Bhuj, scheduled for I-Day opening, still racing towards finish line; release date uncertain due to Coronavirus outbreak
Himesh Mankad (MUMBAI MIRROR; May 25, 2020)

In an interview with Mirror (May 7), Bhushan Kumar had revealed that 90 per cent of the shoot on his upcoming war-drama, Bhuj: The Pride Of India, had been completed. While there is a lot of uncertainty around the film’s August 15 release, with theatres across the country still shut, the post-production team has been working from home through the lockdown.

Naveen Paul, VFX supervisor and creative head of NY VFXwaala, informs that the film is set against the backdrop of the 1971 Indo-Pak war, so visual effects play a significant role in taking the story forward. “It’s like a grandmother’s interesting war story, with every sequence designed to make the visuals look seamlessly photo-real,” he points out.

Having worked on a period drama like Padmaavat, as also the stylish actioner Shivaay, which won the National Award for Best Special Effects, Naveen insists that Ajay Devgn’s next is unlike any other film seen before. “It’s not visually spectacular like some of the period epics. Instead, the VFX has been used to showcase what happened during the war. Creating the era of 1971 was challenging. We had to go back 50 years to recreate the infrastructure,” says Naveen who has been working closely with director Abhishek Dudhaiya and director of photography (DoP) Aseem Bajaj. “The war scenes have been designed to take the audience into the battlefield.”

Besides Bhuj, a team of 300 people from Mumbai and 100 more from Hyderabad are working from home on several other films. “We are giving finishing touches to Sooryavanshi while it’s work in progress on Radhe, Ludo, The Big Bull, Mani Ratnam’s upcoming period film and Shankar’s Indian 2,” informs Naveen, adding that the biggest concern is confidentiality and safety of data. “We have developed a proprietary way of sharing film clips for approval with the makers and the DoP.”

He believes that with travel restrictions and social distancing, they have to come up with creative solutions to make virtual sets possible. “Also, shooting schedules will be tight, so post-production will probably start sooner and last longer. And yes, overall production costs will increase too,” he concludes.

Ajay Devgn remains anxious ahead of the release of the 100th film of his career, admires wife Kajol’s maturity as an actor
Titas Chowdhury (HINDUSTAN TIMES; January 7, 2020)

Actor-producer Ajay Devgn is on cloud nine as the 100th film of his career, Tanhaji: The Unsung Warrior, is all set to hit the theatres this Friday. He sheds light on walking a fine line and striking a balance between fact and fiction in this magnum opus. “The budget of this film is close to the budget of any big film,” the producer in him says, without sharing any more details. He also talks about watching his wife and co-star in the film, Kajol, grow over the years as an actor. Excerpts:

How are you feeling ahead of the release of your latest film?
The promotions are hectic. But what’s keeping me busy are the final touches of the film.

An actor wants to push the envelope but a producer knows that there are budgetary constraints…
It’s vice-versa. As a producer, I push more boundaries. Not everything is about money. To make a big film like Tanhaji, you need intelligence and you need to be technically savvy. The budget of this film is nowhere more than any big film. But if you see the visuals and the special effects, it’ll look like a huge film. And that’s only because we’ve been working on it for four years.

I own a VFX company too. The way in which we would shoot the film and design it was envisioned four years ago. We had created all the assets back then. We’ve worked hard at it. Anybody can make a film if they have money. If you have ₹2,000 crore, you can make a film that’s at par with any Hollywood film. I take great pride in saying that we’ve pulled similar effects in this film. The 3D, the VFX and the technology used in it are a first and are made in India.

Do the actor and producer in you ever have conflicting views?
Not at all! That’s because even as an actor, I think like a producer. There’s no wastage of resources and there’s no compromise either. I don’t do that for only my productions but also for films produced by others.

The VFX used in Indian films tend to get a little gimmicky and in-your-face. What was your brief to the special effects team for Tanhaji?
The VFX in Tanhaji isn’t like that. Look at Shivaay (2016) for that matter. Was it in-your-face? The CGI and the VFX weren’t gimmicky either. We kept it very real. I don’t just brief them, but I also work with them. We work together keeping both the realism and larger-than-life elements in mind. We aim to strike a good balance.

How do you make a film like Tanhaji, which doesn’t have the data that was required?
We lack adequate information in the chapters of history books. Different books are written from different points of view. So it’s very difficult to tread that thin line of realism, justify the characters and still be imaginative enough to dramatise the characters so that the audience enjoys it. You’ve to be careful and try to achieve all three.

Tahanji is your 100th film. Do you still feel scared before the release of your films?
It doesn’t scare me (smiles). But I’m anxious to know what will happen to them because we all work so hard and the whole team puts in so much of effort. I expect people to like the film. But what if you went wrong and people don’t like the film? It’s like you’re awaiting your results after an examination. You don’t know how the audience is going to react and that makes me anxious.

