Cape of Good Films, a logo sitting quietly on the poster of many successful films, actually has a lot to boast about with the success that the production house has seen over the last few years. Founded in 2009, this boutique content house started working its way up to making films that are meaningful, yet commercial in nature.

The company’s partner, Rana Rakesh Bali, says, “Every story can be told through the medium of cinema, provided it is treated sensitively, keeping in mind the audiences you are making the film for. No one comes to the theatre, paying their hard-earned money to be taught a lesson. If you want to say something serious, say it in a way that educates them while still making them smile. That is the mantra Cape is run by.”

In the last six years, through its associations with massive hits — from Airlift (2016), Toilet: Ek Prem Katha (2017) and Mission Mangal (2019) to National Award-winning and critically acclaimed films such as Rustom (2016), Pad Man (2018), Chumbak (2017), and commercial grossers such as Kesari, Good Newwz (both 2019), and 2021’s biggest hit Sooryavanshi — Cape of Good Films has had it all.

Path-breaking films by Cape also include Naam Shabana (2017) and Durgamati: The Myth (2020), which were headlined by strong female protagonists. Its films, such as Laxmii (2020) and the recently released Atrangi Re (2021), are breaking new records for the highest viewership on OTT platforms too. The content of these diverse films by the content house spans genres like no other. Their foray into producing music videos also struck a chord with Filhall and Filhall 2 shattering records.

What stands out about Cape is that there is no face to it. “It is just a team trying to make what they believe in and want to keep it such. The feeling emanates from the fact that the films that we make are larger than an individual and an entity, and should be preserved that way,” Bali shares.

The content house now looks forward to dishing out sought after films such as Raksha Bandhan, Ram Setu and OMG 2. It enters 2022 with a firm belief in backing and making content that breaks stereotypes, challenges notions, and makes the audience fall more in love with what they have always loved — movies!

Onkar Kulkarni (BOMBAY TIMES; August 2, 2020)

It’s been three years since the release of Mubarakan, and the friendship between the lead actresses of the film, Ileana DCruz and Athiya Shetty, has only grown stronger. This Friendship Day, ‘Athu’ and ‘Ilu-Pilu’ as they fondly address each other, talk to Bombay Times about their camaraderie, what they bond over the most and how good friends help us better ourselves. Read On…

At the time of Mubarakan’s promotion (in 2017), both of you spoke volumes about how you got along with each other. But, given how actors have to quickly move on to their next project, very often, even after sharing a great bond, they don’t end up keeping in touch...
ILEANA: But, we did! I think our no-filter, nojudgment attitude is what bonds us.
ATHIYA: Yes, I agree. It’s also true that actors tend to move on after every project, so I didn’t think that we would stay in touch, but we got together from the word go. I remember, the first time I met her was when I had come for the screening of Rustom (2016). There’s a scene in the film where Ileana’s crying and it left me impressed. I went up to her and said, ‘Hey, you are such a good crier!’ Later, I was like oops… did I just say that, as that was the first time ever that I met her and interacted with her. It could have been a little more formal than that, is what I thought (laughs!).
ILEANA: But, that’s exactly her… no filters! Whatever is on her mind, she says it out loud. It is very rare to meet someone, who you can be yourself with and have no filters. I don’t have to think about what conversation to have with her. I can just be me.
ATHIYA: I feel that from day one, I have been able to trust her. I have told her things about myself and I know that she will keep it to herself. I have always looked up to Ileana for the way she presents herself. She is so full of grace and is a very honest person.

What is it that you bond over the most?
ATHIYA: Predominantly, it’s food! I remember on the first day of the shoot of Mubarakan, Ileana had baked coconut macaroons for me. She is a fantastic baker. Till date, I ask her for recipes, though she knows that I won’t try making them. During the London schedule of the film, we would go out on food outings together. I was like…this is the best co-star ever.
ILEANA: Her room was next to mine and that’s literally how I would get her out of her room. I would drag her out by planning food trails.

Your friends often make you a better person, as there is so much to learn and exchange from each other, even while having all that fun, right?
ATHIYA: So, Ileana has OCD and I honestly believe that after I met her, I developed that as well. If my hair was out of place during the shoot, or if there was even a strand of thread on my ghagra that no one spotted, Ileana would. She is very particular about everything and I developed those traits after I met her.
ILEANA: I am quite the opposite of Athiya. While she is free-spirited, I tend to overthink. She just throws herself in a situation and enjoys it, while I tend to sit upright and hold myself back. Thanks to Athiya, I have started being comfortable and letting myself loose. So, being with her, I have learnt to let go.

Dhaval Mehta (DNA; September 28, 2019)

Angad Bedi’s most recent release was The Zoya Factor starring Sonam K Ahuja. His next big-screen outing will be opposite her cousin, Janhvi, in Gunjan Saxena: The Kargil Girl. But before that, he will be seen in the web series The Verdict — State Vs Nanavati, which will stream on September 30. The actor talks about working with the two actresses, career, struggling period and how marriage and fatherhood have changed him.

Tell us about your character in The Verdict: State v/s Nanavati.
I play the role of Karl Jamshedji Khandalvala, a Parsi by birth who doesn’t think he’s a lawyer despite being the best one in India and never losing a case in his life. He considers himself a connoisseur of art and music and has been an ex-Air Force Pilot. He then takes the most controversial case that 15 top lawyers have refused and wins it.

How is the show different from Rustom (2016), which was on the same subject?
In Rustom, you only had one perspective and in The Verdict, you see it from three different perspectives through late Ram Jethmalani, Chandu Trivedi and  Karl Jamshedji Khandalvala. It is a completely different take on it. We have 600 minutes of edited footage and 10 episodes have been made out of it.

After working with Sonam Kapoor aka Sonam K Ahuja in The Zoya Factor, you are also working with her cousin Janhvi Kapoor in Gunjan Saxena: The Kargil Girl. Did you find any similarities between them?
They (Sonam and Janhvi) are poles apart as individuals. Sonam has won a National Award for Neerja and played the part in Ek Ladki Ko Dekha Toh Aisa Laga really well. Zoya Solanki was a tailor-made role for her. Janhvi is extremely spontaneous and hardworking. A lot of times when she is performing, you see glimpses of Sridevi ji in her acting and she has the same twinkle in her eyes. She is dedicated and still in the zone of trying to prove herself.

