Recently, Sanya Malhotra and Fatima Sana Shaikh joined the cast of Meghna Gulzar’s biopic on Field Marshal Sam Manekshaw. To be headlined by Vicky Kaushal, the film will feature Sanya as Silloo Manekshaw and Fatima as former Prime Minister Indira Gandhi. This will be Vicky’s second biopic after Sardar Udham based on an individual of historical relevance.

Talking about his new project, Vicky says, “Sam Manekshaw’s biopic is in the pre-production stages right now. It will take a few months of prep and we should start rolling in the first quarter of 2022.”

Lately, there has been a spike in the interest in films, stories, and characters that are set in a time zone that Gen Z has probably only read or heard about.

The Raazi actor says, “Even though I am an actor, I am as much a part of that young audience that loves films set in a certain time zone. I am fascinated by them because I have only read stories about them, or heard about them from my parents or probably gone through some books on them. I am eager to become a part of those timelines and narrate a story set in a period that I will otherwise not get a chance to inhabit. I want to know more about those times that generations of young Indians have limited exposure to. I know people who study history through art and cinema. Sometimes, it’s the visuals that stay back with you more than the written word.”

Vicky further adds, “When I go through scripts and stories offered to me which are in sync with this thought, whether it is Sardar Udham or Sam Bahadur, I learn a lot. I didn’t know much about both the characters until I heard the director’s point of view on them and the understanding they have today of them as subjects. With these films, I am getting a chance to take people into a different time zone. It’s great to know those people who have made a remarkable difference to this country in their own ways.”

Striking a fine balance between reality and dramatisation is no mean feat for filmmakers
Titas Chowdhury (HINDUSTAN TIMES; February 27, 2020)

Reality never fails to fascinate Bollywood. Last year, a number of stories such as Uri: the Surgical Strike, Mission Mangal, Gully Boy, India’s Most Wanted, Article 15, Batla House and The Sky Is Pink were rooted in reality. A similar trend is noticed in the web space. Series based on real events such as Delhi Crime, Rangbaaz, Jamtara – Sabka Number Aayega, Kaafir and The Forgotten Army are being talked about.

Among the movies released this year, Chhapaak (inspired by the life of an acid attack survivor), Tanhaji: The Unsung Warrior (based on the life of Tanaji Malusare, a military assistant of Maratha King Chhatrapati Shivaji) and Shikara (based on the exodus of Kashmiri Pandits from the valley), stirred the fact versus fiction debate once again. We have a number of reality based movies set for release later in the year. The extent to which creative liberties can be taken becomes the core of the discussions, as there’s always the fear of hurting the sentiments of communities and families of the subjects involved.

Nikkhil Advani, who directed Batla House and has shot for a web series based on 26/11 attacks, says it’s an “everyday battle” for filmmakers to find a balance between facts and taking creative licenses. “I find my inspiration in such stories. Fact is stranger than fiction, which allows the filmmaker in me to do a lot of research. The biggest challenge is to maintain a balance. Bollywood is a dramatic genre, especially when you’re working within the mainstream space. There’s a responsibility to be true to the story and due approvals are needed from the person and their family. We can’t push the envelope too much,” he says.

Sanjay Gupta, who wrote Shootout At Lokhandwala (2007) and is now directing Mumbai Saga, the story of Bombay becoming Mumbai, shares, “My obsession with real life stories started with Shootout At Lokhandwala. We have such amazing incidents in our own city which need to be told. As a filmmaker, my process is to first collect the material which includes speaking to the people and their family and do an extensive research which is turned into a screenplay,” he says. The filmmaker adds that one needs to stay true to the incident and also make it entertaining, or else it will turn into a documentary. “When we say ‘entertaining’, it doesn’t mean adding comic sequences or songs, it’s about taking certain creative liberties within the given parameters,” he says.

Director Hansal Mehta just wrapped up shooting for a web series titled Scam 1992, based on financial crimes that took place in the 1990s and 2000s. “Within the boundaries of time and cinematic language, we have to convey the essence of the characters and their journeys. A filmmaker imagines his version of a story based on available resources. While writing a script, I think what the story and the characters mean to me at a personal level. With different stories, there are different kinds of accuracies that one want to achieve,” he explains.

Actor Ajay Devgn, who’ll be seen in Bhuj: The Pride Of India, based on the reconstruction of the IAF airbase with the help of local women, believes that sources often lack information and thus the responsibility lies with the makers. “It’s tough to tread that thin line of realism, justify the characters and still be imaginative enough to dramatise the characters ,” he says. Filmmaker Meghna Gulzar, known for Talvar (2015), Raazi (2018) and Chhapaak, says, “I don’t take creative liberties and my films are proof of that. If a need is felt to make a film more cinematic, we play around with the timeline of the events and not make it chronological. You can add dimensions to a character without distorting the essence of their personality. There’s always an essence of reality in our films, books and literature.” Gulzar, who is busy with a project based on Field Marshal Sam Manekshaw, adds, “It isn’t a biopic strictly in the sense of the term. It’s like a take on the life and the times of Sam Manekshaw.”

Actor Kirti Kulhari, who was seen in Uri and Mission Mangal, believes there is nothing fictional about telling human stories. “I do projects that are kind of real, or based on human relationships,” she says.