Kajol and you have worked together in so many films. How have you seen her grow as an actor?
She has always been a fabulous actor. We feel amazed that she suddenly becomes someone else in front of the camera. She can effortlessly switch on and off. With experience comes maturity, and she has matured as a person. Her understanding of things has become better. She has gone beyond what she was as an actor.

Are you anxious about becoming a new character before you start shooting for a film?
I do think for some time till I give my first shot. That anxiousness lies between reaching the set and facing the camera. I keep wondering if I’ll be able to pull it off.

You began editing and directing films since you were a teenager. Do you remember those days?
Of course, I do. I used to make ads using my camera. My dad used to shoot. He used to teach me technicalities associated with filming and the basics of editing. He used to create the same effect without the use of CGI. I used to learn from him, do it at home and then show it to him. Then I started shooting my films. That’s how I started working as an assistant to Shekhar Kapur (filmmaker) and then Deepak Shivdasani (filmmaker). But I’ve lost all the shots and sequences that I took and edited.

When did you become serious about acting?
I became serious when I started shooting for Phool Aur Kaante (1991). I believe that if you want to do something, you should do it right or you might as well not do it. I got serious the day I reached the set. Once the film was released and it worked, came the responsibility. Since people liked me, I had to make sure that I keep up the good work.

Post Tanhaji, you’ve Bhuj: The Pride Of India and Maidaan. Is it a coincidence that all these films are based on real life events?
I think it’s a coincidence. I want to break the chain and so, I’m doing Golmaal 5 after them. Having said that, I think real life characters really fascinate me. As actors and producers, we look for scripts that excite the audience and that have storylines peppered with ample drama and emotions. When you see a character that’s based on a real life person, you start wondering as to what their mindset would be like, how they made the sacrifices that they did, what was going on in their minds when they fought and how strong they were. These are the things that excite a viewer. As a result, I like telling such stories.

You’re a private person. But your children, Nysa and Yug, are snapped by the shutterbugs every time they step out. How comfortable are you with that?
I’m not comfortable with that. But I can’t do anything about it. So my children, Kajol and I choose to ignore it because you can’t fight these things.

How do you think has the concept of stardom changed?
I think the stardom that we all knew of back in the day has faded away. With the influx of social media, one knows everything about a star. Every tiny detail about them is out there for people to read and know. Earlier, you didn’t know much about a star. You only knew them from afar. So there was a sense of intrigue surrounding stars. You wanted to know more about them and their lives. But that’s over now.

People keep asking me about who I think is the next superstar. I tell them that the term ‘superstar’ doesn’t hold any relevance today. There’ll be stars but no superstars anymore. But these stars will change every Friday.

You had said you want to get into full-time production and cut down on your acting projects...
I’m trying to strike a balance. But eventually, I’m going to become a full-fledged producer. I know that there’s a limit as an actor. After a couple of years, I might not be a mainstream actor anymore and get into character roles. So my focus will slowly but obviously shift to production.

But isn’t the limelight very addictive?
It is, but I can’t keep holding onto it. Before I’m kicked out, I want to walk out myself (smiles). 

Madhureeta Mukherjee (BOMBAY TIMES; January 7, 2020)

It takes a lot of courage to make a film based on a historical figure. It needs time, patience, passion and of course, big monies to see an ambitious idea make its way to the silver screen. Ajay Devgn, a supremely talented actor and sharp producer, who marks his 100th film with Tanhaji: The Unsung Warrior, stresses that India might not have the big budgets of Hollywood, but it has talent galore. And he swears by his sword that with this film, he wants to prove that. Read on…

In 2002, you did The Legend Of Bhagat Singh. What made you want to revisit the pages of history again, and this time, explore the life of warrior Subedar Tanhaji Malusare, a military leader in the army of Chhatrapati Shivaji Maharaj?
When I played Bhagat Singh, I remember that the film lingered with me for a long time. And it stays with you because they were great people and you know that you can’t be like them. You wonder what his mindset was and what was he thinking when he made those sacrifices. When you watch a film, you can even assume for a moment that this is fictional, but to sit back and think that someone actually did all this in reality, is unthinkable. When I heard about Tanhaji and the way he fought for the country, I realised that if he wasn’t there, the map of India would have changed. He became a local hero. Chhatrapati Shivaji Maharaj is known across the country for his heroism. Tanhaji is known mostly in Maharashtra and what we know of him is mostly through school textbooks, and that, too, is limited to probably a small paragraph. It is also not part of textbooks across all boards of education. My children didn’t study about him in school, some of us did.