You have three back-to-back projects. Would you say you are reaping the benefits of hard work and perseverance now?
It all depends on timing. When you are going through a sound phase, you get quality work and you also start working hard. I was and still passionate about my work. I was just waiting for the right break and filmmakers to put their faith in me.

What did the period of struggle teach you?
You have to persevere and keep being sane. No role is big or small; every character does its magic and brings its own connect with the audience. Every actor goes through a patch, where everything seems to work and all my roles have different roles, looks and people will see me in characters that are poles apart from each other.

Has content superseded star power? How do you see the balance between these two factors?
It is a blurred line. Star power will always remain relevant but content has become the king. A star can pull in the crowd on Friday, Saturday and Sunday but Monday onwards, the collection of the film gets decided by the content and performances. Beyond a point, a star also needs a good script for him/her to shine.

And how much does the length of the role matter?
In today’s time, nobody waits for the perfect character. If you are part of good projects and working with good filmmakers, you will automatically get good roles. I have never really stressed about the length of the character. I would love to do a slice-of-life comedy, and make sure that my characters don’t get repetitive.

How much have marriage and fatherhood changed your life?
Since my marriage with Neha (Dhupia) and the birth of my daughter Mehr, everything is going pretty smooth. Both (Neha and Mehr) have brought good luck into my life and I am really appreciative of that fact.

Out on bail after being arrested on charges of fraud, producer Prernaa Arora claims the past nine months in prison helped her reflect on her actions
Upala KBR (MID-DAY; September 25, 2019)

Producer Prernaa Arora of KriArj Entertainment, who was arrested by Mumbai's Economic Offence Wing in a case of criminal breach of trust for allegedly cheating Vashu Bhagnani of Rs 31.6 crore last year, was released on bail last week. The past nine months in prison, she claims, have made her reflect on her Bollywood journey that came to a halt when she was accused by several filmmakers of foul play.

"Every business suffers losses, but you cover up [the loss] by making other films. Newcomers need time to establish themselves, but I never got that space. I started with Rustom [2016] and went on to sign films back-to-back. I admit I have made mistakes; I should have slowed down and learned more. But the intention was never to run away with somebody's money," asserts Arora.

Having struck gold with Rustom, Arora quickly bankrolled a slew of projects. Trouble began when Kedarnath director Abhishek Kapoor locked horns with her, citing "lack of transparency" in the studio's financial dealings, followed by Parmanu actor-producer John Abraham accusing her studio of "non-payment of dues". Things turned worse when Vashu Bhagnani accused her of wrongly selling the rights of Kedarnath to him when producer Ronnie Screwvala had compensated producers Ekta Kapoor, Arora and Bhushan Kumar for the rights.

"Maybe seniors here have a different way of working, and my style didn't match theirs. I realised that things could go wrong or that they weren't working out, but it was too late for me to withdraw." She hopes to bounce back. "I want to apologise to each and every person whom I have angered. I will work hard and do my paperwork correctly hereon."

The argument between Kangana Ranaut and a journalist, Justin Rao, that took place at a film event on July 7, has spiralled into something quite big. The entertainment journalists have formed an association called Entertainment Journalists Guild and collectively took a decision to boycott Kangana Ranaut. Kangana hit back, making it clear that she doesn’t mind being boycotted by ‘pseudo journalists’, even calling them termites and other such objectionable terms. Kangana’s sister Rangoli too has jumped in and have made a series of posts. She has retweeted posts of other supporters and the narrative being built is that the reason these ‘bikau journalists’ are against Kangana is because she supports Narendra Modi and the she has exposed Karan Johar. So they are assuming that all the journalists opposing Kangana Ranaut are on the payroll of KJo. These cheerleaders even dared the media to mete out the same treatment to someone like Salman Khan.

Well, these blind fans are completely wrong. Exactly five years ago, in July 2014, a section of media – the photojournalists – had placed a ban on superstar Salman Khan. At an event held to promote his then film Kick, Salman’s bodyguards had roughed up the photographers who were so hurt by the behaviour that they put a ban. Salman didn’t apologize and from July to November 2014, the ban was in place. It was only during Arpita Khan’s wedding that the ban was lifted.

Just before Salman Khan row, Shraddha Kapoor too faced the ire of the photographers after they alleged that she intentionally avoids them or make them wait for hours at end. At an event to promote Ek Villain, photographers refused to take any picture despite co-actor Riteish Deshmukh and director Mohit Suri intervening. She had to call the lensmen for a peace meeting and regretted behaving in the manner in which she did and assured that it’ll never happen again. Only then was this section of media satisfied. Needless to say, both are productions of nepotism.

So, as one can see, the media is not being hypocritical or unfair with their ban on Kangana Ranaut. And the aforementioned instances prove that whenever the media has got angry, they have taken action. And also, they haven’t distinguished between actors based on their political views or nepotism or any such criteria. Salman Khan was a superstar even in 2014 and yet, the photographers didn’t think twice before banning him.

Also, spats between actors and journalists have happened even before. Go to YouTube and check for ‘Bollywood actor gets angry at journalist’ videos. A few of them are misleading but many videos will depict how celebrities have lost their cool when asked a question which they found to be objectionable. But there’s always a way in making your displeasure clear. What Kangana did at the Sunday event was highly shocking. She accused Justin Rao of ‘hurting her brand’ with his ‘smear campaign’ and also accused him of having ‘gandi soch’! Ironically, Kangana and Rangoli have been doing the same to actors like Alia Bhatt despite the latter not doing anything to get such a reaction from the sisters.

Now talking about the ‘Karan Johar’ factor! Again, a narrative has been built that her enmity with Karan Johar is the reason why the media is angry with her. This is the most laughable of all criticisms. That’s because just two months ago, a large section of media had ripped apart KJo’s college romcom, Student Of The Year 2. The film was heavily slammed for its unrealistic depiction of college life, clothes worn by characters, plot and performances. A month before Student Of The Year 2, Karan Johar’s magnum opus Kalank too was slammed heavily. Funnily, Justin Rao himself had made fun of it too.

