Prashant Singh (HINDUSTAN TIMES; August 4, 2020)

There’s no doubt that the Coronavirus induced lockdown has thrown showbiz — like every other sector — into total disarray. Not just film shoots, post production work has also suffered in equal measure. And thanks to that, Shoojit Sircar-directed Sardar Udham Singh has had a direct effect on it. The Vicky Kaushal-starrer, which had booked a release date — January 15 — even before the Covid-19 pandemic, now seems set to miss its date with the box office, due to Coronavirus.

Although the film’s shoot was completed way before the lockdown came into force, makers admit that the ongoing situation has “compelled them to get slow” vis-à-vis edit and other post production work, which is taking place on a “remote basis.” An insider says: “Both Shoojit-da [Sircar; producer/director] and Ronnie [Lahiri; co-producer] ensure that all the requisite precautions stipulated by the government is followed. Currently, two people are working on the edit, mostly from home. And since Shoojit-da is overlooking everything closely from Kolkata, it takes time, especially when it comes to co-ordination.”

Earlier, makers had planned an October release but due to the pandemic, they shifted it to January next year. But now, they admit “meeting that deadline looks next to impossible” as they lost close to two months due to the pandemic. “Now, makers have to finish the edit, followed by special effects work and also music. All of it will take time, and makers are in no hurry as they want to come up with the best possible product, instead of serving up a half-cooked film,” says the insider.

That’s why, sources maintain that a January release for Sardar Udham Singh is “unlikely.” When contacted, Sircar told us: “Yes, we have gone a bit slow due to the prevailing situation. So, the film may not come out in January. And honestly, as of now, we don’t have a clear release date or window in our minds. The entire focus is on doing full justice to our film.”

BOMBAY TIMES (July 28, 2020)

The guidelines for Unlock 3.0 are expected to be announced shortly, and there is buzz that cinemas across the country, which have been shut since March 15, could possibly open their doors for patrons on August 1.

In a recent panel discussion on the Bombay Times Talk Show, when studio heads/producers and theatre owners came together, they spoke about how theatres could reboot in the unlock phase and how producers and theatre owners need to work closely to enable films to make their way back to the big screen and also get a wider release.

The panelists comprised Ajit Andhare (COO, Viacom18 Studios), Shibasish Sarkar (CEO, Reliance Entertainment), Shariq Patel (CEO, Zee Studios), Jackky Bhagnani (Managing Director, Pooja Entertainment), Ronnie Lahiri (Producer of films like Gulabo Sitabo and Pink), Kapil Agarwal (Joint MD, UFO Moviez), Kamal Gianchandani (CEO, PVR Pictures) and Akshaye Rathi (Director, Saroj Screens).

The in-depth conversation covered an array of subjects that the industry is currently dealing with, and the one thing that they unanimously agreed upon was that now, more than ever before, the industry has to come together and find solutions and a way ahead for survival.

Amitabh Bachchan is nearly unrecognizable as a landlord to Ayushmann Khurrana’s tenant in Shoojit Sircar’s next
Himesh Mankad (MUMBAI MIRROR; June 21, 2019)

Mirror was the first to report (May 15) that Shoojit Sircar has brought Amitabh Bachchan and Ayushmann Khurrana together for his next directorial, a quirky comedy titled Gulabo Sitabo. Written by Juhi Chaturvedi, the film went on the floors in Lucknow on Wednesday with the Big B shooting for his portions. Before joining the crew in the Uttar Pradesh capital, he had teased fans with a Twitter post, saying, “From Lucknow today Gulabo Sitabo and the look? Well, what can I say...(sic).”

Now, we have got hold of the 76-year-old actor’s avatar in the film. With a long beard, spectacles, a head scarf and a prosthetically-pronounced nose, Bachchan looks unrecognizable as a grumpy old man from the City of Nawabs. Bachchan plays the character of a landlord to Ayushmann’s tenant in the comedy. According to a source close to the development, this is another high-on-prosthetics look for the Big B after Paa, and 102 Not Out. “When Shoojit showed him the look sketch, he was excited to work on the film, taking it on as a new challenge. He is required to sit down with the make-up team for hours before starting the shoot. An international crew has come on board to work on the apperance,” the source added.

