangg mein main rehta ya na rehta, Dabangg 2 banne wali thi. Arbaaz was very, very serious about making Dabangg 2, so I said don’t wait for me, just go ahead and make it. To an extent unko thoda jhatka laga ho, naraazgi hui ho, utna hi hua tha, par logon ne bahut badha chadha diya.

— Excerpt from a 2013 interview with trade analyst Komal Nahta

(Source: Zee ETC)

Cinema halls are gearing to reopen when restrictions ease, but they’re likely to use old hits to draw audiences
Rishabh Suri (HINDUSTAN TIMES; June 11, 2020)

With life crawling back to normal mid the Coronavirus crisis, and resumption of shoots, comes the big question: when will movie theatres reopen? And an even bigger question: which filmmakers will be ready to test the waters and see whether audiences trickle in?

UAE, with no new films in hand, has decided to re-release Good Newwz and Dream Girl, both 2019 films, in theatres. Back home too, experts believe the same strategy would be employed.

OLD MAY STRIKE GOLD
Manoj Desai, executive director of G7 Multiplex and Maratha Mandir cinema, Mumbai says, “A theatre lockdown happened in 1996. On reopening I decided to re-run the 1961 Shammi Kapoor film Junglee. It was housefull. Then I re-released Teesri Manzil, also housefull. Just after the Covid-19 lockdown started, I had thought I’ll again use this idea.”

Earlier, speculation was rife that Sooryavanshi and '83 would be the first to release to draw audiences. But '83 director Kabir Khan told us recently, “It’s not like the lockdown will lift and we will throw our films to test waters. We will wait till comfortable.”

Shibasish Sarkar, group CEO, Reliance Entertainment which is involved with both these films, says, “We are expecting theatres to reopen in mid to end of July. Also, it will be in some states. It’s not as if suddenly some ready films would be released, it will take time. Hollywood films will come first — Christopher Nolan’s Tenet, Mulan, then Wonder Woman 1984. I expect old films to be released again, but I don’t expect people to come to the hall for them. It would be a kind of practice for theatres to get everything ready.”

He confirms both their films won’t be among the first to release, but adds Reliance would give any of their titles such as Simmba (2018), Golmaal Again (2017), Super 30 (2019) for free to theatre owners. “We survive because theatres are there,” he adds.

THE OTT FACTOR
However, recent films such as Angrezi Medium or Baaghi 3 are already on OTT, why would people pay to watch them in theatres? Hardik Mehta, whose Roohi Afzana starring Janhvi Kapoor and Rajkummar Rao is stuck, says, “It’s an important step forward. Let’s run cinema halls for 24 hours, but only at 50% capacity. Also, Nolan will release Tenet in July, even those at home will say ‘I’ll have to go to a theatre’,” he says.

An animation team of 225 has been creating fresh content for two popular TV shows by tweaking their working process from home
Himesh Mankad (MUMBAI MIRROR; May 12, 2020)

The Coronavirus-induced lockdown has brought the film and TV industry to a halt, with shoots being cancelled, releases pushed indefinitely and TV channels forced to air reruns of popular shows. Reliance Animation is among the few entertainment companies actively working in isolation on two TV shows, Little Singham and Golmaal Junior. Playing on Discovery Kids and Nickelodeon respectively, they are animated versions of two Rohit Shetty franchises, Singham and Golmaal, both fronted by Ajay Devgn.

COO Tejonidhi Bhandare (right) informs that they have created around 25 episodes, of 22 minutes each, during the lockdown. “It takes us around 10 days to lock the script, followed by 15-20 days of animatics and another 15- 20 days for animation,” he informs, admitting that there is a minimal 10 per cent loss in quality because the units are working in isolation.

The team of 225 has been collaborating daily on different aspects of the shows. They had divided the data among themselves a few days before the lockdown. “Around 70 per cent of the team had machines at home and the remaining were equipped with systems from the office. The file sizes for 2D animation are relatively smaller and can be transferred easily on cloud. The only challenge lies in the voiceover and background score,” says Bhandare.