Another claim by Kangana’s fans is that she always has to fight her battles alone and got no support from the media during her earlier film, Manikarnika – The Queen Of Jhansi. This lie too can be demolished within minutes. Google for Manikarnika’s reviews and one can see most of the media outlets have given positive reviews to the film. There was a huge applause in the press show, which consisted of these ‘pseudo’ journalists. Agreed that most Bollywood celebs didn’t tweet much about the film or didn’t tweet at all. But does that matter? And is she the only one who gets such treatment?

A few days back, the trailer of Batla House, featuring John Abraham, was unveiled on social media. A handful of celebs have praised the trailer on social media while the vast majority didn’t even bother to write anything about it. Last year, John Abraham faced the biggest test of his life when he had to fight an ugly legal battle with Prernaa Arora over his film Parmanu. Before the verdict came in his favour, many in the media interviewed Prernaa Arora who happily chose to give her side of the story. No one from the industry stood up in John’s support. John finally won the case and Parmanu emerged as one of the biggest films of his career. So is John supposed to cry over this attitude? Should he also call names to the media? After all, many didn’t even take sides. They interviewed Prernaa because she was ready to talk and it was a hot topic then. Which journalist would lose this opportunity? The same happened when Manikarnika’s co-director Krish came out with his version. When the media published his interview, it was funnily seen as an agenda-driven step by journalists!

Just like John Abraham, there are plenty of such examples of actors going ahead solo without support. Ronnie Screwvala is fighting against the unjust VPF (Vritual Print Fee) charged by the multiplexes. If he wins, it’ll benefit the whole industry. But no one has openly supported him. He’s still fighting without playing the victim card. Three years ago, Hrithik Roshan, the so-called enemy of Kangana Ranaut and star kid, too was in the same boat as John and Ronnie. His film Mohenjo Daro was to clash with Akshay Kumar-starrer Rustom. Celebs like Alia Bhatt, Salman Khan, Ranveer Singh, Fawad Khan, Arjun Kapoor, Varun Dhawan etc posted pics and videos that helped promote Rustom. No one did the same for Mohenjo Daro. Now imagine if it was Kangana’s film that had clashed with Rustom. Do you think she would have kept quiet with these promotional strategies of Akshay Kumar-starrer?

Having said that, it is not false that some members of the media are against Kangana Ranaut and some do have an agenda. And there's also no denying that Kangana does get slammed for her political views. But she is not the exception and even the right wingers can't claim to be free of bias when they day-and-night target anti-BJP actors like Swara Bhasker, Shabana Azmi etc. Check any tweet of Swara and there'll be some troll who has posted screenshot from her masturbation scene of Veere Di Wedding or at least mentioned about it. Even the right-wing websites like OpIndia are whole heartedly supporting Kangana, which is surely their right, but their article reeks of partiality for Kangana. The article clearly mentions Justin Rao is a 'journalist' and thus trying to defame him by presenting him someone who claims to be a mediaperson but is not. Meanwhile, one can’t also deny that Justin Rao indeed went overboard with his posts on Kangana and a few of them indeed were in bad taste. But if you are against Justin for that, it is funny that you’ll support Kangana for doing the same to other people. It is also wrong on your part to cook up stories to spread your false agenda that all in the industry and media hate Kangana.

Sadly, the blind fans will continue to believe despite showing them the reality. They’ll support Rangoli when she’ll accuse celebrities of not taking Kangana’s name while praising Judgementall Hai Kya trailer but won’t mind when she didn’t mention co-star Rajkummar Rao while posting the video of ‘Wakhra Swag’ song! They’ll look the other way when Rajkummar Rao would rubbish reports that he supported Kangana over the Justin Rao episode. They’ll go to any lengths to praise her and overlook her wrongdoings just because they too are fans of Narendra Modi. In doing so, they have become a laughing stock. Thankfully, most of the aam junta too haven’t chose Kangana’s side this time, as compared to previous instances when they felt that her notion about nepotism was justified. Again, I’d like to reiterate that it’s highly unfortunate that this feud is becoming uglier and here’s hoping better sense prevails soon.

Sharmila Bhowmik (BOMBAY TIMES; May 5, 2019)

On April 30, when Bollywood celebs stepped out to vote in Mumbai, there was one face missing in all the pictures that kept pouring in throughout the day. The poster boy of nationalism, Akshay Kumar, was nowhere to be seen. While many other celebs might not have voted in the General Elections, the reason why Khiladi Kumar’s voting status caught the public attention was his recent ‘non-political’ interview of the PM and his very vocal thoughts (and films) on patriotism. Since election day in Mumbai, everywhere Akshay went, there was only one question waiting - ‘Did you vote?’ One video showed the actor walking away from a journalist who asked him why he skipped voting.

Now, Akshay has finally answered all questions about his citizenship. In a tweet on Friday, he said, “I really don’t understand the unwarranted interest and negativity about my citizenship. I have never hidden or denied that I hold a Canadian passport. It is also equally true that I have not visited Canada in the last seven years. I work in India, and pay all my taxes in India. While all these years, I have never needed to prove my love for India to anyone, I find it disappointing that my citizenship issue is constantly dragged into needless controversy, a matter that is personal, legal, non-political, and of no consequence to others.”

HONOURABLE CITIZENSHIP OR NOT-SO-HONOURABLE CONCEALMENT?
While Akshay claims that he has “never hidden” the fact that he holds a Canadian passport, in 2017, while appearing for the Times Now Newshour, the actor stated, “About the Canadian thing, I am an honourary citizen. I’ve been given an honourary thing. I think it’s a thing that people should be proud about. I have an honourary doctorate also but I am not a Doctor. So this is what people have to understand.” In the same year, while promoting Jolly LLB 2, he had said at a public event that his Canadian citizenship is honourary.

However, according to the Canadian PM’s website, only six people have ever received honourary Canadian citizenship - Malala Yousafzai, Raoul Wallenberg, Nelson Mandela, the 14th Dalai Lama, Aung San Suu Kyi, and the Aga Khan. Honourary citizens of Canada do not hold a passport and citizenship is only symbolic without any rights or privileges. A 2012 Vancouver Observer report states that Akshay was given Canadian citizenship within weeks of him applying for it.

Akshay’s admission that he does not hold Indian citizenship has got mixed reactions from his fans and the Twitterati. While some pointed out that the actor continues to donate money for the Army and is one of the highest taxpayers in the country, others asked why he gave up the Indian passport if he was so proud of the country.