The fact that he was a warrior whose victories and sacrifice is not as known and celebrated as many others – did this draw you to the subject? You are apparently planning to make more films on unsung heroes? So, these heroes could be from any region, any part of our country, right?
Yes! Today, we are talking about Tanhaji from Maharashtra, tomorrow, it could be a hero from Punjab or Rajasthan. In fact, they will not necessarily belong to only a certain era, we could have unsung heroes from this era, too. There could be heroes who didn’t go to the battlefield, but have done something commendable for our society. There are so many such stories that are relevant in today’s times. That’s how the idea came about, and I want to take stories of such heroes to the audience around the world. We have so many such inspiring stories in India. I am not saying that after watching the film you will become like Tanhaji, you cannot. But, at least, we will know how much effort and pain has gone into our struggle for freedom, so that we learn to respect it. The other part is, when we make films, we try to make commercial movies with a great screenplay, which will intrigue and grip you. So, when I heard the script, I felt that even if I was making a fictional drama on a subject of this nature, the story I would be looking for would be something like this. Even if you treat this like a fiction drama, it works perfectly.

Such films require scale, budget and huge investment in terms of the kind of time, and the blood and sweat spent on it…
I have always done this in my productions, right from films like Hindustan Ki Kasam (1999) and Raju Chacha (2000). There is always a ‘first’ that we have done in the industry. In the film Pyaar To Hona Hi Tha in 1998 (which was 50 per cent my production), it was the first time that a film had a musical promotional video. Back then, there was no such trend of promotional song videos. Now, everyone is doing it. I was always technically very strong, thanks to my father. I have always strived to take things notches higher. Yes, for a film like this you need heavy budgets, but if you are sensible, smart and invest time wisely (we have been working on this film for four years and we shot for 8-9 months), you are sorted. If you are smart, then you don’t need that kind of budgets. This is what I want to prove with this film, that you don’t need big budgets to make big films, you need to be smart and intelligent. The budget of this film would be like any other big-budget film being made here. It’s not that we have gone haywire with budgets, it’s like any other big-scale movie. When you see the quality of the film, you will know that it is the kind of stuff you have not seen being done in India before. The kind of 3D we have in the film, it is what you would have seen in Avengers or other Hollywood films. And it is all done by Indians. Except, for 2-3 action experts, who were with me during Shivaay, too, as I am comfortable with them when it comes to action, everything else has been done here, within our budget.

A great hero needs an antagonist of that stature. Whose idea was it to cast Saif Ali Khan in the role of Udaybhan Rathod, who headed the Mughal army in the battle against the Marathas at Sinhagad Fort?
It was my idea to get him on board. I have been watching the film during post-production, and from what I have seen, Saif is outstanding in the film. He has taken over the film. We needed someone like him to play this character, who is quirky, evil and has a personality that can stand tall in front of the protagonist. You see, in a film like Avengers, too, the villain is stronger than all of them put together. Everyone knows that Tanhaji was a great warrior, I don’t have to try too hard to show that as we are aware of his bravery. I need to show who is he fighting with, and what makes him so great. The antagonist needed to have a powerful presence on screen and we have really worked on Saif’s look and style. Earlier, we thought of casting someone new to play Udaybhan. Then it struck me that if we took someone who has played a villain before, then it would not be as exciting. Saif brings a certain personality to the character which it needed.

What was Saif’s reaction when he first heard the script?
He read the script, loved it and said, ‘Give me five great scenes and I will do it.’ Eventually, he had about 20, so I guess it all worked out well.

Sometime around 2015, you had said that we think our audience has changed, and hence, the industry is taking drastic steps and trying all kinds of cinema. Now, five years later, do you believe that the audience has truly evolved in their sensibilities, and they are greedy for anything that entertains or moves them?
Yes, the audience has evolved, and they are accepting every kind of cinema. They are liking the kind of films that I believed in during the 90s. People said that I was stupid to do films like Thakshak (1999), Zakhm (1998) and Raincoat (2004). Today, every actor is doing it and it’s working. With multiplexes, that section of the audience is coming in and actors are willing to do all kinds of cinema. It is a great phase for the industry, and we are at a point where we can make what we believe in. In the 90s, actors could not think about switching genres, today, it is accepted.

And such cinema is not viewed as offbeat anymore…
Cuts in…Now, we call it cinema that is ‘high on content’. Even when we are making commercial films, we need to ensure that it has the right kind of drama and sensibility that will appeal to the audience. You can’t put something stupid or mediocre out there and think that it will work. Just because you have a big film (with a big cast), it does not mean that the content does not matter.

The monitor lizard ‘ghorpad’ angle of the story, which is an important part of Tanhaji Malusare’s tale, is disputed among historians. Like what often happens with most stories rooted in history, there is never a consensus on various facts. Filmmaker Ashutosh Gowariker recently said that he has never met two historians who agree on all facts.
Different books could state different facts, too. If you are specifically talking about the ghorpad, I know that people might disagree, as scientifically, it does not seem possible. We have followed history, kept all the references, but you have to watch the film to see what we have done with it.

The descendants of Tanhaji Malusare have raised certain objections. Has there been any conversation with them, and will you have a screening for them before release?
Well, we have to justify it and you have to explain it to them. The CBFC is very sensible, and wherever they had a doubt, we gave them all the references required. I don’t need to show the film to his descendants because they have been a part of the shoot. There was an argument about where Tanhaji came from, so we have taken the proof from the family and given it to the CBFC. When you are making a film based on history, you are always walking a thin line. We have to dramatise the story…how else will we tell the story? In history books, you won’t find things like…what did Savitribai (his wife) tell Tanhaji when he was leaving for the battle? So, we have to write that, and fictionalise it. That’s a part of storytelling. Otherwise, there is no screenplay, and the whole story is just one chapter.

