Onkar Kulkarni (BOMBAY TIMES; February 21, 2020)

Over the past 13 years since he entered Bollywood, Aanand L Rai has donned both hats with elan — that of a prolific producer and a fine director. And now, he is excited about his latest release, Shubh Mangal Zyada Saavdhan, which he has co-produced with Bhushan Kumar. The film, starring Ayushmann Khurrana and Jitendra Kumar as the lead romantic pair, deals with the subject of homosexuality in a light-hearted manner. As the movie hits theatres today, Rai talks to BT about being in love with his films, the emotional support he seeks from his actors, and how a serious subject like that of Shubh Mangal Zyada Saavdhan, needs to be told through a heavy dose of humour. Excerpts...

What encouraged you to come up with a homosexual love story at this point? Did the scrapping of Section 377 (by the Supreme Court in September 2018) encourage you? Or, is the fact that in recent years, films like Aligarh (2015), which dealt with the subject in a serious manner, received a good response from the audience?
When we started working on this subject, Section 377 had not been scrapped. The verdict came during the course of the film and we had to tweak our climax because of it. The reason I decided to make Shubh Mangal Zyada Saavdhan is different.

As a filmmaker, I felt the need to understand their world. There was a time when I wasn’t able to understand the universe of Tanu Weds Manu (2011) and Raanjhanaa (2013). Jaise hi mujhe iss topic pe kuch samajh aaya, I thought of sharing it with the audience. As a team, we really wanted to work on this subject, especially when Hitesh Kewalya (writer-director) came up with a good script. It all started with Shubh Mangal Saavdhan (2017), when we presented a subject like erectile dysfunction to the family audience. The idea of the franchise is to bring all the topics that are discussed behind closed doors into people’s drawing rooms. It is all about how you make them family entertainers. Ayushmann knew that we were working on this subject, and he got sold on the idea the moment he heard the script.

This movie depicts the romance between two men. So, was it tough getting the lead pair’s (Ayushmann and Jitendra) onscreen chemistry right?
The film is not about the romance between two men, it is about the society accepting two men involved in a romantic relationship. Hum logon ko lagta hai ki yeh unki problem hai, par actually problem hamari hai. It is our problem that we don’t understand a human relationship like this. So, the only way to reach out to the audience, with a heavy subject like this, is through a good dose of humour.

Like most of your previous movies, this film, too, is set in a small town. What is it that attracts you to this milieu?
I would say that my films are set in middle-class settings, not small towns. I understand that world much better. That’s the way I have been brought up and it reflects in my movies. Today, I might be a filmmaker, living in a bigger home, driving a bigger car, but I will always remember my upbringing. I was born and brought up in Delhi, in a middle-class family. My mom was a fine arts teacher in a government school. I remember growing up in a government colony. So, be it Lucknow, Kanpur or Haridwar, the backdrop of my film will always be middle class.

As a producer, this is your second film with Ayushmann (after Shubh Mangal Saavdhan). Have you ever thought about directing him?
It is not easy to get a script for an actor who you understand so well. I am just waiting for the right script to direct him. My process is different — I first fall in love with the story and then decide upon the actor. However, we have discussed the idea of working together as a director-actor. He is looking forward to a pure romance or a pure action film. I told him action toh nahi, magar pure romance pe kuch soch sakte hai.

Your last directorial Zero (2018), starring Shah Rukh Khan, Katrina Kaif and Anushka Sharma didn’t perform as expected at the box office. Given that there are a lot of expectations attached to each film, how did you deal with it?
Like I said, I am a director who falls in love with his stories and that encourages me to make a film. I think I was in awe of Zero, I was madly in love with it. I think I overdid it. Bolte hai na, zyada pyaar bachche ko bigaad deta hai. I think this is what happened with Zero, but the experience taught me a lot. As far as my association with Khan saab (SRK) is concerned, I will relish it all through my life. I got a partner in him, so it was never a star I worked with. He was an emotional partner, who gave me a lot of support. I am not a craftsman, so I need emotional support every time I make a film. When I was working with Khan saab, he never made me feel like it was such a huge film. He made me believe in my story, and made me go through the journey the way I wanted to. However, like it happens after the release of every film of mine, I went silent post the release of Zero, too. That is all. Our association was not affected by the film’s box-office performance. I think silence is the best way to take both, success or failure. Just go quiet. Absorb. Learn. Understand.