BOLLYWOOD STAYS IN SILENT MODE
Vivek Anand Oberoi was not off the mark when he said that the film fraternity never comments on issues concerning its members. This time also, Bollywood, true to form, has maintained its distance from the controversy, with only two people making any comment on it.

While Paresh Rawal came to Akshay’s defence and wrote, “One of the most honest and straightforward human being I have ever come across in my film career and life. Every word spoken here is a TRUTH and we are all with you @akshaykumar. Let the irrelevants boo and bark”, South star Siddharth had a more cheeky response. The actor tweeted, “Hey @realDonaldTrump since you’re getting ready to be re-elected soon, might I suggest an interview with me during your elections? I have crucial questions about how you eat fruit, your sleep and work habits and also your cute personality. I have an Indian passport. DM me please.”

CAN FOREIGN CITIZENS GET A NATIONAL AWARD?
While most of Bollywood had nothing to say on the issue, Apurva Asrani had a different question in his mind. Regarding the citizenship of Akshay, who has also won the National Award, he tweeted, “Are Canadian citizens eligible for India’s National Awards? The year (2016) Akshay Kumar won ‘Best Actor’, we were expecting Manoj Bajpayee to win for Aligarh. If the jury/ministry has made an error in Kumar’s case, will there be a revote??”

However, as per the eligibility criteria of the National Film Awards, “Film professionals & technicians of foreign origin can also be considered for Awards.” There appears to be no grounds for the award to be questioned.



INDIA FIRST, VOTING, SOCIAL ISSUES, ARMED FORCES:THE STRONGEST CV IN BOLLYWOOD


Akshay has been quite vocal this elections about the importance of voting


The ‘non-political’ interview


Akshay has been a consistent contributor to, and part of activities involving financial support for the families of soldiers killed in the line of duty


In Kesari , Akshay plays Havildar Ishar Singh who led 21 Sikh soldiers against 10,000 Afghans in 1897, in what is called the ‘greatest battle ever fought by Indian soldiers’


In Gold, Akshay’s character is instrumental in winning independent India’s first Olympic gold medal


In Airlift, Akshay plays a businessman who helps evacuate more than 170,000 Indians from Kuwait after Iraq’s invasion in August 1990


In Baby, Akshay is the lead official in the top-secret counterespionage team ‘Baby’, created after 26/11


In Holiday, Akshay plays an Army man who hunts down a terrorist




Akshay’s Pad Man and Toilet - Ek Prem Katha were all about sending a social message. While in Padman he plays a social activist who revolutionises the concept of menstrual hygiene in rural India, in Toilet he endorses the Swachh Bharat Abhiyaan and the importance of sanitation

Kaul says series on the Nanavati case has an edge over its cinematic adaptations since it unearths stories of those associated with the protagonist
Sonia Lulla (MID-DAY; December 8, 2018)

Set to play the titular role in Ekta Kapoor’s upcoming web show, Alt Balaji’s The Verdict: State v/s Nanavati, Manav Kaul found in this chip of history a story that could still be among the most “bizarre” ones he’s ever heard. “When I was offered this role, the only thing that crossed my mind was how bizarre the situation was. You can’t even write a fictional piece that could be stranger than this reality. While we’re taking cinematic liberties, we’re sticking to the truth to convey this story.”

Exploring a subject that has emerged as one of the most revered in Bollywood, Kaul says the digital platform lends the team the liberty of time that isn’t afforded by cinema. Alluding to a film like Akshay Kumar’s Rustom, which also dealt with the same subject, he says, “Our case will explore not only the story of Nanavati, but also that of the wife, the lawyer and the other parallel lives. We’ve justified everyone’s stories. We had the advantage of exploring storylines that are important, but can’t be done [in films]. I took 15 days to read, understand and decipher the man [K M Nanavati, played by Kaul].”

Joining forces with actors like Makarand Deshpande and Saurabh Shukla, Kaul admits that since web shows must command the attention of viewers for their 10-episode long runs, it is imperative that the content be stellar. “If someone doesn’t like the first episode, they won’t click on the second one. so, you have to be amazing at what you do. One needs actors of a certain calibre to bring about good performances, and it also requires a good script. [Unlike in a film], here, you only have a story [ to make a mark].”

Rachana Dubey (BOMBAY TIMES; September 22, 2018)

Conceptualising a film is not as easy as one thinks it is. Ask writer Vipul Rawal, a former naval official, who started working on the concept of Batti Gul Meter Chalu back in 2009. The film, which released yesterday, revolves around the issue of electricity theft and the way a common man struggles to find a solution to the problem. If you’re wondering why it took so long in the making, and what drove an ex-defence personnel to craft a film like this, check out the excerpts from our conversation with Vipul...

What drove you to conceptualise a film on electricity theft and a commoner’s battle against it?
The journey began in 2009. A friend of mine, also a social worker, was visiting my house. He showed me an electricity bill, which ran into seven columns before arriving at the final figure, which was faulty. That triggered the writer in me. At that time, my friend was fighting a corporation for faulty electricity charges. I started attending court hearings with him, and during the course of that, I started wondering what a person would really do if he is not happy with the electricity services he’s receiving. I then joined consumer groups with my friend, which aided my research. So, I spent a lot of time between 2009 and 2016, putting the script together.

It was your fifth draft that clicked with the makers, and the film made a decade-long journey before releasing in cinemas. Did you get anxious at any point?
Iqbal was rejected by 17 producers before getting made. It was my first film and I never lost faith. Rustom changed hands several times. It started with Abbas Mustan, went to John Abraham and eventually, Neeraj Pandey made it. I don’t compromise on the subject matter of my films. When I approach producers, I go with a bound 120-page draft, not a concept note. In fact, if my films take less than five years in the making now, I actually start feeling that something is amiss. I sold a script to John Mathew Matthan six years ago and it has still not been made. The basic rule of the game is that you have to be patient. It’s not a 100-metre race that wraps up fast. It’s a marathon that takes long before it draws to a close.