This marks your 100th film. Would you say that it’s quite an epic way to celebrate such a landmark moment in your career? From 1991 to now, what would you say has changed the most about the film industry and about you?
Honestly, I didn’t realise it was my 100th film, until Om Raut (director of this film) pointed it out. It is a mere coincidence. Today, the industry has become very professional and if I were to compare it to the time when I had started out, it is like two different people. It is like two different industries. Earlier, it wasn’t so professional, of course, it was a lot of fun, which I miss. But now the stakes are too high, and you can’t afford to take it easy. Earlier, we would chill for hours and do masti on set when the shoot was not happening. All that has changed. Now, you have to complete the schedule on time as everything is on a tight budget. Every hour costs money. Personally, I have become more responsible. We used to do 15 films at a time, but now, we are so involved in every project, hence, we are more focused. There is media pressure, too, earlier we never read a review or did promotions of this kind. The film would be slated for release and we were told about it, as simple as that.

You have always spoken about how we need to give the audience that cinematic experience that we often see in Hollywood films…
Yes, I want to share that vision with the audience, and personally, I love doing it, too. I want to show people that, so what if we don’t have the budgets that the West has, we have the talent here. As the budgets scale up, we can do more, but right now, with what we have, we can do what Hollywood does in 2,000 crores. For Tanhaji, playing the character was not as tough as it was being a producer on the project.

Sukhwinder Singh says Ranbir Kapoor's Shamshera came his way when he expressed his desire to work with able composer Mithoon
Sonil Dedhia (MID-DAY; November 11, 2019)

Knowing too well that youngsters call the shots at the top echelons of Bollywood these days, veteran singer Sukhwinder Singh has devised a distinct method to ensure he features in every big album. "They may think I am too senior to [consider] working for them. So, I approach them myself, and let them know of my interest in a collaboration," says the singer from Abu Dhabi, where he had jetted off a day prior to regale eager fans. Decades into the industry, and with several award-winning tracks on his resume, Singh says he continues to remain uninhibited when approaching musicians for collaborations.

His desire to constantly seek out "passionate" individuals took him to Mithoon (Mithun Sharma), who is dictating the beats of Ranbir Kapoor and Sanjay Dutt's upcoming action adventure, Shamshera. "I wanted to work with Mithoon, and approached him during the [music launch] of Shivaay. When he called me [for Shamshera], I was impressed with his plan for the film's soundtrack. Mithoon's Aashiqui 2, had a soft musical palette. This film's soundtrack has a powerful energy; Mithoon has done justice to [the storyline]. Musically, he is the hero of the film," says the singer, placing the composer alongside A R Rahman when discussing his skills. "In Chennai, I would watch how Rahman [worked]. Rahman has such versatility that he can compose any kind of music. That's what I've noticed in Mithoon as well. That's not the case with many musicians, who have one style of composition."

Connecting with the next generation of "special and talented musicians" is Singh's way of "upgrading myself". "I listen to music that's current, and accept change. People say that the melodies that date back 20 years were good. I tell them that 20 years ago, the then-reigning artistes said the same thing," says Singh, who, unlike his contemporaries, is also not critical of music reality shows and the trend of remixes.

If driven by passion, he believes every project can be noteworthy. "If given the chance to render a remix, I can create one that will enjoy the same status that Jai ho did. I would love to sing a rehashed version of a song originally rendered by Kishore Kumar. Our style of singing is different, but I think I would be the best choice for it."

A still from Kedarnath (2018)

Niharika Lal (BOMBAY TIMES; August 20, 2019)

After earning a special mention in the National Film Awards in 2018, this year, Uttarakhand landed the honour of being the most film-friendly state in the country. While making the announcement, the jury members said that 18 states had self-nominated themselves for the award, among which Uttarakhand did well in most criteria.

Major portions of many recent releases, including Kabir Singh, Student Of The Year 2 and Batla House were shot in Uttarakhand. With over 85 shoots this year alone, and a number of big-budget projects lined up for the next few months, we take a look at what attracts filmmakers and production houses to the state.


‘EASE OF DOING BUSINESS ATTRACTS FILMMAKERS’
The parametres for the Most Film-Friendly State Award have been laid down by the Department of Industrial Policy and Promotion, Ministry of Commerce and Industries. These criteria mainly judge the ease of doing business in a state. Line producers say that it is this ease of doing business that draws major production houses and directors to Uttarakhand, despite the fact that they have to bring heavy equipment with them for outdoor shoots.