You said that you learnt a lot from Zero. How is that experience helping you with your next directorial, Atrangi Re, featuring Akshay Kumar, Dhanush and Sara Ali Khan?
I won’t be careless. In fact, I have never been careless in my life. I was always a good student, and will remain a good student throughout my life. No experience has disturbed me as such, it has only made me understand a few things. So, I am looking at playing my innings the same way, I have been playing since the last 10-15 years. I can’t change myself. I am fearless. Once again, I am in love with my film and my story and I am enjoying it. I want to be fearless as a person, and as a filmmaker.

Director Hitesh Kewalya talks about showcasing a same-sex relationship in a sensitive and humourous manner in Shubh Mangal Zyada Saavdhan
Onkar Kulkarni (BOMBAY TIMES; February 18, 2020)

His first film as a writer, Shubh Mangal Saavdhan, revolved around the subject of erectile dysfunction. The film was praised for blending a taboo topic in a sensitive and humourous manner with a love story between Ayushmann Khurrana and Bhumi Pednekar. The project also gave Hitesh Kewalya the opportunity and confidence to work on his next, this time, as a director. His directorial debut, Shubh Mangal Zyada Saavdhan, showcases a love story between two men — Ayushmann Khurrana and Jitendra Kumar — and their struggle to convince the latter’s family to accept their relationship. Hitesh says, “This idea was discussed as a sequel even before Shubh Mangal Saavdhan went on the floors. With the success of the first film, I thought that I could tackle a subject that was more difficult, but very important with Shubh Mangal Zyada Saavdhan.”

Talking about the franchise, Hitesh says, “Both the films have focussed on different aspects of male sexuality. The idea behind the franchise is to present such topics in an entertaining manner and then have them becoming a talking point. The aim is to start a conversation around subjects that are considered taboo. People have to realise that these things exist in society and it is only conversations that will lead to evolution. Thematically, we are in the realm of sexuality, and this seemed like a natural progression.”

Unlike some Bollywood films, which poked fun of homosexuals and their relationships, this film portrays a love story sensitively, infused with humour. The scenes between the two young boys, their relationship and their family’s reaction towards their love have attracted a lot of attention. Ask Hitesh what led him to focus on issues faced by homosexual couples, and he replies, “The moment you stop differentiating between a man-woman and man-man relationship, everything becomes crystal clear. I have a lot of friends who are gay. My first encounter with the LGBT community was when I was studying at a design school. When I spoke to them, I got to know about their struggles. I realised that at the core of our existence, our emotions are the same… all we need is a bit of empathy. With this film, we wanted to break away from the stereotypes associated with homosexuals. Right from the inception, Ayushmann had no qualms about doing this role, and both the boys have given it their best.”

Addressing homophobia in Shubh Mangal Zyada Saavdhan, director Hitesh Kewalya discusses why he didn't shy away from including the kiss between leads in the trailer
Mohar Basu (MID-DAY; February 5, 2020)

At the very start of the chat, writer-director Hitesh Kewalya admits that he faced more than a fair share of resistance with Shubh Mangal Zyada Saavdhan. But the director had the perfect comeback for those who asked him why he was telling a same-sex love story in his maiden outing: "I would turn around and ask them, 'Why not?'"