The Big B had arrived in Lucknow on Monday. “On Tuesday, he had gone to see the location and did a recce of the site and started shooting for his portions on Wednesday. Most of the filming will take place in the old parts of the city,” the source shared.

Ronnie Lahiri, who is producing the film with Sheel Kumar, told Mirror that they are eyeing an April 24, 2020 release. “Ayushmann will join the team shortly (once he finishes another upcoming film, Bala). It’s a start-to-finish schedule and will end in August,” he added.

While explaining the origin of his new film’s title, Shoojit had earlier (May 15) told Mirror that it is a colloquial term used in Lucknow. “Regarding its association with the story… you will have to wait and watch the film to know more,” the director had said.

After wrapping up the comic caper in August, Shoojit moves on to his Udham Singh biopic with Vicky Kaushal. The second schedule begins in October, and the four-month outdoor shoot will take place in Russia, the United Kingdom, Europe and North India.

Bachchan and Shoojit have previously collaborated on Piku, which had featured him as the 70-year-old Bhashkor, who suffers from chronic constipation. 

Actor-filmmaker will resume work on Udham Singh biopic with a four-month schedule at outdoor locations; film slated to hit screens on Gandhi Jayanti next year
Himesh Mankad (MUMBAI MIRROR; June 17, 2019)

While interacting with Mirror earlier (April 30), Shoojit Sircar had revealed that it was his dream to make a film on the sacrifice of Indian revolutionary, Udham Singh, who shot Brigadier General Reginald Dyer, Michael O’Dwyer, the lieutenant governor of Punjab, dead to avenge the infamous Jallianwala Bagh Massacre of 1919. “I want to bring this largely unknown revolutionary alive on screen. I’m both nervous and emotional,” Shoojit had said. The filmmaker quietly started shooting the film in April in London with his leading man, Vicky Kaushal, and followed it up with another brief schedule in St Petersburg, Russia.

Now, we have learnt that the film will hit the screens on Gandhi Jayanti, October 2, next year. “Yes, we will be releasing the film on October 2, 2020. Keeping in mind the remaining shoot schedule, post-production and the time required to complete the film, my producers and good friends Ronnie Lahiri and Sheel Kumar advised this date for a feasible release next year and I have decided to go with it,” Shoojit confirmed the news.

While the first schedule was wrapped up in early May, the second one kicks off in October. According to a source close to the development, “It will be four-month shoot. A major chunk of the film will be wrapped up by January.” It will predominantly be an outdoor schedule with locations in Russia, the United Kingdom, Europe and North India. “Locations and weather serve as characters in the film, and the schedule has been planned with that in mind,” the source added.

Ahead of the marathon October schedule, the film’s team will be on a recce for the next few months to determine ideal shooting spots.

After slice-of-life films like Vicky Donor, Piku and October, Udham Singh marks Shoojit’s foray into the period film genre. It is written by Ritesh Shah and Shubhendu Bhattacharya. The film is touted to feature high-octane action scenes. According to the source, acting and action workshops for the actors commenced well ahead of April, when the film went on the floors.

Before moving on to Udham Singh though, Shoojit will wrap up another directorial, Gulabo Sitabo, featuring Amitabh Bachchan and Ayushmann Khurrana. It is a quirky comedy set in Lucknow and is written by Juhi Chaturvedi. It goes on the floors in a fortnight. 

Rachana Dubey (BOMBAY TIMES; December 25, 2018)

It’s been one happy weekend for show business. On Saturday, the government announced that GST rates on cinema tickets will be reduced from January 1. For tickets priced above Rs 100, the percentage was brought down to 18% from 28%, and for tickets costing upto Rs 100, the figure was reduced to 12% from 18%. What cannot be missed here is that a contingent of filmmakers from Bollywood met Prime Minister Narendra Modi in Delhi on October 24, and in Mumbai on December 18, which may have contributed significantly to this move.