Considering that Batti Gul Meter Chalu was written by you, could you tell us why Sidharth and Garima share the writing credit with you?
I gave the bound script to Prernaa Arora, and Shree Narayan Singh came on board to direct it. While I had set the movie in Mumbai, they felt that moving the narrative to a small town in Uttarakhand would make it more palatable for the audience. Since I got busy with other scripts, Sidharth-Garima were roped in to rewrite the script accordingly. I understand that filmmaking is a director’s medium and the director will bring in his sensibilities and understanding of the subject for sure. So, while they retained my core concept, research and characters, everything else was redone.

As a former navy official, you could lend authenticity to the script of Rustom and the characters you crafted. Where did you find inspiration for Shahid Kapoor’s character in Batti Gul Meter Chalu?
Shahid’s character also emanated from my own experiences. I once battled a company that manufactures alcohol. I bought two bottles of beer and one of them had pieces of glass in it. I demanded compensation and moved court. It was resolved in two months, but in the interim, the company tried every trick in the book to procure the bottle from me. I could decipher their moves and was always one step ahead. I learnt that if you can anticipate what their moves are, you can get what you deserve even from gigantic companies. I also learnt that you shouldn’t trust anything on face value. This experience, coupled with my imagination as a writer, helped me create a grey character for Shahid, which is interesting and has layers.

What do you think the audience will take away from Batti Gul Meter Chalu?
Every time I met someone with the script of this film, they’d dig out a copy of their electricity bill to see whether they were also being fleeced. It triggered a thought. I’ve seen millionaires worrying about faulty electricity bills. The middle class suffers even more. After watching this film, no one will take their electricity bills lightly.

Nayandeep Rakshit (DNA; March 11, 2018)

In two years, Prernaa Arora has managed to produce four films. Come 2019 and there are a few ready to release in quick succession as well. Here, the producer discusses the importance of success and failure and explains how she embraces both. Over to her...

AKSHAY SIR HAS BEEN LIKE A MENTOR
Prernaa has already delivered three films with Akshay Kumar (Rustom, Toilet - Ek Prem Katha, and Pad Man) and all of them have brought in over Rs 300 crore cumulatively at the box office. “That is something we are proud of. Akshay sir has been like a mentor and we trust him implicitly. His choices speak volumes of the kind of cinema he believes in and I also want to deliver good content to the audience. Getting to do three films with Akshay sir in such a short span is an achievement.”

We had heard from a birdie that she is producing a few more movies with the Khiladi. She confirms the news, “Yes, I’ll be doing my next set of films with Akshay sir. Working with him is a blessing and I will continue making as many movies with him as I can.” We probe her if they would be social dramas as well and she tells us, “We at KriArj respect Akshay sir so much that we don’t question him on any of his choices. So whichever genre he decides, we will follow.”

NEVER EXPECTED BIG NUMBERS FROM PARI
Her latest release Pari has received a thumbs up from the critics. However, talk about its numbers and the producer says, “We never expected Pari to bring us huge numbers. We knew that we were catering to a niche audience. When you call something a horror movie, you have already lost the family audience. But it’s a brave film and I’m happy everyone has acknowledged our effort.”

ANUSHKA IS FANTASTIC
Pari was her first association with Anushka Sharma and Clean Slate Films. Prernaa is all praise for the actress. She exclaims, “It needs a lot of courage for a big star like Anushka to come and try out something like this. She never really cared about not looking good on screen. She was so focused and because of all these reasons, Pari will remain one of my most special films.”

Ask her if they are in discussions about another collaboration and Prernaa replies, “Yes, we are definitely working together on many more films. I am starting my next with Clean Slate soon and together, we will make an official announcement. The best thing is that our wavelengths match. Anushka and Karnesh (Sharma) wanted to make Pari just the way I had thought of. They are extremely polite and nice people.”

I VALUE RELATIONSHIPS
If you take a look at the films Prernaa has produced, you notice that she has repeated a lot of filmmakers and actors in her projects. “I value relationships more than anything else,” she responds. “I know the nature of the business is somewhat harsh, but I’m someone who would stand by the relationships that I have made. For example, Akshay sir and KriArj will collaborate on two more movies now. We don’t question him because we have that understanding. We know if Akshay sir is coming to us with a film, it will be a fabulous script. We have reached that level of understanding with Anushka, too. I had always wanted to work with Aishwarya Rai Bachchan and now, after Fanne Khan, we have locked her for two other projects which we will announce soon. Shahid’s next with us, post Batti Gul Meter Chalu, also begins this year. It has to be a collaborative process and most actors know that, although some completely fail to understand it. Eventually, it boils down to how you are to people and how they are to you. They are big stars because they are kind and caring towards their producers and everyone else. Maybe, this is why they have even maintained their position for the longest time.” But she also believes in partnerships with several filmmakers, she admits. “Shree Narayan Singh and I are like one family.”

SRK IS A PERFECT ROLE MODEL
Apart from the ones she's working with, we ask Prernaa to pick another actor she wants to team up with and pat comes the response, “It has to be Shah Rukh Khan,” she smiles continuing, “I’ve always been a huge admirer of his work. I met him recently and was charmed by the way he communicates. It was a fan-girl moment for me. I could barely speak but he made me feel so comfortable. He is a wonderful person who respects your views. He is such an intelligent man and a perfect role model. Given a chance, I’d love to do a film with him someday.”

PEOPLE SHOULD UNDERSTAND THEIR MARKET VALUE
A lot of producers have debated that the cost of production increases enormously when a male actor charges an exorbitant fee. In an interview, Sonam Kapoor had stated that actors should charge according to their solo opening figures. Prernaa echoes that sentiment. “When you are budgeting a film, you think about the remuneration of an actor first because at times, someone quotes a really huge price and quite often, producers have to give in to their demands. But everyone should have a clear understanding of their market value. You can’t charge a certain sum if your films aren’t able to bring in those numbers at the box office. You cannot be selfish, you should take care of the producer too.”

GEN-Y IS VERY SORTED
She also adds, “The younger generation is extremely sorted and they are so particular about their viability that they understand for a film to do well, it needs to be made on a certain budget. They have a positive attitude towards everything and an amazing clarity on the math of the business.” Among the Gen-Y actors, she is keen to work with Varun Dhawan, Alia Bhatt and Ranveer Singh.

KEDARNATH IS A WORK IN PROGRESS
Ask her about the whole Kedarnath episode and Prernaa refuses to divulge too many details. She says, “Yes, there’s work in progress. We’re working out things. Right now, I don’t want to say anything further.”