Kewalya believes the Ayushmann Khurrana starrer is a much "required" film in today's times. "The gay community has rarely been portrayed with the dignity and respect they deserve. This film is made with the motive of appealing to as many people as possible. So, we've taken the route of humour. Laughter opens people up to difficult conversations," he reasons, adding that he spent a year developing the screenplay. "Every week, either Ayushmann or the producers would call and ask, picture bani kya? This film takes on homophobia; it holds a mirror to society and its need to box us into gender identities. How can we, as a society, pick out a certain kind of love and say that it must be banished? Why is this non-issue being made into an issue?"

While Sonam K Ahuja's Ek Ladki Ko Dekha Toh Aisa Laga (2019) was applauded for being Bollywood's first mainstream same-sex relationship drama, it was also criticised for not delving deep into the love story or showing physical intimacy between the leads. Though he hasn't seen the movie, Kewalya understands why one would be cautious while dealing with such delicate material. "People are scared despite the decriminalization [of Section 377]. Sexuality is rarely discussed in films anyway. Initially, Ayushmann and Jitu [Jitendra Kumar] had their share of guffaws, but four scenes later, they were professionals and have created a couple that people will root for."

On his part, however, the writer-director has been assured in his depiction of same-sex love, not shying away from including the kissing scene between Khurrana and Kumar in the trailer. Fortunately, the Censor Board has cleared the scene in question. Ask him if he was in two minds about showcasing the kiss in the promo, and he asserts, "There was no question of hiding any bit of the film. We wanted to play on the front foot. Why shouldn't we? After Shubh Mangal Saavdhan [that he wrote the dialogues for], we understood the audience we were dealing with. We are sure about our story, and are going all out with the hope that society changes, one film at a time."

Ayushmann Khurrana emphasizes the relevance of his upcoming comedy, reveals his next could be a spy film and says his rise has been more steady than meteoric
Akash Bhatnagar (MUMBAI MIRROR; January 8, 2020)

Ayushmann Khurrana is following up his box-office success of 2019 with another unconventional premise. In debutant director Hitesh Kewalya’s (who had written Part 1) Shubh Mangal Zyada Saavdhan, the actor plays a gay protagonist, a territory few people have explored in Hindi films. “The timing couldn’t be more perfect,” Ayushmann notes, adding, “I believe that India is ready for that character and that kind of cinema. The Supreme Court has legalised same-sex relationships and this is the right time for a love story on the LGBTQ community.”

Ask him what inspires him to seek out unusual stories and the 35-year-old actor says, “Everyone aspires to create a certain space for themselves, and this is mine. It started with Vicky Donor and I am proud to own this space. Whenever someone does a film on taboo or unconventional subjects, people will say, ‘They did a film like Ayushmann’.”

What’s next for him, one wonders, and pat comes the reply, “I am looking forward to being in an action film, which I have never done.” There were reports of him reuniting with his Article 15 director Anubhav Sinha for a spy film. “We are still discussing it and will make an announcement soon,” he says.

Ayushmann received a National Award for Andhadhun last month. Did he think, when he made his debut in 2012, that he’d achieve such a feat? “I was in La La Land after my first film, so I may have believed it. When your first film does well, you think everything will go right. I had a lot of self-confidence and probably a bit of overconfidence as well. But in 2014, I had three unsuccessful films. If someone had told me this then, it would have seemed outlandish. It is at times like this, when you need to recalibrate,” he reflects.

He wouldn’t label his winning streak at the box-office as a meteoric rise. “It was a gradual process in the last three years, starting with Bareilly Ki Barfi and Shubh Mangal Saavdhan. Last year was the best yet, with three different kinds of films doing well. It has been a steady rise. So, it was easy to digest, and I am glad it happened like that,” he explains.

This year, Ayushmann has Gulabo Sitabo with Amitabh Bachchan coming out and he is all praise for his co-star. “He is so intelligent and full of energy even at this age... He comes so prepared that he’ll even know your lines,” the actor raves. He’s also in awe of his wife, Tahira Kashyap, who beat cancer last year. “She is not just a life partner but also a life coach for me. She has inspired me since college days with her creativity and her zest for life. That worked in our favour while battling the illness,” he concludes.