The working process has been tweaked to help the animaters work from home. “Earlier, we’d write the script, do the voiceover and proceed to animatics and animation. Now, we start with scratch voices, move to animatic and animation and finally do the voiceover based on the final output,” he explains, encouraged by the fact that ratings of all kids channels have gone up in the lockdown and the delight of their TV partners to receive fresh episodes even during the crisis.

Shibasish Sarkar (left), CEO, Reliance Entertainment, reveals that the team had anticipated the lockdown following the pandemic across the world in the second week of March and provided their employees with infrastructral support as per their requirements. “We managed to provide fresh episodes of Little Singham when all live-action series have settled for re-runs. It’s a positive development,” he exults.

Even as many films pursue OTT release, Sooryavanshi, 83 makers say they are 'willing to wait for six months' for a theatrical run; exhibitors hail move
Uma Ramasubramanian (MID-DAY; April 29, 2020)

Should we? Should we not? That's the question on the minds of several filmmakers who are contemplating releasing their offerings directly online as a cloud of uncertainty looms large over the re-opening of cinemas. However, Reliance Entertainment has decided to wait out the lockdown period instead of pursuing a direct-to-web release for their two big-ticket movies, Akshay Kumar's Sooryavanshi and Ranveer Singh's '83.

While he understands that OTT platforms enjoy a wide reach, Shibasish Sarkar, group CEO, Reliance Entertainment, says, "Sooryavanshi and 83 have been made for the big-screen experience. We are hoping theatres will open [in the near future], and we will be able to release our films. For now, we are willing to wait for four to six months [before considering an alternate course of action]." He doesn't deny that holding off a film's release for so long poses a financial risk. "We are taking a risk in terms of our equity and return. But we believe in our films and want to see them on the big screen. Also, theatres are an important part of the entertainment eco-system."

Exhibitor Akshaye Rathi opines that while smaller films can be web-bound, big-budget projects should not bypass a theatrical run as they are integral to the survival of cinemas. "Even 10 films [of the calibre of] Shubh Mangal Zyaada Saavdhan can't boost the exhibition sector the way a Sooryavanshi can. We depend on such films to keep our balance sheet in the green. Watching an Akshay Kumar or a Rajinikanth film on a mobile phone hardly gives viewers the larger-than-life theatre experience," he reasons.

Grateful that the key players are not biting the OTT bait, Manoj Desai, executive director, Gaiety-Galaxy, says, "Almost 50 per cent of my losses will be recovered if Sooryavanshi is the first release after the lockdown is lifted. If such films consider [a direct-to-web release], I will have to down the shutters of my theatres."

South Theatres Angry
Down south, multiplex owners are already resisting direct-to-home releases. The Tamil Nadu Theatre and Multiplex Owners’ Association has threatened to ban films produced by or featuring Suriya when his home production announced it will release wife Jyothika's Ponmagal Vandhal directly online. Following this, the association released a video warning that they will not allot screens to Suriya’s films if the couple goes ahead with the decision.

Shibasish Sarkar confident that hunger for big films will increase after six months; says it’s best to wait
Himesh Mankad (MUMBAI MIRROR; April 14, 2020)

On March 12, producers Rohit Shetty, Akshay Kumar and Shibasish Sarkar pulled back the release of their upcoming cop-drama, Sooryavanshi, slated for March 24, owing to the Coronavirus outbreak. Shibasish had another film opening on April 10, the Kabir Khan-directed sports drama ’83. Even that was indefinitely postponed. With uncertainty looming large over two big-budget films, the CEO of Reliance Entertainment admits it’s a tough situation, but reasons that it’s a global crisis, so one must take such setbacks in stride and move ahead.

“It’s unfortunate and depressing that the films couldn’t arrive on schedule, but we are thankful that we managed to hold back Sooryavanshi a week before its release. Otherwise, it’d have been a debacle with the lockdown enforced suddenly,” he points out.