I KNOW HOW TO HANDLE FAILURE
Till now, all her films have managed to become successful or break even at the box office. But, how will she handle things if a movie doesn’t work well? Prernaa answers, “These are two sides to a coin. I am happy that my films are successful. Tomorrow, if my movie doesn’t work, I am well prepared for it. But thank God, I haven’t yet faced a situation like that. If you love success, you should know how to embrace failure too,” she signs off.

Meena Iyer (DNA; February 2, 2018)

Akshay Kumar is at home, playing with his dog Cleo. When he spots us, he invites us to make ourselves comfortable on the classic sofa (designed by the missus, we are guessing), shows off his perfect egg-shaped bald pate and laughs, saying, “When I shaved my head, I was worried. I was thinking, ‘What if the shape of my head is not good?’” That be as it may, Akki’s lack of self-consciousness, whether it is for his appearance or his performances, is being applauded today. Over to the Pad Man:

You have become a biopic expert. This is your third one, right?
I don’t know anything about being an expert. I’ve successfully done Airlift, which was about a businessman who helped evacuate 1,70,000 Indians from Kuwait. The second one was Rustom that was inspired by commander KM Nanavati. Toilet - Ek Prem Katha was based on the story of Anita and Shivram Narre and now, I’m doing Pad Man, which is the true-life account of Arunachalam Muruganantham. These guys are real heroes and their lives have been truly inspiring.

Do you empathize with Arunachalam?
I admire him. Just imagine, he was almost the first Indian man who truly understood what his wife went through, month after month. And he felt that he needed to do something about it. By ‘inventing’ the low-cost sanitary napkin, he has done a service to the future generations of women. Do you know that almost 82 per cent of them do not have access to pads? They actually use cloth, leaves, rakh (ash), and bhusa (hay).

Women in rural India haven’t understood the necessity of a sanitary towel. I understand that many can’t afford to buy them, but I feel bad that they don’t realise how important menstrual hygiene is. They need to be educated about the health hazards of not using such products. It can also lead to cervical cancer. No one has realised the magnitude of the service done by Arunachalam. He took it upon himself to experiment by wearing a pad and ensuring that the product he puts out there is beneficial to his wife and females at large. There is a dialogue in the film that says, ‘Women strong, country strong.’ A woman’s health is of prime importance for us to give birth to a strong country.

You sound like an expert on the subject of menstruation…
Frankly, I didn’t know anything about sanitary napkins till two years ago; I had not even held one in my hand. My sister or my wife didn’t ask me to go to the pharmacy to get one. However, after Tina (Twinkle Khanna) researched Arunachalam’s life and wrote about him in her book — The Legend of Lakshmi Prasad — she told me about him at length. And I became so interested in his life that when she suggested making a biopic on him, I was fully charged. Pad Man has ventured where no other superhero has. I think Arunachalam’s story is more relevant than that of other superheroes like Batman and Superman because he dealt with a common woman’s problem. And I think I’m doing him service by bringing his story to the big screen.

I’m so happy now that men are discussing sanitary pads. A few days ago, four people outside my vanity van were discussing this subject. This awareness makes me happy and proud.

You have done 130-odd films. But a handful of these, like Special 26, Baby, Airlift, TEPK, and Pad Man seem to be the only ones that truly matter to you...
No, I don’t agree with you. I’m proud of most of my films. But earlier, I didn’t have the power to tell a producer to make the kind of stuff that I do today. Now, I’m the producer, or rather my wife is, so, we have chosen to tell this story together.

Earlier, I only knew commercial — or masala films as some people call them. Today, I’m more in touch with realistic cinema and my belief in it is unshakeable. Also, I’m grateful to the audience because now they are sensitised to this kind of cinema. And they are the ones who actually give us a chance to tell these tales. Back in the ’50s, filmmakers attempted stories like Naya Daur (a tongawalla who fights for his right to livelihood) and Satyakam (a man who marries a rape victim). They got success but not to the degree they should have.

Pad Man holds a more special place in my scheme of things because it carries a specific message. I do these films with good intent because I want these stories to travel far. People should be aware of these real-life heroes, who have researched so much, that too on topics that were earlier considered taboo.

Are you aware that even today, menstruating women are treated like outcasts?
Of course, I’m aware that even today there are homes and places where women, who have their periods, are asked not to enter the kitchen. They are told not to touch the pickles and papad because those may get spoilt. The real reason why women have been asked to take it slow when they have their periods is because their bodies are weak at that point and they need to rest. However, some people gave this a religious connotation, while others had their own scientific gyaan and treated women like outcasts. We have taken a positive angle in Pad Man. In the film, we even have a song where the entire village gets together and celebrates puberty. The locals give the girl gifts and make her feel special, which is how it should be. There is no reason to be hush-hush; it’s actually a thing to celebrate. My co-actor Radhika Apte, too, had a similar experience. When she mentioned this to me, I realised its significance.

You should not make a girl feel that it is something to hide. Instead, you must explain to her the significance and the science behind menstruation.

On a different note, it seems like you are getting ready for a career in politics...
I’m not entering politics. Doing movies that address public issues doesn’t mean that I’m paving the way for a political career. I’m very happy being an actor. I don’t have an agenda but this kind of cinema gives me joy. For instance, after watching OMG — Oh My God! people went to temples but they stopped pouring oil and milk on the idols. Instead, they donated money. This level of awareness is all that I’m targeting. I want to make small changes.

How was it working for Twinkle as the producer?
Nothing special. I finish everyone’s films on time, I finished hers too.

Are we likely to see a biopic on you?
No. Take someone like Sanjay Dutt. His life is interesting, so it makes sense to make a biopic on him. My life is not too exciting.

Nayandeep Rakshit (DNA; January 18, 2018)

In the last two years, Prernaa Arora and Arjun N Kapoor of KriArj Entertainment have delivered two big successes with Akshay Kumar — Rustom and Toilet: Ek Prem Katha. Now, the duo is gearing up for their third venture, Pad Man, with the Bollywood superstar that releases next Friday. Prernaa tells After Hrs why she is drawn towards social dramas and her film’s impending clash with Padmaavat.