Avinash Lohana (MUMBAI MIRROR; January 3, 2020)

While speaking to Mirror earlier (July 2018), Bhumi Pednekar had said that after working with Aanand L Rai on Shubh Mangal Saavdhan, she knew that she would reunite with the filmmaker for another film. “Our sensibilities match and I look up to him. Maybe they can make a sequel to Shubh Mangal... so Ayushmann and I can complete a hattrick,” she had said. Now, we have learnt that the 30-year-old actress is set to feature in Shubh Mangal Zyada Saavdhan, which revolves around a same-sex couple and is produced by Bhushan Kumar and Aanand.

Confirming the news, Aanand said, “Bhumi is a part of Shubh Mangal Saavdhan family and we couldn’t imagine making Shubh Mangal Zyada Saavdhan without her. She has a special appearance in the narrative and we are extremely happy to have her on board.”

This will be Ayushmann and Bhumi’s fourth film together in five years. The duo first shared screen space in the 2015 romcom, Dum Laga Ke Haisha, which was followed by Shubh Mangal Saavdhan and Bala in 2019. “Bhumi’s association adds value to the storyline. She is an amazing actor and I am glad she is a part of our film,” Bhushan added.

Written and directed by Hitesh Kewalya, the sequel also marks the reunion of Neena Gupta and Gajraj Rao after the National Award winning social-comedy, Badhaai Ho, in which they played parents to Ayushmann. Bhumi shot for her part over a two-day schedule in Varanasi in November. Bhumi had said earlier (February 2019) that Ayushmann and she are not just co-stars but also good friends and they love working together owing to the comfort level between them. According to a source close to the development, Bhumi’s part had been in the script right from the beginning.

Like her co-star, Bhumi, too, had a busy 2019 with four releases, beginning with Abhishek Chaubey’s Sonchiriya, followed by Saand Ki Aankh, Bala and Pati Patni Aur Woh. This year, she will be seen in three films—Durgavati, Bhoot–Part One: The Haunted Ship and Dolly Kitty Aur Woh Chamakte Sitare. The actress is also scheduled to shoot for Karan Johar’s multi-starrer period-drama Takht this year.

Dhaval Mehta (DNA; September 27, 2019)

Ayushmann Khurrana is the prince of content-driven cinema. His latest release, Dream Girl, is just another reminder of why he is so popular. After all, it’s his sixth consecutive hit after Bareilly Ki Barfi, Shubh Mangal Saavdhan, Andhadhun, Badhaai Ho and Article 15. The actor says, “I am feeling really great at the moment. Earlier, there were films whose lifetime collection used to be what Dream Girl has achieved over the weekend. I am also glad that I get to play such out-of-the-box characters.”

Unlike most of his movies, this isn’t one that has pleased everyone who watched it. A certain section of viewers called it out for being sexist and trivialising the issue of stalking. However, Ayushmann is unperturbed by the flak it has received. He explains, “That’s bound to happen. This is the first time I have done an out-and-out masala film and any film of that genre will face issues and will be criticised.” He further justifies his choice, “This is the complete opposite of Article 15. It was a conscious choice to do a total mass entertainer.”

Ayushmann has made a name for himself by doing films on quirky and taboo topics and believes that he has always been a risk-taker. “I have based my entire career on taking risks. Taking risks is important to reach the next level and I am glad I have carved out a space for myself,” he beams.

The 35-year-old actor has Bala, Gulabo Sitabo and Shubh Mangal Zyada Saavdhan lined up for release and again, these characters have their own uniqueness. Ayushmann opens up about choosing these roles, “For me, SMZS is a commercial film and it should reach the grassroots level and to those who are less comfortable about accepting homosexuality.”

The actor has already worked with the likes of Shoojit Sircar, Sriram Raghavan, Ashwini Iyer Tiwari and Anubhav Sinha, and has been considered a director’s actor. He tells us, “I would love to work with Shakun Batra, Rohit Shetty and Zoya Akhtar.”