The Uttarakhand Film Development Council officials say that in the last 2-2.5 years, they have expedited the permission process as well. K S Chauhan, Nodal Officer and Deputy Director, Uttarakhand Film Development Council, says, “In the last 2.5 years, we have given permission for over 230 shoots in Uttarakhand. We have not refused even a single project. A number of TV serials, web series and documentaries have also been shot here.”

Line producer Rati Shankar says, “Earlier, a host of agencies used to be involved in the permission process, creating many roadblocks. But now, a single-window permission system for shooting and quick approvals have changed everything for the state. The situation has changed to such an extent that every filmmaker who shoots there promises to return for his next project. When we approach the authorities for shooting at any location in Uttarakhand, we get the permission within 24-48 hours, and even the police security (up to five personnel) is free.”


Batti Gul Meter Chalu (2018)

‘MUSSOORIE, RISHIKESH REMAIN POPULAR LOCATIONS FOR SHOOTS’
Nodal Officer Chauhan says, “We offer subsidies up to Rs 1.5 crore to shoot in the state. For big production houses, subsidies do not matter as they are only interested in hassle-free permissions. But for small production houses, subsidies obviously work. So, we have balanced it. Earlier, filmmakers had to pay somewhere between Rs 10,000 and Rs 1 lakh for locations, but we waived that fee last year. Now, we do not charge anything for shooting in the state.”

Talking about production houses’ favourite locations, he says, “Most popular cities for film shootings are Mussoorie and Rishikesh. Apart from them, Forest Research Institute (FRI), Dehradun, where the Alia Bhatt and Varun Dhawan-starrer Student Of the Year was shot, is also a popular location. The film’s sequel, which was released in May, was shot at the same location as well. The film’s team told me that they’ll come again to shoot, if there is another film in the franchise.”

Line producer Nitin Pundir says, “The most popular locations seen in multiple films are Tehri Lake, Dhanoulti, Bhatta Gaon, Chakrata Hills, Chaar Dukaan, Maldevta and Buddha Temple in Dehradun. In Rishikesh, Parmarth Niketan, where Irrfan’s Qarib Qarib Singlle was shot, is also a popular choice. And if a film is being shot in Uttarakhand, Ram Jhula and rafting camps in Shivpuri are also preferred as locations. Kabir Singh was shot at a hotel in Mussoorie. After its release, we have been receiving a number of queries for the location.”


‘HASSLE-FREE AND QUICK APPROVALS’
Line producers say when filmmakers want to show the Himalayan peaks in the background, they have only three options – Kashmir, Himachal Pradesh and Uttarakhand. Among those, Uttarakhand is preferred because of quick approvals.

Mayank Tiwari, a line producer who was a part of the Batla House shooting, says, “Due to quick permissions, a number of films have been shot in Uttarakhand recently. Shivaay was also shot in Uttarakhand, though the mountains were later capped with snow digitally. A number of film projects and web series are lined up to be shot in the state in the next two to three months. Punit Malhotra, the director of Student Of The Year 2 (above), who has shot three projects in Uttarakhand, told me that he will come again to the state. Aditya Dhar, the director of Uri: The Surgical Strike, also came for a recce recently. When Nikkhil Advani came to shoot for Batla House, he was impressed with how hassle-free shooting a film is in Uttarakhand.”

An official shares, “Of course, we ensure the shooting is hassle-free. Recently, there was a director who was shooting at the FRI. They had permission to shoot until only 9 pm, but they had 1.5 hours of shoot left. The director requested to extend the permission, as it would have cost them an additional Rs 25 lakh to come the next day. So, we extended the permission for them. In fact, there have been instances when we have given shooting permission within an hour.”

‘THE INTERIORS HAVEN’T BEEN EXPLORED YET’
While Bollywood is lining up to shoot in Uttarakhand, line producers say there are numerous locations in the state that haven’t been explored yet, as due to the lack of transportation, it’s difficult to reach there with shooting equipment. A line producer says, “In Uttarakhand, we prefer to not shoot during monsoons due to safety reasons. For us, the shooting months are September to May. But most filmmakers come to shoot after seeing a particular location in another film. There are plenty of locations that haven’t been explored due to transportation issues. We hope to resolve the problem soon.”

HOW IS THE MOST FILM-FRIENDLY STATE SELECTED?

If there is a database of production and post-production facilities, equipment suppliers, film talent/crew, available to filmmakers

If there is a database of hotels, controlled monuments and locations, emergency services (ambulance, air lifting) available to filmmakers

Does the state/UT refund payment of security amount for any given location directly into the production company’s account within 15 working days?

Has the state/UT reduced the number of documents required for obtaining filming permissions and approvals?

Does the state/UT maintain film permission records, including name of the film/TV series shot, producer details, locations and if international, the country of origin?

WHAT MAKES UTTARAKHAND SO FILM-FRIENDLY?