List of upcoming Bollywood films:
- Bhuj: The Pride Of India
- Attack
- The Big Bull
- Mumbai Saga
- Bell Bottom

List of upcoming web series:
- Nikkhil Advani’s web show on 26/11 attacks
- Scam 1992
- Konkona Sen Sharma’s web show on Arati Das

With a ₹200-crore film and his first National Award, Vicky Kaushal calls 2019 a year of ‘gratitude’
Titas Chowdhury (HINDUSTAN TIMES; December 22, 2019)

The year 2019 has been nothing short of a dream for Vicky Kaushal. He started the year with a bang with Uri: The Surgical Strike that turned out to be a ₹200 crore grossing film. And while he got busy shooting for his next projects, in August it was announced that he won his first ever National Award for his portrayal of an army man in the film.

“This has been a year like no other. It has been so beautiful. The response that Uri received was incredible. More than the box office figures, it’s about the love that I got from the audience, the way the film resonated with them and how they made it their own. That’s a wonderful feeling for the actor in me,” he says.

The actor is particularly happy with the response that the whole team got for the film. “That was special. And then winning the National Award was a beautiful surprise for me, my family and the team. Every actor hopes to get a National Award, but for it to come to me so early on in my career is a true blessing,” says Vicky.

What has made 2019 even more special for him is the fact that he has signed a slew of big banner films. “I’ve already finished shooting for a major chunk of Shoojit Sircar’s Sardar Udham Singh. I had signed Takht and Meghna Gulzar’s film on Field Marshal Sam Manekshaw and we start shooting next year. It has been a year of gratitude and I’m humbled,” says the 31-year-old.

Having been a part of films such as Raazi, Manmarziyaan, Sanju (all in 2018), Vicky is happy that the image of the Hindi film hero has drastically changed over the years. “Ten or eleven years back, when I was in college, I decided that I don’t want to be an engineer. I thought I didn’t have the face of a hero. Back then, there were no actors. We only had heroes. The general notion was that only those with a chocolate boy image could become a hero. And I used to be a lanky boy,” he reveals.

Vicky says that it’s a good time to be an artiste. “The times have thankfully changed. There’s no definition of a hero anymore. It’s more to do with talent. There’s a surge in terms of scripts being written and the actors who are coming on board. Now there’s no such thing as a face of a hero. Films, today, can make an actor a hero. It’s important for a film to be a hero.”

Meghna Gulzar on out-of-the-box choices, her heroines and heroes, and why mother Raakhee and son Samay have yet to see her next directorial
Roshmila Bhattacharya (MUMBAI MIRROR; December 13, 2019)

She’s one of those rare people who text to inform when they’re running late. Then, she gives you all the time in the midst of hectic post-production for a freewheeling chat. Excerpts:

This industry is all about glamour and you’ve taken one of its biggest names, Deepika Padukone—her last film, Padmaavat, was about a Queen known for her beauty—to play an acid attack survivor. What was her first reaction to her prosthetic look in the film?
It takes courage to discard your calling card and bare yourself completely. When you are shorn of all the usual trappings - hair, make-up, costume, jewellery—with only your craft exposed, it’s a brave path to walk and Deepika has done it with flourish. For me, it was important to take a face associated with beauty because when you distort it, like it would happen to a survivor, the contrast and impact is far stronger. Not everybody is Deepika Padukone, but these other girls were beautiful too and didn’t deserve this to happen to them. No girl deserves it going forward. I’m fortunate Deepika agreed to play the part. During our research, we discovered that Laxmi Agarwal’s pictures before the attack are strikingly similar to Deepika’s when she was young. There is an uncanny similarity in their physicality which shows up in the prosthetics. That was my starting point. Then came the larger thought of the impact of the message which would get magnified with her in the lead as Malti (who is fashioned after Laxmi). The idea wasn’t to make Deepika look like Laxmi, but to make her look like what she’d have looked, God forbid, if something like this happened to her. The essence of Deepika is still there, particularly in her eyes.

What was your first reaction to the trailer?
When the first cut came out, it was interesting to see someone else’s interpretation of the film and heartening that it reflected the spirit of the girl. And since it came on its own, I felt that if the film is emanating this, we are in a good space.

One of your earliest gurus, the one with you at each step, is your father. Has Gulzar saab seen the film yet?
Like always, I’d shared the script with him; he saw a preliminary version of the trailer and the off-line edit, and got all emotional and teary-eyed. For me, it’s hard to tell if his reaction was coming from the film or because I had made it. He can be terribly biased, but I’m happy my parents are proud of my work.

So, your mother, Raakhee ji, has seen it as well?
My mother does not like to see a work in progress. She has just heard the songs and is waiting to watch the complete film. When the first copy comes out, that screening is hers.

Filhaal, Talvar, Raazi, Chhapaak… As a filmmaker you are climbing the ladder...
I’m nothing but the stories I tell, and as the stories get more challenging, I push myself more as a writer and a director, so my craft is up to the story I’m telling. I want to be a better version of myself. I don’t want my audience to ever come to see my film with certain expectations and be disappointed. Staying at the same level is stagnating and coming down is not an option.

After years, the Talvar case got a verdict. Acid attack laws have become more stringent since you decided to tell Laxmi’s story. How does it feel when stories you picked up from real life come a full circle and find culmination legally?
I don’t think there can be a better reward or validation. If the sense of a film lasts only as long as a box of popcorn, it’s a humungous waste of so many people’s time, effort and money. There needs to be larger resonance. Unfortunately, our idea of entertainment is so narrow that it’s become only about making the audience laugh. But I can make them laugh, cry, feel angry and disgusted, and still engage them. And if through this journey of emotions, some larger purpose is served, nothing can be better.

It was surreal when on a recce for Raazi, I got the news of the High Court acquittal of the Talwars. I broke down. Even though Talvar was a success because of the nature of the subject, we couldn’t celebrate. I got to experience such intangible rewards which will never go away.