Manoj Pahwa and Seema Pahwa get candid about the appreciation they are receiving for their work
Deepali Singh (DNA; July 22, 2019)

She was a delight to watch as the mother who is obsessed with her daughter’s wedding in 2017’s Bareilly Ki Barfi as well as Shubh Mangal Saavdhan. He was talked about for the poignant portrayal of a Muslim man accused of terrorism, in last year’s Mulk and as a police officer with a dark side in Article 15. But ask Seema Pahwa and Manoj Pahwa if they were pleasantly surprised by the appreciation from the industry and they reply, almost in unison, that they would have, had they not been prepared for it. “Iski taiyyari toh bohot saalon se ho rahi thi,” says Seema with a smile.

The couple met each other in Delhi, where they were part of the same theatre group. While Seema became a household name with her role as Badki in 1985’s popular soap Hum Log, her husband was noted for playing Bhatia in 2001’s comedy show Office Office. Post marriage and two kids, the couple moved to Mumbai in 1994 to continue their work in television, films and theatre. Like Seema says, more than three decades of work has brought them to this juncture.

CONTENT IS KING
The couple attributes their recognition to the kind of films being made now. “Content has become hero now, and when the story takes precedence, then the characters become important,” believes Manoj. The result then is the casting of good actors for those roles. “Ab vaisa daur chal raha hai. In content-driven films, characters ubhar ke aate hain. That’s why films like Bareilly Ki Barfi, Shubh Mangal Saavdhan, Mulk and Article 15 are appreciated,” he states.

While it may not have been a big deal for the Pahwas, Seema is glad that her son Mayank and daughter Manukriti — both National School of Drama grads — saw the appreciation coming their parents’ way. “For years, they had been seeing us work, but nothing much was happening. We’re happy, industry ne ma-baap ki izzat rakh li!” she laughs.

ROLE REVERSAL
Manoj’s last two films saw him in serious and intense roles, while Seema’s recent movies have explored her lighter side. Ironically, such roles were exactly what they were not known for. Seema’s image as the serious Badki was so impactful that once a director turned away from her while narrating a comedy script to her husband! “But we are theatre actors and we have done so many different kinds of roles on stage. It’s just that we got typecast in films that were being made earlier,” reasons Manoj, who has usually been the one making the audience laugh.

The role reversal of sorts has been a pleasant change for them. Of late, directors are approaching them with different kinds of roles. “Now, I am being offered characters that were actually meant for him!” exclaims Seema, citing films like Ferrari Ki Sawaari and Ek Ladki Ko Dekha Toh Aisa Laga, where the roles were originally written as male characters and offered to Manoj. “As long as the money is coming to our house, it’s fine!” Manoj laughs.

SUPPORT FOR EACH OTHER
Over the years, the couple has been each other’s support through thick and thin. What about criticism? “Oh, yes, we don’t share the kind of relationship where you only have to say good things about each other. We discuss each other’s work and if need be, criticise it as well,” shares Seema. “There are some films of mine that neither my wife nor my children are interested in. That’s criticism without even saying a word! There are some that even I don’t tell them about. Bolke gaali thodi khaani hai!” Manoj guffaws.

With both their children into the performing arts too, there are often some healthy discussions over dinner. “They learn from our experience and we also get updated about what appeals to the youth of today. That check is good for us and our experience is valuable for them. God has blessed us with this combination of young artistes and senior actors,” says the doting mother.

The actress is now ready with her directorial debut, Pind Daan, which she has written as well. The cast reads like a who’s who of talent, including Naseeruddin Shah, Konkona Sen Sharma, Vinay Pathak, Supriya Pathak and Vikrant Massey among others. Is Manoj in it as well? “Of course, inko kaise jaane deti!” Seema grins, as Manoj cuts in jokingly, “Maine toh bhaagne ki poori koshish ki thi!”