In an official statement, Siddharth Roy Kapur, President of the Producers Guild of India, said, “I would like to thank the government for taking this progressive step. This will help the industry move forward positively with increased investments in exhibition infrastructure and creative development, enabling even better cinema and greater screen density across the country. We look forward to continuing to engage with the government on initiatives that will help to unleash the full potential of the film industry. Cinema can be a significant instrument of Indian soft power around the world, while continuing to act as a uniting force for all Indians — a role it has played for more than a century.”

The GST was brought into practice on July 1, 2017, and cinema was placed in the ‘sin’ products-and-services category. In the last one year since the GST was implemented, the film industry has grappled with changes and challenges.

Eventually, representatives from the Hindi film industry sought audience with the PM and he was receptive to their demands.

Producer Mukesh Bhatt, who was quite critical of the central government when the GST was put into practice, says, “It’s a very good move by the powers that be and I applaud this decision. The industry was fighting too many things; the taxation on tickets was a huge concern. The tickets should now be cheaper and that in turn can increase footfall at cinemas. The thing is, we’re battling multi-layered competition from different mediums and this move can help us tackle that. This is the best New Year’s gift to the industry.” Producer-director-writer Madhur Bhandarkar adds, “Small and medium-scale films often found it difficult to sustain themselves at cinemas because the ticket prices were too high for their patrons. With the revised rate of the GST, I am sure these films will benefit.”

Producers Dinesh Vijan and Sanjay Routray, who have backed two of the year’s biggest money spinners, believe that it’s a positive step, which will encourage more people to build infrastructure and increase the scope for making different kind of cinema. “We can now look at making films that can compete in the world market,” says Dinesh. Sanjay adds, “Ninety per cent families in the country head out to watch films together. With cheaper tickets, perhaps more families will opt for movie screenings as their outings.”

However, independent distributor Amod Mehra cautions that the slashed GST rates might not impact the ticket prices. He says, “Unless multiplexes pass the benefit of a lower tax rate to the consumers, since they are larger in number in most places today, this reduction in tax will not benefit cinegoers. If the ticket prices remain what they are on weekends, or reduce marginally, although the taxes will be much lower, the exhibitors and distributors will gain out of this. It’s difficult to say right now whether the consumer will benefit, too.”

Nitin Datar, the head of the Cinema Owners and Exhibitors Association of India, believes, “In single screen cinemas, the audience will pay Rs 3 less per ticket as the admission rates are the lowest there. The multiplex audience may get a benefit of up to Rs 20 or more. The Local Body Tax should not be levied now and state governments should desist from implementing double taxation. Otherwise, the tax benefit will have no meaning. As I understand, tax reduction is more advantageous to big-budget film producers and multiplexes as compared to regional films and single screen cinemas. The government should further reduce the GST in the production sector and the exhibition sector to save regional films and single screens. The government can earn 30 per cent more revenue if they curb piracy. To save the single-screen cinemas, the producers and distributors must give same terms to single-screen cinemas as given to multiplexes, as single-screen cinemas have not benefited in any way here.”

Talking about the local body tax, Sidharth Roy Kapur told BT, “Double taxation on cinema tickets is against the principle of ‘one nation one tax’, a fact that has been acknowledged by the government in all our interactions with them. We would urge all state governments and municipalities to desist from imposing a local body tax. It would only make tickets more expensive for cinemagoers, and will gravely jeopardise the economics of the industry.”

Ronnie Lahiri, who had backed the movie October earlier this year, believes that the reduction will also impact production. He says, “It’s a chain reaction; so everything and everyone in the cycle benefits. I am a producer, but at times, even I have felt that I am paying too much to watch a film with my family; that probably will be taken care of now. Also, the single screens were suffering a lot more than multiplexes and they should be given more relief.”

Krishna DK, who backed Stree, shares, “Let’s wait for January 1 when the new tax structure comes into play. Only then will we know what’s really been the impact of the new GST rates and who has benefited. The industry will, and the audience should make the most from this new tax slab on cinema tickets.” 