Have you met Rajesh and Nupur Talwar since? Have they seen the film?
We are in touch, but I haven’t met them. Nor have I had the courage to ask them if they’ve seen the film because for them it would be reliving the worst chapter of their lives.

Has Laxmi Agarwal seen Chhapaak?
Both Laxmi and her partner Alok Dixit have, and they loved it. Back in 2016, when we landed in the world of acid violence, it took a while to find them, then, break their cynicism. Film people and the media are not looked at with much regard. Also, Laxmi was far more introverted then. It took a while to win their confidence and convince them that we would not trivialise their story.

The film isn’t even a biopic, we are just using Laxmi as an anchor to tell a larger story about an issue. Once they agreed, we got them to Mumbai and for two-three days, we were holed up at my workplace. She narrated her life story which I recorded, asking specific questions. Then, I met her father’s employer who was critical in getting her medical and legal help, her lawyer and surgeon to get the technical details right, after which Atika Chauhan and I wrote Malti’s story which we shared with both.

How is Deepika, the producer?
I didn’t give her much time from being an actor, but now, this journey from filmmaker to viewer is critical for any film, particularly a film like this, and she’s hands on. She attends meetings, throws ideas around; that investment is special.

Did the commercial success of Raazi make it easier for you to make Chhapaak?
Even Talvar was extremely successful in terms of its budget and the money it earned, and so it was easier to make Raazi which made it easier for Chhapaak. The change largely happened because of the shift in the kind of films we are making today. Actors, studios and producers are getting more experimental in their choice of content.

In this scenario, what’s it like to be a filmmaker?
I feel relieved. I’ve been making films for 20 years, now I fit in. In the last five-seven years, we’ve upped the game. Regional cinema is blossoming too, that’s inspiring.

It must feel great to collaborate with actresses like Tabu, Konkana Sen Sharma, Alia Bhatt and Deepika who could have got lost in song-anddance routine, but have chosen their films with care.
I feel blessed they trusted me. They are women of pedigree, known for their craft. By the end of the first draft, I usually have an actor in mind and if not them, I can’t think of an alternative. I’ve not yet faced a situation where I had to do without the one I wanted.

It’s easy for a woman director making women-centric films to talk only about women. But the men, be it Irrfan Khan in Talvar or Vikrant Massey in Chhapaak, have played an important role too.
Oh yes, I’m grateful to them and to Vicky (Kaushal) for Raazi and Sanjay (Suri) for Filhaal. The choice was even more difficult for them, but thank God, they trusted me or these films would have never got made. These men, as actors and characters, are bigger heroes.

You also have a real-life hero in your husband Govind...
Yeah, and my husband reacts to my films like my father, getting all teary-eyed. We’ve been together for 25 years, he feels proud that the little girl he dated in college is doing this kind of work. And since I can’t see myself without the work I do, it’s great to be able to do it with complete ease of mind, knowing he is fine, my son is being looked after and that when I come home, there’s respect for what I do. I would wish this for every woman, even homemakers because running a house can be a nightmare, yet goes unrecognised.

Has your son, Samay, asked questions about your films?
Unfortunately, he hasn’t seen any of them because he’s not yet 10. When he is 13, I’ll show him Raazi first. I really want him to see what takes me away from home. One day, he asked me why I can’t make a children’s film and it struck me then that we pass off our popcorn entertainment to them.

Raising kids doesn’t just mean giving them pocket money and a cell phone. Their social and cultural nourishment is completely depleted today and they are the future generation. Right now, my mind is in a space where I want to tell difficult stories but maybe one day, I’ll make a film for children; a nice, happy story.

The Field Marshal Sam Manekshaw biopic, with Vicky Kaushal is your next, right?
Yes, we start in 2021, I need a year of prep and some downtime with my family. I’m looking forward to reuniting with Vicky. Some connections that you make transcend the job. I remember I just called Vicky and asked him where he was. When he said he was 10 minutes from my place, I invited him over and offered him the film. He confided then that hearing my stories of the Field Marshal during Raazi, he had wished he could play the part. Then, he saw his picture and discovered he was very fair and was convinced it would never come to him.

Vicky didn’t even want to read the script, just said he was doing the film. He was going to New York, I insisted he read it on the flight. Such trust is precious. This whole journey is about winning the trust of actors, producers and the audience. That’s the biggest earning.

You are coming up against Ajay Devgn’s Tanhaji. Doesn’t that make you apprehensive?
Today, it’s impossible to aspire for a solo release. Talvar came with Singh is Bliing and Haider with Bang Bang. We are a population of over a billion people. Surely, two films can share an audience?

Niharika Lal (BOMBAY TIMES; November 27, 2019)

Speaking at a session on filmmaking at the 13th edition of Film Bazaar, organised by the NFDC on the sidelines of International Film Festival of India (IFFI), Meghna Gulzar discussed how Talvar ended “15 years of failure” in her career, being compared to her parents and why she doesn’t like the tag ‘womencentric’. Excerpts:

‘TALVAR WAS A SUCCESSFUL FILM, BUT WE COULDN’T CELEBRATE ITS SUCCESS’
Meghna’s Raazi (2018) bagged Best Film at the 2019 Filmfare Awards, and she also got Best Director award for it. However, Meghna said that Raazi was just an affirmation of her previous work. “For me, the move away from past failures happened with Talvar. It was very peculiar, because Talvar was the kind of film whose success you couldn’t celebrate as it was talking about the tragedy of a family (the Aarushi Talwar murder case). The film was successful but there was a mother and a father (Aarushi Talwar’s parents) who were still in jail. We really couldn’t celebrate the success of Talvar. We were on a recce for Raazi when I got the news that they have been acquitted by the High Court; that is actually when we celebrated the success of Talvar. Raazi was just an affirmation that Talvar (it’s success) was not a fluke.”