- Hassle-free and quick permission process

- Subsidies up to Rs 1.5 crore to shoot in the state

- No fee to shoot in the state

- Scenic locations


Shivaay (2016)

Hiren Kotwani (DNA; June 10, 2019)

Over two years since the Diwali 2016 box-office battle with their respective films, Shivaay and Ae Dil Hai Mushkil, Ajay Devgn and Karan Johar called it a truce last November. Post that, Ajay shot with Kajol for Koffee With Karan and even won a luxury car for the Answer of the Season. Since then, the equation between the two has become warm and friendly.

Ajay, who confessed to having a ‘fear of going out’ and socialising, made an exception when he attended the Simmba success party hosted by Karan, who was also one of the producers of the blockbuster along with director Rohit Shetty.

Now, if Karan wants to convey anything to Ajay, he messages and calls him directly.

“That’s a major change from the time when Kajol, one of his best friends and the ‘darling of his life’, would play messenger, conveying KJo’s message to her hubby,” says a source, adding, “Now, Ajay responds to Karan like a friend and they share a pleasant equation.”

When Ajay turned 50 on April 2 this year, Karan not only wished him a ‘Very Happy Birthday’ but also praised the trailer of De De Pyaar De, which the actor launched on the same day. On his part, Ajay thanked KJo for his wishes and appreciation of the trailer.

Earlier last month, Karan, Rohit and Akshay Kumar marked the starting of their new collaboration, Sooryavanshi, by sharing a picture that also had Singham (Ajay) and Simmba (Ranveer Singh) joining the three producers.

When Veeru Devgn passed away on May 27, Karan, who was out of the country, reportedly called on Ajay and Kajol to share their grief. And post his return to the city the following day, he made it a point to visit the Devgan residence and offer condolences to his friends. Now it’s safe to say that all is indeed well between both the filmmakers.

DNA (May 11, 2019)

Ajay Devgn has done a couple of fleeting on-screen kisses. In fact, he had one in his own directorial, Shivaay (2016).

However, the actor says he is not comfortable locking lips on celulloid. He explains, “Most of the scripts I choose are aimed at a family audience. Given this, doing an onscreen kiss or showing intimacy beyond a certain limit doesn’t work. I like watching films with my family. I’m sure others too enjoy watching movies with their entire family. Onscreen intimacy can therefore be uncomfortable especially if you are watching a movie with a child or a young adult. Or for that matter with an elder. So, I would best avoid smooching.”

Apart from Ajay, Salman Khan is another Bollywood biggie who shares a similar thought process. In a recent interview to After Hrs, he had said, “I’m not for kissing and nudity in films at all.”

Incidentally, at one point, Shah Rukh Khan’s film contracts reportedly had two clauses — one saying he will not lock lips with his co-stars and two, stating that he will not ride a horse.

Clearly, he made exceptions when he kissed Katrina Kaif in Jab Tak Hai Jaan (2012) and Anushka Sharma in Jab Harry Met Sejal (2017).

Before they film action sequences of Tanhaji, makers rope in Inferno, V For Vendetta, Hunger Games stunt artistes to train Ajay Devgn and Saif Ali Khan
Mohar Basu (MID-DAY; February 13, 2019)

Having envisioned Tanhaji as a magnum opus coming from his stable, Ajay Devgn is pulling out all stops for the period drama that sees him as the military leader of the Maratha empire.

Before Devgn and Saif Ali Khan - who reportedly plays the antagonist Udaybhan Rathod, the Rajput officer serving in Mughal emperor Aurangzeb's army - shoot for the four major action sequences, the actor-producer has outsourced a special team of eight international stunt artistes to train them in the art. On the cards are dedicated lessons on sword fighting, fencing and horse riding.

A production source informs, "Since the second schedule involves intense action scenes, a team of stunt trainers will be flown in from Germany to train Saif in sword fighting. He will need to become adept at using a firangi sword, essentially a double-edged sword. He will also brush up on his fencing skills. The team will kick off the lessons with Saif, before moving on to Ajay few weeks later."

It has been heard that the stunts of the Om Raut-directed movie are largely designed by action director Ramazan Bulut, who previously worked with Devgn on Shivaay (2016). His resume also includes Hollywood projects Inferno (2015) and Rush (2012). The source adds, "The group includes Swen Raschka - who has worked on The Hunger Games series and V For Vendetta (2005) - and Tolga Degirmen, who has been part of Hansel & Gretel: Witch Hunters (2013)." The piece de resistance will be the Battle of Sinhagad that had Tanaji taking on Rathod's army. "The climax will be shot only after the two actors master sword fighting."

Hiren Kotwani (DNA; November 2, 2018)

It’s often said that the festive season is a good time to let bygones be bygones. Two years ago, Ajay Devgn and Karan Johar were at loggerheads when their respective films — Shivaay and Ae Dil Hai Mushkil — vied for the big box-office pie. Well, the bad blood is a thing of the past as the duo has chosen to bury the proverbial hatchet and warm up towards each other again.