Madhureeta Mukherjee (BOMBAY TIMES; April 12, 2018)

His movies are like soul food. They evoke emotions and memories and keep the flavour real, subtle and simple. Yet, it fills you up. It’s cinema that’s good for your heart, good for your soul. Filmmaker Shoojit Sircar is skilled at creating characters that are real (even taming the superstardom of actors to fit into his realistic world) and stories that are closer to home.

Piku was one such memorable film and character, so real and relatable that its effect lingered on. He explains, “I try to tell simple, everyday life stories and I like to live my life that way too.” In his films, the actors enact their parts beautifully, but the story always remains the hero. And he takes pride in that, just the way he takes pride, unabashedly, in letting the influence of Satyajit Ray’s work seep into his movies. He passionately talks about his upcoming film, October, which he says is written like poetry and is drawn from his personal experience. Read on…

Your films explore romance and relationships between people with a sense of reality, which is refreshing. Even the relationship that you portrayed between a father and daughter in Piku is not commonly seen in our movies. October seems to be on a similar path of unconventional relationships…
The backdrop of the film is related to my personal experience. I feel that in any relationship, there is one factor that binds two people, though there could be many ways of looking at it. Only two people who share the relationship will know if they love each other. Sometimes, it is selfless and unconditional, but there is an energy that flows between them. This film explores that. I am not an expert on love, but I know that everything can’t be defined in love. October is a very human story between a boy and a girl, but something like this can happen between any two people.

Is it true that you were certain about casting Varun Dhawan the moment you met him?
Varun was cast accidentally. In fact, he was not on my radar at all and he can’t be. We are poles apart, even with the kind of cinema that we do. I wanted a fresh cast for this film. The planning of October had started before we made Pink (he had creatively supervised the film). Varun and I were thinking of catching up for quite some time, but a year had passed and it didn’t happen. One day, when I was about to leave for Kolkata, he called and said that he wanted to meet me. I told him to come over and he responded saying that he had just woken up and was dressed shabbily. I told him that was hardly a problem and I didn’t care about it. I have not seen any of his films, just some glimpses here and there. So, I had a different perception of him. When I met him for the first time, I thought, he would have the swag of a Bollywood star, but he didn’t. When we chatted for some time over chai, I looked into his eyes and saw that there was still some innocence left. He was not the Varun that I was aware of. He was behaving just like my character (in October); he was clumsy, he had no inhibitions and he even spilled the cup of chai. A week later, I called him again as I was unable to get him out of my head. With just a one-line narration of the story, he agreed to do the part, I think that is quite brave. He has this greed for acting and I love the way he surrendered to the part. I didn’t expect a successful and commercial hero like him to come into my world of cinema.

In your films, the story is always the hero. From sperm donation to constipation, the audience remembers the subject as fondly as the characters. It seems like a lot of your ideas come from personal experiences, and observations from everyday life. Do you have any other inspiration?
My wife Jhuma is a huge inspiration for me. The crux of Piku… parents ko zinda rakhna padta hai, is something that she had said to me at the point when she was taking care of her mother. My stories are a reflection of society and people. I also have a brilliant writer like Juhi Chaturvedi, who views life in a way that everyone can relate to. I think October is written like poetry. The spine of any film is the writer. Shooting a film is not tough, writing it is what consumes more time and takes more out of me. I shot this film in 37 days and after the edit, I thought I could have shot more.

As a storyteller who doesn’t give in to the demands and trappings of Bollywood blockbusters, do you find it difficult to pitch your ideas to producers and studios?
I have stopped selling the concept of my films to producers since the last few outings; I go ahead and make the film on my own. No one had a clue about what I was doing with Piku (starring Deepika Padukone, Amitabh Bachchan and Irrfan), they just had a basic idea. I showed the film to people only after shooting it. If someone interferes with my work, I pull out of it and I don’t associate with them. I believe that if someone does not have any respect for my work or they don’t trust what I will do with it, there is no point trying to sell them an idea. During Pink, I was so angry that I went to Ronnie (Lahiri), who has produced all my films and told him that I will make this at any cost, so decide how you want to do it. It is difficult to pitch my ideas to someone else, and then be answerable to them, that too, on commercial grounds.