For now, the producer is trying to stay calm and informs that both films will release only once things are back to normal. “We are wondering how and what to do if this situation continues for the next three to six months. We have seven-eight days of work left on Sooryavanshi and atleast a month’s work of VFX on ’83. Once things start functioning, the first priority will be to complete both the films. Only after that will we decide on the release,” he explains. Following the closure of cinema halls, Hollywood film Artemis Fowl is now headed directly for a digital release. Is that a possibility they are considering?

“No, all of us, including the actors and directors, are clear that we want to hold both films till normalcy returns and release them theatrically since they are big screen experiences,” Shibasish avers. Having seen major portions of both Sooryavanshi and ’83, he is confident they’ll work no matter when they arrive.

The largest cinema chain in the US, AMC Entertainment, has been shut since mid-March and is expected to re-open only in July. The New Zealand and Australian governments have announced the closure of all theatres for six months, starting from March. Will this impact the overseas releases of his films? Shibasish reveals that the makers plan to open in over 80 countries, including traditional markets like the USA, UAE, Australia and New Zealand, which account for 80 per cent of the overseas collections. “That’s why we are in no hurry to release,” he avers, adding that he doesn’t rule out a change in consumption pattern of the audience post the pandemic. “I don’t expect viewers to return to cinema halls immediately after the crisis has passed. There will be some psychological fear and we will have to build up their confidence over a period of time. But, one thing is for sure, the craze for cinema would never die in India. On the contrary, I think the hunger for big films will probably increase after six months. The eagerness of the audience to partake of these products will be high if we can convince them that theatres are safe.”

Prod him on losses incurred due to the delay and Shibasish reasons that they were almost up for release, so there is a lot of money at stake. “But these are big films and when they do release, we will earn enough revenue to recover the additional cost of holding back,” he says confidently, adding that six months have been wiped out from everyone’s lives and this will result in a chain reaction of delays in releases and shooting schedules. “Once normalcy returns, Sooryavanshi and ’83 will be the first two films to arrive,” he assures.

Roshmila Bhattacharya (MUMBAI MIRROR; August 27, 2019)

Even as the Valley remains out of bounds to the rest of the country following the scrapping of Article 370 of the Constitution which granted special status to the state of Jammu & Kashmir, Mirror has learnt that a film on the life and times of its last Hindu ruler, Kota Rani, is in the works. Reliance Entertainment and Madhu Mantena are collaborating on an ambitious project on the regent who ruled in the 13th century and made many personal sacrifices to ensure that Hindu autonomy survived in the region.

“The idea is for this remarkable story to reach as many people as possible. She is one of the tallest female characters to have come out of our country but paradoxically very few know about her,” points out Shibasish Sarkar of Reliance.

Legend has it, Kota Rani was caught between two outsiders, Lhachan Gaulbu Richana aka Prince Rinchan who came from Ladakh and Shahmas-ud-Din Shah Mir from Swat. Both found employment with the Lohara ruler, King Suhadeva, and after he fled, following unpopularity over his attempts to bribe the invading Mongols, Prince Rinchan killed Kota’s father, General Ramchandra, to further his own ambitions. She married him in a diplomatic move but when he converted to Islam on the advice of Shah Mir to become the first Muslim ruler in the Valley, she refused to follow suit or allow their son, Haider, to ascend the throne.

In fact, after Rinchan was killed, she married former ruler Suhadeva’s brother Udyandeva to ensure that Hinduism survived in the Valley. When he proved to be as weak as his brother and fled to Tibet, she took over the reins herself and drove the Mongols back. But then, she had to contend with Shah Mir who, having stood by patiently for so long, staked his claim to the throne. Held captive in the fort, she offered herself in marriage, but it is said that on the wedding night, she opted to commit suicide over letting Shah Mir claim her.