Pad Man is your third venture with Akshay Kumar. Are you excited?
I feel exceptionally fortunate to have worked with Akshay sir. He is someone who I respect for the kind of cinema that he is doing right now. No actor can do what he’s done in Pad Man. Nobody would have taken this up as it’s such a huge challenge. For me, this film is one step ahead of Toilet - Ek Prem Katha (TEPK), which I thought was the biggest movie of my life because of the respect I had earned due to it. Rustom was special too, but I learnt a lot after TEPK. You feel a sense of achievement by making something that talks about bringing a change in society. Akshay sir has taught me the art of choosing the right films.

Are you drawn towards social dramas?
Honestly, at this point, it might look like I am saying it just for the heck of it, but something genuinely changed within me after TEPK. I’ve now become conscious of the happenings around me and I enjoy backing movies that are more relevant.

To what extent are you creatively involved with a project?
I’m not as involved as Arjun N Kapoor because I trust the creative side of people dealing with films. For example, when I’m making a movie with a director like R Balki, I don’t feel the need to intervene. Having said that, as a new producer I’m here to learn. What’s the point of interfering in a filmmaker’s creative process if you aren’t creative yourself? It then becomes a point to show off which isn’t my forte. I understand cinema well and that’s how I take my calls. I pick the right projects and that’s the proof of my confidence.

How much do numbers matter, whether it’s the box office or the budget?
Box office matters a lot. Budget becomes a little challenging sometimes, with respect to BO returns. But then your gut says that’s fine, let’s put in more money and make it look better. That saves so much time and energy rather than producing films which land nowhere. But yes, I want all my films to be loved by the audience and the box office is a barometer of that. Both my films have crossed Rs 100 crore and obviously, the audience loved them. I hope that continues.

At a time when studios are shutting down, are you planning to set up KriArj as another studio model like Dharma Productions?
I want KriArj to be one of the finest production houses. If you say that studios are shutting down, I don’t think that’s happening right now. Everyone has their ups and downs and you can’t write off people. The passion and integrity is still there so even if someone is going through a low phase, they will come back. There will be revisions and companies might lose money but that’s how life is. There will be phases and nothing is permanent or absolutely perfect here. Of course, there are times when producers back the wrong kind of cinema but then again, what do they do? Today, everyone takes more precautions and the revenue shares have opened up. There are satellite, digital and music rights which aid the producers immensely. You need to do the right calculations, that’s it.

But have you ever thought of making a complete masala film?
Of course, I’m game for something like that. Unfortunately, no one has come to me with a film in that space. But I would love to work with people like Rohit Shetty who’s the best at making this kind of cinema which is not mindless but extremely commercial. I don’t see it happening anytime soon. Until Akshay sir wants to do a comedy with me.

What about the clash with Padmaavat?
I’m very confident about my film and don’t look at this as a clash. It’s an unavoidable situation and I’m compassionate towards the team of Padmaavat and the situation. I would rather welcome their movie happily. I have immense respect for Deepika Padukone, Shahid Kapur, Ranveer Singh and Sanjay Leela Bhansali sir and Viacom 18. It’s more about two good films coming together.

But do you think it will affect the numbers?
Two movies do eat into each other’s business and the trade discussions are right. But then again, January 25 is a big date with a holiday weekend. The audience too has the luxury of going to theatres and watching both the films. If a movie is good, it will always work.

Nayandeep Rakshit (DNA; January 6, 2018)

How many times have you seen an A-list actor wearing a panty with a sanitary napkin in it and checking himself out in the mirror? Well, Akshay Kumar is different and has his heart in the right place. The actor, who is all set to bring in another revolution with Pad Man, doesn’t shy away from trying out spaces which his competitors won’t even think of attempting. He’s the best at juggling films, belting out four films every year on an average and is definitely not someone you can slot into a particular category anymore. He is no longer just the quintessential romantic Hindi film hero or the macho action star, he’s a blend of both and much more. We talk to the Khiladi about his unconventional choices. Over to him...

During Airlift, you had said you wanted films like these to have an audience. Today, such movies are doing tremendously well. Are you happy?
Now, the audience wants change and I’m happy they think that way. The society requires it. Yesterday morning, I was just checking the pollution levels in Mumbai. I’m sure none of us know it but it’s 372, which is huge. These are issues that need to be talked about. The fact that cinema is watched by so many people makes it better. I’m sure more filmmakers will be ready to explore such spaces.

You are someone who has successfully juggled and made unconventional the new convention today...
The reception has been really good. Whether it’s an Airlift, Rustom, OMG: Oh My God! or Special 26, which I had started off with, it’s been fantastic. Actually, if you see, I started it usse bhi pehle, when I made 8 X 10 Tasveer with Nagesh Kukunoor. The film didn’t see much success but I was clear that I wanted to make cinema which was different from what I was doing, because this gives me a chance to do diverse things. For commercial films like Rowdy Rathore, you can only go one way as they are uni-dimensional. But these movies (the ones that I’m doing right now) are different. The dimensions, your roles and characters change completely. For some films like Baby, it was a different genre and you can’t compare it with Pad Man, which again isn’t similar to an Airlift or The State vs Jolly LLB 2. So, you get a lot more breathing space to try out new and exciting stuff.

You are not slotted into any particular category because of your choices. What really is the parameter for you?
It’s just the script, the character and the screenplay. How it’s being told, what is being told, does it have a value to it and can I feel it at all — these things matter to me. And it automatically happens with me. If I feel it, I’ll do it. It doesn’t matter who the director is — how big he is or whether he is new. After all, this is team work and we have to take the movie to a place.

You played a gay character in Dishoom. Now, we will see you wear a sanitary pad in Pad Man. Is it a conscious move to break stereotypes?
When I played a Parsi in Rustom, I didn’t talk the way they usually do in films. I know many Parsis who don’t speak like this. Movies make them look caricaturish. At times, kharab hi kar dete hai. When they have a Bengali character, they make them speak differently. It’s not how people talk usually. I have never liked that. So, I don’t feel the need to adhere to stereotypes.

Were you apprehensive before doing the scene where you wear the panty?
The first 30 seconds into the shot, I was a little nervous. But then, I was totally fine and I had no issues with it at all. It was just like any other scene.