So, if someone advised you to add a song to make your film more saleable, would you do it?
I won’t add it to the film, at best, I will put the song in the credit roll and leave it there (laughs).

Most of your films like Vicky Donor and Piku have worked well, even a film like Pink, which was backed by you, left a solid impression. Hence, you are able to tell the stories that you want to. So, while you have a deep understanding of your art, I am assuming that you are adept at managing the commerce of filmmaking, too?
I only understand the money that has been entrusted to me as a director. Let me tell you… my films are so cheap that it doesn’t matter. The cost of production is low, but in terms of canvas and presentation, there is no compromise. My background is theatre, and theatre usually grounds you and makes you work with bare minimum resources. I try to tell simple, everyday-life stories and I like to live my life that way, too. I collaborate with great cinematographers and technicians and I invest in them. If your excel sheet is right before the film, you can’t go too wrong with the dynamics of it. I know the kind of returns my producers will get.

Today, the lines between what we call commercial and offbeat, or mainstream and niche, is blurring. If the audience likes something that is out there, they will a find a way to watch it, irrespective of the genre or the star cast. Movie lovers are as greedy for good stories as actors are for good roles…
Yes, the word parallel cinema came from the time when filmmakers like Shyam Benegal, Satyajit Ray, Mrinal Sen and Tapan Sinha were making films. The problem was that they could exhibit their films only in a few theatres, so their kind of cinema ended up becoming niche films. Now, the same film can release in 1,500 screens across the city, and given the accessibility and exhibition of these films, they reach out to a wider audience. I think people always had an appetite for such cinema, but now, they have access to it. That’s why they are reacting so actively to all kinds of films. Today, potboilers are working, but along with that, there is ample space for the kind of films I make, too. There will always be a struggle to release smaller films, but that is also because nowadays, there are too many films releasing and on some Fridays, there is almost a traffic jam at the screens.

Your films always give the audience something to takeaway, or something to ponder over long after they have watched the movie. Is it a conscious choice and effort?
I do think that cinema can help bring about a social change, also because it is something that becomes a part of our conversation in our everyday lives. Of course, for us it is firstly a platform to tell stories, not just talk about social change. I believe that every story has some kind of moral value, otherwise what is a story? And what is the purpose? I remember that our class teacher would tell stories in school and then ask us, ‘What is the moral of the story?’ Hence, if there is no moral in the story, there is no story. My focus is to tell a good story and make the audience sit quietly and watch the film. Today, people have so many other things to do in life, and they remember all their to-do lists while sitting in the theatre. Ghar pe kya ho raha hai, kya nahi ho raha hai, all these thoughts occur while watching a film (laughs). As a filmmaker, if you don’t get the right audience, then you have had it. It can be very disturbing.

Given the current scenario of unofficial censorship by fringe elements and other bodies, do you sense a creative threat for filmmakers and artistes? You made a film like Madras Cafe (2013) and luckily got away with it. Do filmmakers really have the kind of democracy that they deserve? Their views expressed on various platforms (including social media) are also often branded as national or anti-national...
When I was making Madras Cafe, I got away with it because I didn’t name anyone. The Censor Board was fine with it, but there were fringe elements that stopped the film. Now, that’s not a democratic way of telling a filmmaker what he can’t do. The democratic way of dealing with filmmakers is to debate, sit across the table and talk about the issue. The democratic way is to appeal to government bodies. Vandalising a theatre and scaring film lovers from watching what they like to, just because you don’t want to watch it, is not a democratic way of dealing with the problem. By doing that, we are harming our Constitution. I always say that filmmakers are not irresponsible citizens. You can’t take us for granted and say that yeh toh film ke log hain. We are also participating in building our country. We are contributing to the country socially, economically and we are responsible, law-abiding citizens. I wouldn’t like to comment on nationalism or anti-nationals, because it is quite an abused term. I consider myself a nationalist and a liberal.

Tell us about your taste as a movie lover?
Every week, I ensure that I watch one of Satyajit Ray’s films, even though I have lost count of the number of times I have seen them. Ray’s films are my Bible and my inspiration. I openly say that all characters in my films are influenced by his films and stories. I also watch a lot of world cinema that inspires me.