‘MY FAILURES WERE MORE DIFFICULT FOR MY PARENTS’
Meghna shared how despite doing very different kind of cinema from what her father Gulzar did, she had to deal with comparisons throughout her career. She said, “There are certain similarities and sensibilities, but otherwise, our cinemas are very different. It took a while for me to gain independence of my cinema. Then again, there was a comparison between children of other filmmakers who were extremely successful.”

Meghna shared that more than her, her failures were more difficult to handle for her parents, Rakhee and Gulzar. She said, “Honestly, if the first 15 years of my career were a failure for me, they were probably 10 times more so for my parents because they were so successful in this profession. To feel that helplessness because there was really nothing they could do to help me was more difficult for them. So (after Talvar) when they were at peace that now there is professional success, that was the biggest validation for me.”

Giving advice to budding filmmakers, she said, “Have conviction in the story you want to tell, rest everything is a byproduct. There were days when I couldn’t do it, I couldn’t stomach the failure anymore. But then you open the document and start writing again.”

‘THE STORIES I CHOOSE ARE BEYOND BEING JUST WOMEN-CENTRIC FILMS’
Sharing that she isn’t in favour of branding films as ‘women-centric’, Meghna said, “We all should aspire to be humanists, because if we talk about equality, it is as much equality for a man as for a woman. A film set is extremely gender-neutral. We have female assistants in all departments, female technicians and cinematographers who do the heavy lifting. Nobody is going to hold an umbrella for them, nobody is going to give them a handkerchief to wipe their sweat. Even the stories I choose are beyond being just women-centric films.”

Talking about her upcoming films, Meghna said, “My next film Chhapaak is the story of an acid attack survivor. I have also announced my next film, based on the life of Late Field Marshal Sam Manekshaw. Just because Raazi was a success, I can’t keep making the same kind of films. I have other stories to tell. You need to constantly try and be a better version of yourself.”

‘EXECUTION OF PSAS, LIKE ANTI-SMOKING VIDEOS PLAYED IN CINEMAS, IS OF VERY VERY LOW QUALITY’
At the session, TCA Kalyani, MD, NFDC, asked Meghna, “PSA films, like the no smoking ads that play in cinemas, often contain horrific images. Since your next film is on acid attack survivors, is there a way to make these PSA films look more appealing?”

To which she replied, “Of course, sensibility is very important. These PSA films look like they have been made with disinterest and almost no funds, which is not the case. It’s just that the execution is of very very low quality. Even the National anthem video... I really think that our National Anthem merits better visuals, better audio, better rendition.”

Giving examples from her films, Meghna added, “Talvar had scenes showing throats being slit and yet it got certified as U/A and with no cuts. So there is an aesthetic with which you approach it. I want people to see Chhapaak because it is an important subject. I don’t want people to look away from the screen. I want to make sure that the story reaches the people. There should be enough to disturb but not so much that it is rejected.”

With nationalistic fervour raging, as many as five films set against the 1971 India-Pakistan War are getting ready for the marquee
Akash Bhatnagar (MUMBAI MIRROR; November 13, 2019)

In the last two years, Bollywood rolled out three movies—Meghna Gulzar’s cross-border thriller Raazi; featuring Alia Bhatt and Vicky Kaushal, Rana Daggubati’s The Ghazi Attack and the John Abraham-fronted Romeo Akbar Walter set against the backdrop of the 1971 Indo-Pak war with varying success. While the jury is out on the saleability quotient of the template, there are five more filmson the conflict that altered the anatomy of the Indian subcontinent—getting ready for the marquee.

Bhuj: The Pride Of India
This Ajay Devgn-starrer is modelled on Squadron Leader Vijay Karnik, who was in-charge of the Bhuj airbase, which remained operational during the war, despite heavy bombarding from Pakistan. Accompanied by 50 air force and 60 defence security personnel, he reconstructed the Indian Air Force airstrip with the help of 300 women from a nearby village. The film which also features Sonakshi Sinha and Sanjay Dutt as villagers, took off in Hyderabad this July, followed by a shoot in Mandvi in Gujarat. The war sequences will be the highlight of the film, for which the makers have roped in National-Award-winning action director Peter Hein. Action units from Bulgaria and Vietnam were specially flown down for the climax.


Film on Sam Manekshaw
After Uri: The Surgical Strike and Raazi, Vicky Kaushal returns to familiar ground with Meghna Gulzar’s next, on Field Marshal Sam Manekshaw. The film was announced on his death anniversary in June. Shooting begins in 2021. While talking to Mirror (June 27), Vicky shared his early impressions of Manekshaw, saying, “I personally couldn’t witness his achievements, but my parents would always tell me that he was a fearless patriot with an amazing leadership quality. The first time I’d heard of him was in the context of the 1971 Indo-Pak war.”


Biopic on Arun Khetarpal
Varun Dhawan is reuniting with his Badlapur producer Dinesh Vijan and director Sriram Raghavan to play Second Lieutenant Arun Khetarpal. The 21-year-old officer showed great courage, standing up to unrelenting attacks by the Pakistani army. He was posthumously honoured with the Param Vir Chakra. Dinesh informs that Khetarpal was one of Poona Horse’s (his regiment) most celebrated lieutenants, while Varun admits that when he heard his story, he “was awed that this could have actually happened”.

Runway
This Vikram Malhotra production is based on a true story from the war and reportedly focuses on the destruction of an airstrip in Bhuj, along with several Indian Air Force airstrips, by Pakistani bombers. Indian authorities only had 72 hours to repair the airstrips for fighter planes to take off and land. A group of around 300 local villagers, mostly women, stepped in to help rebuild the airstrips, using local waste and cow dung as camouflage.