But it’s brave of a superstar to do something like that, especially because the society considers all this unmanly. Comment. 
That is the challenge, na! Why is it a taboo or unmanly? Why can’t we just break these glass walls? They need to be broken. It’s as natural as a guy getting cuts and blood oozing out. I don’t take any of it to be unmanly. We need to change the way we think.

There’s a huge debate about how sanitary napkins should be made tax free. Do you think Pad Man will bring about a change?
I want a bigger change. Forget tax free, it should be completely free. Women strong, country strong and to make them strong, you have to make sanitary napkins free and easily available to them. Because of the cost, so many women use bhusa, raakh and dirty clothes to stop bleeding. It’s not hygienic. For all this, there needs to be a budget which can be one or two per cent of the defence budget. If you have that, women are stronger and they give birth to healthier children and eventually, men too become strong. It’s a simple cycle. When there’s a tree, you don’t start cutting the tree’s leaves or branches. You need to nurture the root, which is what we all forget. Physical roop change karke kya hoga?

Meena Iyer (DNA; November 15, 2017)

After the success of Golmaal Again, Ajay Devgn is scheduled to do a biopic on Jaswant Singh Gill, the hero of the 1989 Raniganj coalfield rescue operation. The film, titled Capsule Gill was meant to be directed by Tinu Suresh Desai, who helmed the blockbuster Rustom with Akshay Kumar, which also fetched the actor his first National Award.

However, there’s new development on the film’s front — Tinu will no longer be directing the movie that deals with the mining tragedy, with Ajay playing Gill, who evacuated 65 coal miners trapped in a flooded mine in Raniganj, West Bengal. The then Additional Chief Mining Engineer was also awarded the Sarvottam Jeevan Raksha Padak in 1991 by President Venkataraman for the successful operation. A source says, “Tinu and Ajay met a few times. However, they couldn’t come to an understanding on certain key script points. Hence, Ajay is now likely to make the film with a new director on board.”

Ajay remained unavailable for comment but the buzz is that the script is currently being reworked and the film will go on floors after the two-time National Award winning actor finishes Indra Kumar’s Total Dhamaal, which he starts shooting in January 2018.

Nayandeep Rakshit (DNA; August 28, 2017)

Ileana D’Cruz isn’t a method actor, but she gets completely invested in a film, especially, if it connects with her on an emotional level. “I am very sensitive and emotional,” she says. The actress, who’s gearing up for her next release talks about her sentimental side and the one scene from Baadshaho, where she broke down completely while shooting.

The last day of shoot
“I had this particular scene on the last day of the shoot. I was anyway upset and emotional because I didn’t want to leave. I had this weird attachment to Gitanjali (her character in Baadshaho), I didn’t want to stop playing her. She was like a power trip for me. I just had a moment on the last day and it’s actually based on Gitanjali’s character, who was probably at her vulnerable best. I actually broke down while doing the scene. It was one of those moments where she’s so transparent and she’s actually saying it without holding back and having that queen sort of a facade. She just spoke like a normal woman!”

How Milan reacted
“The weird thing is, Milan (Luthria) and I didn’t discuss it before we shot it. I was already in that state so I gave the shot like that. Milan felt that maybe we shouldn’t be so emotional. So I was like ‘okay’, although I was already crying (smiles). We did a few more takes the way he wanted and then he came back and said, ‘No, it works when you emotionally break down.’ So I was glad he agreed with me. On some level, I felt I had morphed into Gitanjali. The easiest way to describe her is that she’s a powerful sexy woman, who knows what she wants, knows how to get it, handling a whole city on her own and doing all of it without any man by her side.”

Not the first time
She further adds, “I have broken down so many times during Barfi. Actually, in all the emotional scenes, I was crying for real. I was in tears while filming those emotional scenes with Akshay (Kumar) in Rustom as well. I cried like a baby up to the point that it was gross. In Baadshaho, there was only this one scene.”

Rachana Dubey (BOMBAY TIMES; August 25, 2017)

Sanyukta Iyer (MUMBAI MIRROR; August 21, 2017)

Nayandeep Rakshit (DNA; August 10, 2017)

Last year, Prernaa Arora’s KriArj Entertainment made its foray in filmmaking. The production house has grown enormously in just one year and they have announced films with major stars from Akshay Kumar to Anil Kapoor and Aishwarya Rai Bachchan to Deepika Padukone. They began with Akshay’s Rustom and this Friday, her second film with him — Toilet - Ek Prem Katha hits the screens. Ahead of the release, Prernaa talks to us at length about the film and reuniting with the Khiladi.

As a producer, you are taking risks...Toilet is an unconventional film.
Any business you start is risky and there’s nothing that will guarantee you 100 per cent protection. Career choices are always risky till you succeed. Our conscious moves began with Akshay sir. I learnt a lot from him while working on Rustom. He’s extremely conscious about what he’s trying to do. Akshay sir is also co-producing our film. So, all my knowledge about films has come only from him. He’s now only making films that are high on content, relevant and those which can contribute to the society to move people in whichever way. It’s not about doing only social films, it’s entertaining, but different films.

Do you think the audience is accepting of such films now?
We have collaborated at the right time because the audience’s mindset has changed now. They want more films like this. It’s about being there at the right time. So many films are not working today, so as a producer, we have to make sure our content is right.

The promos of TEPK gives out the vibe of an entertainer. Was that a conscious move?
Not just as a producer but you have to look at films as an audience too. You cannot make films just for the sake of making them. If you feel you are making a film which you will like as an audience, then you should go ahead with it. That’s what we do with all our films.

How did this film come to you?
While we were shooting Rustom, Akshay sir had already decided that he will do this film. He just gave us a one-line brief, and said that the film is about the importance of sanitation taking a leaf out of our Prime Minister’s Swachh Bharat campaign. He was already on board as a producer and this film is very close to his heart. He told us what the film was about and we jumped to it. Later, I found out, they had gone to several actors who turned the film down. Akshay sir took the bold step to say yes to the film.

How has it been working with Akshay?
For us, our belief in him is more than enough. We don’t need anything; for us, it’s only Akshay Kumar. Period. We trust this man too too much as a producer. He is extremely disciplined and takes very good care of the whole team and his producers. He is a delight on set. People say they are director’s actors. I think Akshay Kumar is a producer’s actor too. There are very few people like him and we are happy we are collaborating on three projects together (Rustom, TEPK and Padman). Hopefully more.