While their movies’ clash also saw the souring of friendship between KJo and Kajol, it was heartwarming when the filmmaker and the actress became buddies again last year. Apparently, when the truce took place at the Devgns’ residence, the actor-filmmaker wasn’t around. Nonetheless, after Kajol and KJo thrashed out their differences, we were curious to see how the equation between Karan and Ajay would change. And with the festive spirit, it’s good to see that the two have decided to put the past behind them. We hear they smoked the peace pipe at Yash Raj Studios a few weeks ago.

It’s not as if they never had a good equation before. Karan had produced Kaal (2005) with Ajay playing a pivotal role in the horror drama. Now with their newfound bonding, there are chances that they might collaborate again. After all, most associations start with a koffee, no?

Nayandeep Rakshit (DNA; October 10, 2017)

The entire film industry was witness to the ugly chapter that followed after Karan Johar and Ajay Devgn released their respective films, Ae Dil Hai Mushkil and Shivaay, on the same Friday last Diwali. But looks like the jhagda that began during the festival of lights last year has ended this Diwali.

An insider reveals, “Karan is attaching the prints of his next production venture Ittefaq to the prints of Ajay’s Golmaal Again, which releases in Diwali week. Given the ugly fallout they were involved in last year, this is a good sign.”

PALLY NOW?
This does not mean that KJo and Ajay will now be buddies, but it’s a start. Says another source, “Karan and Kajol recently patched up and now that truce is extending to her spouse. Ajay wouldn’t have allowed Karan to attach his trailer to his film and Karan, too, would have never even given it a thought if all was not well between them.” We are just glad that the hostilities are over.

KAJOL: THE PEACEMAKER?
Earlier this year, Kajol and KJo buried the hatchet at her birthday party. They have been in touch ever since. Ajay and Karan, on the other hand, are still at war over their films on the same incident. Ajay had announced he’s making a film on Battle of Saragarhi way before Karan made his film (with Akshay Kumar) official. Also, Ajay isn’t even close to Shah Rukh Khan who’s co-producing the film. We wonder if Kajol convinced hubby Devgn to finally put an end to their long-standing feud.

He went for her birthday, she ‘liked’ a picture of his twins, he ‘followed’ her back on Instagram but they won’t comment on their emotional reunion. Here’s Kajol and Karan Johar’s friendship status
Meena Iyer (MYMBAI MIRROR; August 9, 2017)

On Tuesday, around 2 pm, Filmfare tweeted, “Now this is the happiest news we have heard.” After a yearlong cold war, Karan Johar and Kajol have finally patched up. The news sparked speculation about what had brought the former besties together after an ugly fall-out last year around Diwali.

Mirror has learnt that on August 5, Kajol invited family and a few friends to celebrate her 43rd birthday. And she decided to extend an olive branch to her longtime friend and director by sending him an invite too. “She’s never been big on parties. It was an informal lunch. Karan sportingly turned up. They hugged, chatted for a couple of hours and Karan teared up. When he left the ice had melted. They did not touch on the issues that had created the rift,” informed a source.

The online world woke up to the reconciliation when Karan shared the first pictures of his twins, Yash and Roohi, on Raksha Bandhan. Kajol ‘liked’ the post and Karan returned the favour by hitting the ‘follow’ button on her profile.

Social media has played a significant role in this story. Last year around Diwali, Kajol’s husband Ajay Devgn and Karan had locked horns over the release of their respective films, Shivaay and Ae Dil Hai Mushkil, that faced-off at the box office. Self-appointed critic Kamaal R Khan’s revelation during a recorded phone conversation with Ajay’s longtime friend Kumar Mangat that he had been paid to sabotage Shivaay had not gone down well with the leading lady of KJo’s blockbusters Kuch Kuch Hota Hai, Kabhie Khushi Kabhi Gham and My Name Is Khan. She reacted with a one-word tweet, “Shocking!”

Referring to the tweet, Karan acknowledged in his autobiography An Unsuitable Boy that that’s when he knew it was completely over for him. “She can never come back to my life… she’s killed every bit of emotion I had for her for 25 years. I don’t think she deserves me. I feel nothing for her anymore,” he raged.

Kajol and Ajay chose to maintain a stoic silence. In an interview to Mirror (Oct 24, 2016) Ajay said, “All I can say is whatever was there was over long ago and has nothing to do with professional work. There are personal reasons for it which I don’t think anybody would want to talk about.”

Kajol had been equally evasive. When prodded about her former friend, she had told Mirror (July 26), “Since you are expecting an answer, I am going to give you one. This is not the time or place to clarify. I would prefer not to speak about it.”

Their camaraderie was the stuff of industry lore, their unabashedly back-slapping could make a third person feel out of place — Rani Mukerji shifting uneasily on the sofa next to Kajol during an old episode of KJo’s talk show comes to mind. Kajol was Karan’s lucky charm, making guest appearances in films that did not feature her, and a regular fixture at Karan’s residence, pampered the most by his mother, Hiroo, and the only actresses who stood out with her frankspeak on Koffee With Karan, thereby demonstrating that she could get away with murder as far as KJo was concerned.