Navy Day
Bhushan Kumar, along with Tanuj Garg, Atul Kasbekar and Swati Iyer Chawla, is producing a film based on Operation Trident, one of the most audacious naval attacks in the world, conducted by the Indian Navy on December 4 and 5 during the 1971 war, targeting the Karachi Harbour. Navy Day in India is celebrated on December 4 as a tribute to its success. Operation Trident was planned under the leadership of Admiral Sardarilal Mathradas Nanda and masterminded by then Fleet Operations Officer of the Navy, Gulab Mohanlal Hiranandani. For the first time, anti-ship missiles in combat were used in this region. The Karachi Harbour was the headquarters of Pakistan’s Navy and almost its entire fleet was based there in 1971. It was followed by Operation Python on December 8 and 9, which was another success. The film marks the directorial debut of adman Razneesh Ghai and is expected to go on the floors in mid-2020.

Smita Poojary (DNA; September 7, 2019)

While Vicky Kaushal kick-started his career as a lead in Masaan (2015), he went on to make a mark with strong albeit supporting roles — whether as Iqbal Syed in Raazi (2018) or Kamlesh Kanhaiyalal Kapasi in Sanju (2018). However, after the success of Uri: The Surgical Strike this year, and winning the National Award for the portrayal, the actor says that he is not too keen on doing supporting roles.

No secondary roles
Vicky said during a chat with us recently, “The rule that I’ve made for myself while choosing a project is that I want to be part of good films where people are happy after watching them. Sometimes, you have to take the lead part because when you’re the face of a movie, there is a certain kind of investment in you that a producer makes. So, if I play the main guy and then do a supporting role, his money is at risk. It becomes a difficult job for the filmmaker to market me as a lead hero. And, I have to be loyal to him. Maybe for that reason, I won’t be able to take up a secondary part even if it is a good role and film.” The 31-year-old actor also added that if everything fits the bill and he gets the opportunity to be part of a promising project, he wouldn’t miss that chance.

Donning the uniform again
After Uri, Vicky will once again be seen playing a military officer in a film based on Field Marshal Sam Manekshaw, to be helmed by his Raazi director, Meghna Gulzar. About the film, Vicky says, “More than the uniform or the military, it’s about that person and India during the time he was active. So, the film won’t just be about the person, but also about how the nation was taking shape. It’s a big responsibility and I’m going to be extremely nervous while doing the project.”

Actor, Meghna Gulzar reunite for film on Field Marshal Manekshaw; shooting begins in 2021
Avinash Lohana (MUMBAI MIRROR; June 27, 2019)

Mirror was the first to report (October 18, 2017) that Meghna Gulzar is gearing up to direct a film on the life of Field Marshal Sam Manekshaw, who passed away on this day 11 years ago at the age of 94. Now, we have learnt that the Ronnie Screwvala production has found its protagonist in Vicky Kaushal.

Meghna tells Mirror, “We wanted to finish the edit on the draft first before reaching out to an actor. One day, I just called up Vicky, who happened to be nearby, and invited him over for a cold coffee. We had a conversation about Field Marshal Sam Manekshaw. He was about to fly to the US and said that he doesn’t want to read the script and would just do the film. But I insisted that he read it and call me.” Turns out, he loved the script.

Meghna goes on to share that it was during the shooting of Raazi when she had shared stories about Manekshaw with the 31-year-old actor. “And he remembers them. Ours is not a biopic, because it does not chronologically just record Sam Manekshaw’s life. We need to make an interesting narrative when telling a story by picking out the most crucial, iconic and relevant incidents of his life, giving a view of the soldier, the man, and the Field Marshal,” she adds, informing that her script is penned by Bhavani Iyer (Raazi) and Shantanu Srivastava (Badhaai Ho).

Vicky shares his early impressions of Manekshaw, saying, “I personally couldn’t witness his achievements, but my parents would always tell me that he was a fearless patriot with an amazing leadership quality. The first time I’d heard of him was in the context of the 1971 Indo-Pak war.” When asked about his prep, the actor informed that he will be meeting people who have known Manekshaw closely, besides reading up on him and watching his videos to get the mannerisms right.

The film marks Vicky’s reunion with Ronnie after Uri: The Surgical Strike, and with Meghna after last year’s Junglee Pictures production Raazi. “Working with them feels like home. I have the utmost respect and love for who they are as filmmakers and people,” the actor says.

For now, Meghna is busy with the post-production of her Deepika Padukone-starrer Chhapaak, while routinely sharing research material with Vicky on the Manekshaw film. “We will start shooting in 2021, which is good for all of us because it needs that much prep time as we have the Partition, accession of Kashmir, and the 1971 Indo-Pak war to cover in the narrative,” she signs off. 

Director Meghna Gulzar, who is co-producing the film; informs that it will roll in March and will be shot primarily in Mumbai and Delhi
Roshmila Bhattacharya (MUMBAI MIRROR; December 19, 2018)

Meghna Gulzar is currently on a recce in Delhi for her next directorial, Chhapaak, the traumatic and inspiring true story of acid attack survivor Laxmi Agarwal (below; left). The film is expected to go on the floors in the third week of March and will be primarily shot in Mumbai and Delhi. As Mirror (October 5) had earlier reported, Deepika Padukone not only plays the protagonist, but is also co-producing the film with Meghna. Now, we have learnt that Vikrant Massey has been roped in opposite her, his character modelled on Laxmi’s partner Alok Dixit.