Which are the last three Hindi films that you have seen in recent times?
Hmmm (after a lot of thought)… I saw Masaan and I really liked it. Balki asked me to watch Pad Man, so I saw that. And I recently watched Bimal Roy’s Do Bigha Zamin.

Well, Do Bigha Zamin (1953) is far from recent and it seems like you don’t really watch too many Bollywood films...
(Smiles) I like watching old films and there are some good films being made across the world, so I catch up on them. When I am not working, I play football and usually, when I am writing a film, I don’t like being distracted by anything else.

Rinky Kumar (DNA; April 10, 2018)

Like his films, Shoojit Sircar’s office, too, is unpretentious. It doesn’t boast of any frills, yet it’s airy and the interiors have a bright ambience. As I meet him there on a sultry summer afternoon, the acclaimed filmmaker is busy with back-to-back interviews. However, as soon as he sits down to chat about cinema, his eyes light up. While sipping on green tea, he talks to After Hrs about his upcoming release, collaborating with writer Juhi Chaturvedi for the third time (after Vicky Donor and Piku) and why interpersonal relationships feature prominently in his works. Excerpts…

October is about unconditional love. Do you feel the story is more relevant today when the word is used so loosely?
Yes, the world has been moving at a phenomenal speed over the last few years. Having said that, there is no other way to define romance. The trailer mentions that October is not a love story, but a story about love. There are many things or actions that you do, which could be love, but you might not know it. Sometimes, when you do something for someone, you feel happy. And, even the other person feels the same. But after just a moment, they forget it and start doing things which stress them out. Juhi and I have tried to explore those moments in this movie.

Where did the idea come from?
It has been with me since a long time as I’ve experienced this personally in 2004. While we were scripting Piku, Juhi told me even she had felt something similar. So, we started talking about it and decided to touch upon it. We read about a couple of incidents and then tied all of it together to make this film.

Why do inter-personal relationships form an integral part in all your works?
Everything in life is about interpersonal relationships, so it’s natural that it features in a movie. Juhi has a knack of picking up their beautiful nuances and putting them to paper wonderfully.

How do both of you complement each other?
Our integrity towards the subject is important. We have always chosen topics towards which we have had the same outlook. For instance, in October, we felt the whole movie should feel like a piece of poetry. We discuss a lot and when she is ready to write the script, she cocoons herself for five to six months. So, it’s an elaborate process.

You have captured different hues of Delhi in Vicky Donor, Piku, Pink and now, October. The city has a special place in your heart?
I’ve spent many years of my life in Delhi, so all the characters that you’ve seen in my earlier works, are from the capital. Even Juhi has spent a lot of time there. My producer friend, Ronnie (Lahiri) is a Delhi boy. Music composer Shantanu Moitra, with whom I collaborate frequently, hails from there too. Everyone in that city is a character of a film. They are so funny and have such raw humour. I’m yet to explore a lot of that place in my films.

Do you cast commercial actors because they give an impetus to your unconventional subjects?
I never cast stars for commercial reasons. That way, I’m a fearless filmmaker. I was clear that I would cast Deepika in Piku. I had watched some of her films and saw the character of Piku in her. Varun was an accidental casting for October. I was on the verge of roping in fresh faces. I had just caught a few glimpses of his work. When I met him in person, I found a different Varun altogether, I was looking at Dan (his character in the film). I clicked his picture, sent it to Ronnie and told him that I had found my Dan. He exuded the integrity, honesty and innocence that the character required.

What have been your cinematic influences that prompt you to make slice-of-life films?
Satyajit Ray is my biggest influence. He was such a modern filmmaker that his films are relevant even today. I’m not ashamed to say that I get inspired from certain aspects in his films, pick them up and incorporate them in my works. Also, the people and things that I see around prompt Juhi and me to capture the small nuances of everyday life.   

Do you prefer them to political thrillers, which you made at the beginning of your career?
I haven’t tied myself up to any genre. When I directed Vicky Donor, I realised I could do humour too. Madras Café was completely opposite of it. I would like to explore more of political thrillers. But I will continue to make movies like Piku and October as long as I have good stories to tell.