“It’s surprising that we Indians don’t know enough or even know Kota Rani at all. It would not be an exaggeration to compare her to Cleopatra and a lot of what is happening today is directly related to her story. She is perhaps one of the most able woman rulers India has produced, and it would be a shame not to know about her,” says Madhu Mantena, who is producing the film with Shibasish.

»Vikas Bahl was accused of sexual harassment by a former employee of Phantom Films
» Probe says the complainant did not appear before the internal committee
» Bahl, who was removed from Hrithik-starrer Super 30, will be credited for directing it
» Bahl has filed defamation suits against former partners Anurag Kashyap, Vikramaditya Motwane
Roshmila Bhattacharya (MUMBAI MIRROR; June 1, 2019)

Director Vikas Bahl, who was accused of sexual misconduct by a former employee of Phantom Films and was removed from Hrithik Roshan-starrer Super 30, has been cleared of all charges following an internal inquiry by Reliance Entertainment, which held a 50% stake in Phantom. Mirror has learnt that the clean chit will enable Bahl to return to Super 30 and his name will be incorporated in the credits when the film’s trailer is released next week. The development could split the Hindi film industry right down the middle, as Bahl has already filed defamation suits against fellow directors Anurag Kashyap and Vikramaditya Motwane for comments on his alleged sexual wrongdoings. Phantom Films, founded by Bahl, Kashyap, Motwane, and film producer Madhu Mantena in 2011, was disbanded last year following the controversy.

Bahl, 47, who entered the Bollywood A-listers’ club with the 2014 blockbuster Queen which won the National Award for Best Hindi Film, was accused by the woman of sexual harassment on a trip to Goa in 2015. Subsequently, the film’s lead actor Kangana Ranaut along with Kashyap and Motwane spoke about Bahl’s alleged misconduct, culminating in his removal from Super 30 - a biopic on educationist Anand Kumar - which is produced by Reliance Entertainment.

Shibasish Sarkar (right), Group CEO, Reliance Entertainment, confirmed the clean chit to Bahl and him being credited for Super 30. “Yes, it is true that the internal complaints committee report has exonerated Vikas Bahl. With the committee clearing Vikas, we don’t have a choice but to reinstate his credit as director of Super 30,” Sarkar told Mumbai Mirror yesterday.

This newspaper has learnt that Reliance Entertainment’s internal complaints committee probed allegations with due diligence. “Despite repeated reminders, the complainant did not appear before the committee,” a source told. “Those associated with the complainant and the respondent were interviewed by the committee. It also recorded documentation and correspondence between the two and based on this, it has unanimously concluded that Vikas Bahl stands exonerated of all charges levelled against him,” the source said.

After the allegations came to light in 2017, Bahl had clarified that the woman was not an employee of his company but a friend, and that they had collaborated on a project. “I’d like to sit across the table and talk to her. I want to ask her whether I have crossed the line, whether I did anything to hurt her, and if she feels that way, I’d like to apologise to her. I have known her for long. For two-and-a-half years she has never made me feel as if she is uncomfortable (around me). I have worked very hard to be the person I have become. I do feel victimised, but I don’t know what to do about it,” Bahl had said then.

On October 8, in the wake of the #MeToo movement in India, Hrithik tweeted, “It is impossible for me to work with any person if he/she is guilty of such grave misconduct. I am away and have access to only sporadic information. I have requested the producers of Super 30 to take stock of the apparent facts and take a harsh stand if need be. This is not to be hushed or brushed under the carpet. All proven offenders must be punished, and all exploited people must be empowered and given strength to speak up.”

Sources said that Bahl wrote to Reliance Entertainment to launch an investigation as the company or Phantom Films never received a formal complaint from the woman. “The woman said the incident took place in 2015—the same year that the Reliance-Phantom merger happened. Over the next two years, till April 20, 2017, Reliance did not receive any complaint nor did it have an idea of any such alleged incident. The company always had an internal complaints committee to deal with such issues but no compliant was registered with it either,” the source said.