“The cast is slowly coming together. Vikrant is somebody I’ve wanted to work with since Raazi, after seeing him in A Death In The Gunj. In the film he plays a North Indian boy who used to be a professional before he decided to become an actor, then, started a campaign against acid violence which is how he came to meet Laxmi in real life. I speak for both Deepika and myself when I say that we are both really excited to have Vikrant play this part,” Meghna says.

On the subject of the film’s title, she says that they were toying with two—Gandhak, the Hindi word for sulphuric acid, and Chhapaak, the sound of a splash. “The latter spoke to me strongly and resonated with everyone I bounced it off as it conveys that the film is about acid violence almost immediately and quite effortlessly,” avers the filmmaker.

She goes on to reveal that it was Vishal Bhardwaj who came up with the idea of making Talvar and threw the project at her. “I thank my stars that I had the presence of mind to say ‘yes’. Raazi again was a story that picked me. Two different producers wanted me to adapt the novel on screen, Calling Sehmat, so I thought I needed to tell it. But after Talvar I was looking to create my own content and while researching something else, I came across different stories of acid attack survivors. Laxmi’s stood out because of how important it has been in terms of its social and legal implications,” she informs.

After Raazi, Meghna had planned to roll with the Field Marshal Sam Manekshaw biopic, but after she finished the first draft, she realised that given its subject and scale, it would be a while before this film could go into production. Since she had this script, she decided to go with this one first and on a lark, asked for a meeting with Deepika. When she outlined the story to her, the actress told her honestly that she was looking for a lighter subject, having done some intense films in the last few years. But two weeks later, when Meghna narrated the script to her, by the time she reached the end, Deepika had decided she was doing the film. “It was that organic because it’s such a moving story. And the decision to co-produce the film with her also happened organically because I wanted to remain close to it through the entire process,” says Meghna.

During her research, she had seen pictures of Laxmi before the attack and the only person who came to her mind was Deepika. “But I didn’t think even in my wildest dreams that she would agree to do this role. It’s not easy when your face is your calling card. To agree to put that on the line and disguise yourself as an acid attack survivor for a film is a difficult path to tread,” Meghna points out, adding that they are trying to achieve as much ‘live’ as they can, and prosthetics tests are underway. “There are different looks in the film because of the several stages of facial reconstruction. Luckily, we have great technical talent on board,” she adds.

How involved is Laxmi in the film? Meghna whose script is drawn from conversations with her over two years, says she has shared the detailed story and screenplay treatment with Laxmi. “She is happy with what we’ve developed,” the director says with quiet satisfaction. And will there be songs in the film that will bring her father, Gulzar, into the team? “It’s not a subject which inherently lends itself to songs, and that is something that I do to myself all the time, but I’m hoping we will find a place for some songs,” she signs off looking forward to the new year and a new challenge. 

Renuka Vyavahare (BOMBAY TIMES; June 27, 2018)

After the resounding success of Raazi, director Meghna Gulzar is all set to tell the story of Field Marshal Sam Manekshaw, who led the Indian Army during the Indo-Pakistan War of 1971 as Chief of the Army Staff. He was the first Indian Army officer to be promoted to the rank of Field Marshal.

Speaking about what prompted her to tell his story, Meghna told BT, “We have a severe paucity of heroes today. We don’t have any and definitely not from the real world. He was one such real-life hero. Even the slightest mention of him is held in high regard by generations who have known him. Hence, I think that subsequent generations need to know about his life. He was widely felicitated as he was one of the most decorated officers of our country, but it's important for people to know about him today and not let a hero like him fade away in the pages of history.”

The acclaimed director adds, “What appealed to me the most about him is that he was somebody who would neither take himself or his huge accomplishments, or whatever difficulties he faced in his life seriously. He was someone who could face any situation with a smile. Even if a war was brewing, he wouldn’t snap or get frazzled. He was in complete control of the situation and a hands-on leader, who was aware of ground reality — whether it was about the logistical difficulties his most junior officers faced, concern for the jawans, their health issues or their pension. He was aware of the grass root reality, people’s strength and weaknesses. That’s what made him a great leader.”

The director also explained why the film isn’t a ‘biopic’ per se. She clarified, “I don’t even look at Raazi as a biopic, because we are not tracing the story of her life from her birth to death, in chronological order. You are looking at an event in her life. Similarly, Sam Manekshaw’s life is so vast and full that there is no way you can make a chronological biopic on him in two hours. What we are trying to do is tell the story of this man with utmost honesty, without making it sound like a historical document.”

Talking about the casting for this ambitious project, Meghna who is collaborating with Ronnie Screwvala on the film revealed, “I want to get done with the writing before I go down that road, or else I will get stuck with a name or a face and I don't want that to influence the script.”

MAJA DARUWALA, DAUGHTER OF SAM MANEKSHAW, SPEAKS ABOUT THE FILM BEING MADE ON HER FATHER

‘As a family, we are excited about Ronnie, Meghna and team taking on the important task of reintroducing Sam’s legacy to generations, who never had the chance to know him. His values were values that we all should carry forward. This film will play a great role in ensuring that.’

Natasha Coutinho (MUMBAI MIRROR; June 4, 2018)

After the critical and commercial acclaim of her last directorial, Raazi, Meghna Gulzar is now set to move on to her next, the biopic on Sam Manekshaw, the first Indian Army officer to be promoted to the rank of Field Marshal. He was the Chief of the Army Staff of the Indian Army during the Indo-Pakistani War of 1971 and his military career spanned four decades and five wars. The film is being produced by Ronnie Screwvala and is expected to go on the floors sometime next year.