Meanwhile, despite acting in one of Karan’s production, Kaal, Ajay never really warmed up to his wife’s BFF but never objected to it either. This changed when he was reportedly told that Karan had been badmouthing Kajol and his family at a party. He gave Karan an earful over the phone. In February, Karan admitted to a senior journalist that he was hurt about how Ajay had responded to “hearsay” without giving him a chance to defend himself. He was equally upset with Kajol. “She should not have allowed her husband to say such things to me and even if he had, she shouldn’t have endorsed it. She should have picked up the phone and said ‘sorry’ for that entire situation,’’ he had said.

The KRK episode was the last nail in the coffin, with KJo making a full disclosure in his book: “I don’t have a relationship with Kajol anymore. We’ve had a fall-out. Something happened that disturbed me deeply which I will not talk about because it’s something that I like to protect and feel it would not be fair to her or to me. After two and half decades, Kajol and I don’t talk at all. We just acknowledge each other, say ‘hello’ and walk past.”

But, as they say, no friendship or enmity is permanent in Bollywood. According to the source, things began to change after the arrival of KJo’s twins this February. The new father sent Kajol a picture of his babies but things were far from back to normal. On July 29, Karan was seen scurrying off the stage at an awards show he was hosting when Kajol walked up to receive an award on Ajay’s behalf. Jeetendra and his son Tusshar Kapoor, who were on the stage with Kajol, looked confused by his hurried exit. He returned only after she had stepped off. Earlier, he had gone the extra mile to avoid her and Ajay at another awards show in March.

It was another text message that buried the hatchet. Kajol invited Karan to her birthday; He RSVPed ‘Yes’. “It was an emotional reunion, they genuinely care for each other,” said the source, adding that Ajay was absent from the scene. When Mirror contacted the duo, they refused to give an official comment. Their reason was interestingly the same — they feel the patch-up is in nascent stage and want to give it time before waxing eloquent about beautiful forevers.

Mohar Basu (MID-DAY; August 5, 2017)

Earlier this year, Kajol had announced that she was excited that her “home production is finally starting”, even revealing that she was looking at a September launch for her new venture. However, when mid-day caught up with the actor, she revealed that the plan never materialised.

“I am not cut out for it,” Kajol said, even confessing to finding comfort in being lackadaisical. “Why should I push myself into doing something that doesn’t come naturally to me,” she questioned, choosing instead to invest her time in making her actor-producer-husband Ajay Devgn’s production house more “rock solid”. “I don’t find the need to break away from Ajay Devgn Ffilms (ADF). He understands production better than I do, and in this respect, I am happy to be under his shadow.”

The actor acknowledges that she only offers inputs for Devgn’s productions when the latter approaches her. “Ajay is managing it well enough,” The failure of ADF’s last outing, Shivaay (2016), which was being created under Kajol’s watch, to score well at the box-office, hasn’t deterred the actor from taking up further projects. “Ajay did a good job as director and actor, and Abigail [Eames, co-actor] made me howl,” she says on her love for the film, but acknowledges that the debacle affected Devgn. “But he is hard to break, and has me by his side, always.”

As a director at heart, Ajay Devgn makes some candid confessions
Nayandeep Rakshit (DNA; January 13, 2017)

Ajay Devgn has already directed two films (U Me Aur Hum and Shivaay). While the world knows him as an intense, brooding (and occasionally comic) actor, very few know that his passion kickstarted from direction.

Ajay reveals, “It’s true. I wanted to become a director when I was young. I would direct short films and dramas in college. And then, I became an actor. But that germ has stayed the same.”

But we don’t see the director side of Ajay too often. It took him eight years to come up with his second directorial venture.

There’s a reason for that, Ajay explains. “I don’t want to make it a business. My first film as a director was a very small film. It was based on Alzheimer’s. It connected with the intelligent audiences because the others didn’t understand the meaning of it. It was about the relationship between the husband and wife. It was something different. Shivaay was about the father-daughter relationship and I created a simple story. It’s the emotion that one connects with. I won’t just make a film for the heck of it.”

Will the gap be lesser between his second and third film as a director? “Hopefully,” Ajay continues, “I got so occupied after U, Me Aur Hum that it took me time to come up with the second directorial venture. For Shivaay, I had to take a year off and it took me two-three years to plan it. I am planning Sons Of Sardaar: Battle of Sargarhi soon.”

Ajay reveals that he is currently working on the script of Sons of Sardaar and has still not “worked out the cast.” Like all his films, he will definitely play the lead in this one, too. But we ask him if he ever wants to direct another leading hero in a film and pat comes the reply, “I would love to direct someone else in a film. It becomes so easy. Doing two jobs (being the actor and the director) gets really tiring. I would love to just do what I want to do.”

Any particular favourites? He rues, “It all depends on the script. You can’t pick someone and say we should direct this one. You begin with an idea and then you think of someone who would suit the role. Then, we go ahead.”