What are the challenges that you face while making such kind of movies?
They are petty. For instance, it’s convincing a studio what the film is about; sometimes, they just don’t get it. I couldn’t convince one such studio to make Pink. So, I got upset and decided to back it myself with Ronnie. Likewise, it was difficult to explain to a studio what Vicky Donor was all about, they presumed it was crass. That’s why, we’ve started producing our own films. So, that we can make a movie the way we want to. I’m not answerable to anyone else and that makes me happy.

Today, movies like Toilet - Ek Prem Katha and Pad Man are handling taboo topics.What are your views?
In a way, it all started with Vicky Donor. If there is a good story and there are takers, then people will want to watch such movies. If the subjects come from real-life situations, then we should make such films. The taboo is in our heads. If I’m truthful to the topic and don’t add anything to it out of commercial pressure, then it’s good for me. I’m not okay with the idea of doing things for a commercial reason.

Garvita Sharma (BOMBAY TIMES; September 15, 2016)

 
Reza Noorani (BOMBAY TIMES; September 2, 2016)

Gaurav Dubey (MID-DAY; October 14, 2015)

After the success of Piku, filmmaker Shoojit Sircar is said to be toying with a few ideas for his next. However, he seems to have forgotten about three small films which have long been awaiting release. Sources in the know attribute the inordinate delay to the makers’ indifference.

“One of the projects titled Running Shaadi.com was supposed to hit theatres in June 2014, but the makers had no intention of releasing it under their banner. Shoojit’s production partner, Vikram Malhotra was trying to sell the film, but his asking price was so high, no distributor wanted to buy it. Gradually, Vikram got busy with Akshay Kumar-starrer Baby and Shoojit devoted himself to Piku. Now, they are both relatively free but are taking no initiative to pull the three films out of cold storage,” says a source associated with Running Shaadi.com. The film’s shoot wrapped up in 2013 and the edit was locked by March 2014. The film features Amit Sadh and Taapsee Pannu.

The other two films that are apparently also being neglected are Satra Ko Shaadi Hai and Banana. “The cast and crew are upset with Shoojit and Vikram. A few people had shown interest in buying the films, but the producers haven’t responded,” says another source.

Vikram explains Running Shaadi. com is on hold for the want of a solo release window. “It was slated to hit theatres in April 2015, but we jointly deferred it for two reasons. One, Amit’s film, Guddu Rangeela was set to be out around the same time. Two, we didn’t want to compete with big films. So, now, it has been pushed to early next year. Any film can be ready at any point, but choosing a release date is the producer’s call. The rest is speculation. Shoojit and I are equally responsible for releasing it and there’s no question of anyone else buying or taking over the project,” he says.

Ronnie Lahiri from Shoojit’s production company, Rising Sun Films, echoes Vikram’s sentiment and says releasing small films alongside bigger names would have been “a clear case of suicide. We were looking at the beginning of 2015, but changed our mind due to Guddu Rangeela. There is no point releasing a hero's films back to back unless he is Akshay Kumar or Salman Khan,” adds Lahiri.

Bharati Dubey (MID-DAY; February 16, 2015)

Shoojit Sircar, who recently announced a period film on football with John Abraham titled '1911', is said to have put the project on the back burner. Currently working on the post-production of 'Piku' starring Amitabh Bachchan, Deepika Padukone and Irrfan, the director has pushed it to next year, reveal sources.

A source says, "The producers had planned to start the film in the latter half of 2015. But since it is a period film on Mohun Bagan’s historic win against an English football club in '1911', a lot of VFX will be involved."

The source adds Sircar is likely to start another film while John has given his dates to other projects, which has delayed '1911'. Producer Ronnie Lahiri from Rising Sun Films, which was founded by Sircar, says: "We are currently working on 'Piku' after which we will put our heads together for the script of '1911' and prep up for it. Only then will the shooting dates be decided."

John will play the real life character of Shiv Das Bhaduri, who led Mohun Bagan in the historic IFA Shield final. Ayushmann Khurrana has also been signed for the film.