“It’s bitter-sweet, moving from one film to the next, but it’s always a pleasure to tell a story that has grabbed your attention instinctively. The life that the Field Martial has lived is vast and rich so it’s quite daunting to be able to do justice to it in two hours on celluloid. Ronnie approached me sometime in 2015 saying that he wanted to work with me and I felt flattered because I look up to his work. We didn’t even have a subject back them but over conversations, the idea of a film on Sam Manekshaw came up. I leapt at the idea,” Meghna tells Mirror.

Prod her on the prep for her upcoming directorial and the filmmaker informs, “We are currently in the early stages of writing while research has been on for a year because it’s an exhaustive subject. I only started internalising the material when Raazi was going into post production. The film requires tremendous prep. One part of the film will be set in the era of the ’71 war which is fairly familiar for me right now (Raazi was set in the 1970s as well) but otherwise it’s a whole new world.”

Next up, Meghna will be meeting Manekshaw’s daughter and grandchildren in the next couple of months. “I’m also happy to be teaming up with my Raazi co-writer Bhavani Iyer again along with another bright new writer, Shantanu Srivastava,” she adds.

Producer Ronnie Screwvala is equally excited about the film. “I have always felt that India lacks role models. When it came to Sam Manekshaw, it’s a story that must be told and it’s not only about him being India’s first and only field marshal or being at the forefront of the wars we fought against Pakistan, but also about it being an inspirational story. I an also related to the Manekshaws from my wife’s (Zarina Mehta) side. Meghna and I were talking about how I loved what she did with Talvar when we got Sam Manekshaw’s story on the table. It took her a few seconds to say that it is what she would like to do after Raazi,” Ronnie says.

Speaking about his plans for the project, the filmmaker adds, “In the next three months we should have our script ready. The movie needs at least six months of prep. When we go on the floors also depends on the lead actors and their dates. The character obviously ages through a certain time and he is as smart and disciplined as he is mischievous. Charm is also an important aspect to factor in as Manekshaw always had time for a joke no matter how busy he was. We have Mr Manekshaw’s family on board along with his then first and second assistants in the Army, besides a lot of compatriots and colleagues to ensure the story remains authentic.”

Deepali Singh (DNA; May 12, 2018)

Meghna Gulzar, who has been busy with Raazi all this time, is finally ready to start work on her next. She is excited about helming a movie based on Field Marshal Sam Manekshaw’s illustrious life, which is being produced by Ronnie Screwvala. “I have been committed to it for a year or so. It’s a subject that requires some serious amount of research,” she told us.

Manekshaw is widely regarded as one of the greatest military commanders in the history of independent India. He not only led the country to victory against Pakistan in the 1965 war, but also in the following one in 1971, which eventually led to the liberation of Bangladesh.

Along with that, Meghna is working on a lot of scripts, including one on acid attack survivor Laxmi. “I met her in 2016 and I have the film rights,” says the director. Quiz her about doing a project on the hijacking of the Indian Airlines Flight 814 for the big screen and she rubbishes it as a rumour, saying, “I don’t know where that has come from. It has never been part of the plan.”

Real-life subjects do hold a big draw for her, but it doesn’t mean that she will focus only on them. “I work on instinct. If a story comes my way that is not based on a true incident, but still grabs me, I will work on it,” signs off the filmmaker.

Meghna Gulzar on her Raazi heroine who lends vulnerability to even hard-hitting characters, her prep to play a spy in the Junglee Pictures-Dharma Productions film
Roshmila Bhattacharya (MUMBAI MIRROR; April 16, 2018)

How tricky was it to portray a protagonist from the Valley who’s also a patriot?
There is a history there and an explanation. But as far as Raazi goes, it is important to keep the time period in perspective. The story unfolds in 1971, before insurgency and fundamental forces took root in the Valley. Yes, it may be unfamiliar today to see a patriot who is a Kashmiri-Muslim but I have visited the Valley three times in the last year for recce and the shoot and then went back with my family for a vacation in December. From my interactions with the locals, I can reiterate that the ordinary Kashmiri is genuine and completely affiliated to India. They have just become helpless pawns because nobody is interested in resolving their problems. They are always defensive, constantly asking you, “I hope you are okay? Aapko kuch galat to nahin lagta yahan?” It’s so unfair!

Many filmmakers who went to the Valley to shoot have had to grapple with disruptions and some even returned without completing the schedule. One hasn’t heard any complaints from the Raazi unit…
That’s because there were none, from us or the locals. Last February, we were shooting on a long road holding up the traffic and no one protested. Then, we took over a park stopping school kids from playing around while on a school picnic. They simply sat there quietly, watching us. When the vintage car’s door wouldn’t open or shut during a take, they would burst out laughing. It was like performing a play for a live audience.

They don’t have a film industry there, so when we needed junior artistes, the location manager would call family and friends over. They didn’t need to help us but they did. Kashmiriyat is still alive in the Valley.

Harvinder Sikka’s book, Calling Sehmat, on which the film is based, got away from you twice, before Junglee Pictures finally picked up the film rights. Tell us about your interactions with the author who had initially approached your father, Gulzar saab, to take Sehmat’s story to the screen?
Mr Sikka revers this lady whom he calls Sehmat having met and interacted with her. He was very cautious whom he entrusted his book to. We shared our script with him and while he had a few inputs and some differences of opinion with the way we had adapted his story, he eventually told me it was my call and he trusted me with the sanctity of the contents.

You’ve said you wouldn’t have made the film had Alia Bhatt not agreed to play the lead. Why did she feel so right?
Even before Bhavani Iyer (who wrote the screenplay with Meghna) and I had put a word on paper, I knew that a performance was needed to take Sehmat’s journey forward on screen. Also, the way I see her, she doesn’t suddenly turn into this indestructible superhero on a mission. There’s a vulnerability inherent in her character which she retains till the end and I’ve noticed that no matter how hard-hitting the characters she plays, there is a certain softness to Alia, physically and emotionally, that I was looking for.

Did she get stuck with any scene?
None. Once she connected with the character, she was consumed by her. Alia worked really hard on her prep — she took language sessions, learnt the Morse code and other training. By the time we sat for the readings, she knew all her lines and was even asking what I meant by underlined script cues like ‘gives a knowing look’, wanting me to explain what I meant by the ‘knowing look’.

Did Gulzar saab contribute with suggestions having lived on the other side of the border?
My father was born in what is Pakistan now, but after the Partition, the family moved to Delhi and by 1971 he was living in Mumbai and making films here. I don’t share my script with him till I have finished writing but I do go to my father for lyrics. For my songs, I don’t need to go to anyone else.

While on journeys, what has yours been like, from Filhaal to Raazi?
I have become a lot more patient now. I don’t know if it has to do with age, motherhood or my 18-year experience as a filmmaker, perhaps all three. Shooting is all about people management and I am getting better at that. All my five films — Filhaal, Just Married, Dus Kahaniyan, Talvar and now Raazi — have been very different and with Talvar, I discovered that I execute the darker side better than the soft, sensitive one.

Talking about the Talwars, Rajesh and Nupur’s ordeal isn’t over yet.
As the film showed, there can’t be a re-investigation as there is no new evidence to introduce. There can only be fresh arguments and how the information presented is processed, will depend on the mind-set of those trying the case. We have already had two different verdicts and though painful, the process of law will have to be followed right up to the highest court of the land.

Your next two films are bigger challenges, a biopic on Field Marshal Sam Manekshaw and the real story of Laxmi Agarwal, an acid attack survivor.
(Laughs) I like making life tough for myself. Honestly, some of the current generation don’t even know who Field Marshal Manekshaw was. And in her own way, Laxmi too is a role model with a story that’s scary, horrifying and inspiring. I want to share these stories with the world but first I need a break after Raazi’s release. I’ve worked non-stop for 11 months. But even on a break I know the mind won’t sleep.

Avinash Lohana (MUMBAI MIRROR; October 18, 2017)

Meghna Gulzar, who is currently shooting for Raazi, featuring Alia Bhatt and Vicky Kaushal, has already landed her next film. Mirror has learnt that the Talvar filmmaker will be directing a biopic on the late Field Marshal Sam Manekshaw, which will be produced by Ronnie Screwvala.

Confirming the news, Meghna told Mirror, “I don’t think the current generation or the one before them knows enough about Field Marshal Manekshaw. He was around during the Partition, the subsequent accession of Kashmir, and even during the 1971 Indo-Pak war. He was directly involved in some very significant historical events of our country. More importantly, he was a righteous and straight-forward man of principles; his men loved him.”

The filmmaker points out that more and more filmmakers are opting for true-life stories as they are all searching for real-life heroes. “Also, they are much more gratifying to watch than fictional superheros,” she notes.

Meghna had met Ronnie and his team a few months after the release of Talvar. “We committed to work with each other without even having a subject and over those conversations a few months ago, we landed this subject. It’s extremely challenging and my excitement is high for this story,” she informs, adding that the project is currently in the research phase and co-incidentally, there’s a girl named Meghna Talwar working on it.

“She has been talking to the Field Marshal’s family and his subordinates in the army, people who had been around him. We also have books written on him. Right now, I am in the middle of Raazi so not in the mind space to move on to Sam. It will happen in a few months,” Meghna says, revealing that she plans to sit down with writer Juhi Chaturvedi to figure out a structure once the research is complete.

While she clarifies that it will be more like a true-life inspirational story instead of a biopic, the filmmaker also admits that she likes to delve into casting only after a story structure is in place. “My bandwidth for these things will open up only after Raazi goes into post-production. We will hopefully take this film on the floors by the next year-end,” Meghna signs off.

Gaurav Dubey (MID-DAY; July 31, 2015)

Looks like Tigmanshu Dhulia cannot have enough of biopics. After Paan Singh Tomar (2012), he wanted to make a film on tragedy queen Meena Kumari, but since it is being opposed by the late actress’ family, the filmmaker has apparently decided on the cinematic adaptation of another icon. According to sources, it is Sam Manekshaw, the country’s first Field Marshal, who is hailed as the architect of India’s victory over Pakistan in the 1971 war.

A source says, “Tigmanshu has wrapped up Yaara with Shruti Haasan and Vidyut Jammwal and started working on his next project, which is a biopic on Sam Manekshaw, the first Indian Army officer to be promoted to the five star rank of Field Marshal. His military career spanned four decades and five wars, beginning with service in the British Indian Army in World War 2.”

Sam Hormusji Framji Jamshedji Manekshaw was commissioned into the Indian Army in 1934 and became the Chief of Staff in 1969. As the possibility of the Indo-Pak war loomed, he resisted great political pressure to attack the Pakistani forces prematurely. Senior politicians wanted to sack Manekshaw and go to war at once, but he warned the then Prime Minister Indira Gandhi that if they had their way, the country could be humiliated, its troops, artillery and equipment come to a standstill, bogged down in the monsoon mud. Gandhi followed his advice and the rest is history. He passed away in 2008 at the age of 94.

A source close to Tigmanshu says: “Tigmanshu is working on script and is busy with the post-production of Yaara.”

Tigmanshu, on the other hand, denies the buzz, saying: “I am not doing any film on Manekshaw.”