HONING THEIR CRAFT
Over the years, the couple has also kept its relationship with theatre alive and can often be seen in plays by Naseeruddin Shah’s Motley theatre group. For Manoj, theatre is like a paathshaala, which keeps them refreshed and raring to go, while for Seema, it’s the instant response she gets from the audience which makes being on stage so special for her. Working with a stalwart like Naseer, too, has been a blessing for them. “Where else would we find someone who still corrects us, who can tell us even today that we’re not doing it right? There is still so much to learn and it’s a wonderful process that keeps you on your toes as an actor,” Manoj adds.

While Seema and Manoj are acting in a couple of plays in the ongoing Motleyana Festival at Prithvi Theatre, next Sunday is a Pahwa Special as all four of them are involved in story-readings. Seema will read a story by Ismat Chughtai, Manoj, one by Saadat Hasan Manto and their daughter Manukriti is reading a story written by their son Mayank. “When the brochure came out, I sent my son a picture of the same (Mayank is learning filmmaking in London) and told him he should feel proud of himself. After all, Naseer saab liked the story so much that he’s put it in the same bracket as Ismat and Manto,” says the beaming father.

The Pahwas certainly seem to be enjoying their share of success. And rightly so!

Having fronted family entertainers so far, Sonakshi Sinha reveals she was initially hesitant about signing Khandaani Shafakhana
Upala KBR (MID-DAY; July 8, 2019)

That Sonakshi Sinha is experimenting with her roles is evident in her last few outings. While she is game for braver parts, the actor reveals that greenlighting her next, Khandaani Shafakhana, was not an easy decision.

Recounting her script narration with director Shilpi Dasgupta, Sinha says, "The film is about Babita Bedi, who runs a sex clinic after she inherits it. I was surprised and wondered why they were approaching me for a film with a bold theme like this. If you see my track record, I have only done family entertainers. So, I was confused initially, but when they narrated the entire subject to me, I was floored."

Revealing that one of her parameters before signing a film is to judge whether she can watch it with her family, the actor adds that the Varun Sharma and Badshah starrer passes the test in that regard. "We call ourselves a modern society, but we still cannot say 'sex' in public without people cringing. The movie touches upon important topics, including gender equality, in subtle ways. While people don't raise eyebrows on seeing a male gynaecologist, [it is frowned upon] if a woman wants to run a clinic to treat sexual disorders."

While lauding Bollywood for taking on brave subjects, Sinha points out that male actors have been more forthcoming in taking on difficult roles. "I am happy that we are making films like Vicky Donor [2012] and Shubh Mangal Saavdhan [2017], but these films have had a male protagonist. So I am proud to be the first actress to do a film like this."

Reuniting with Ayushmann Khurrana for Bala, Bhumi Pednekar decodes what makes their on-screen jodi tick
Mohar Basu (MID-DAY; May 15, 2019)

After playing a 60-something sharpshooter in Saand Ki Aankh, Bhumi Pednekar has seamlessly moved to the universe of Bala. Through Pednekar's character of a dark-complexioned woman grappling with her insecurities and Ayushmann Khurrana's part of a prematurely balding man, the Amar Kaushik-directed satire shows society's obsession with superficial beauty. Currently shooting for the film in Mumbai, the actor says Bala is another attempt to portray relatable characters.

"I am drawn to characters that I can connect to, because they are layered and have a strong sense of being. Bala is a story where you feel like you know these people. That's what makes it such a strong script." As she reunites with her favourite co-star after Dum Laga Ke Haisha (2015) and Shubh Mangal Saavdhan (2017), it is interesting to note how Khurrana and she have cracked a winning formula with slice-of-life stories that offer social commentary. "Ayushmann and I trust each other as actors. He has been a special person in my life since I debuted opposite him, and since then, luck, thankfully, has been on our side. I'm glad that not only have our films done well, but our on-screen jodi has also been loved by audiences."

Besides Bala, the actor is sitting pretty with a line-up of projects that includes Alankrita Shrivastava's Dolly Kitty Aur Woh Chamakte Sitare and Karan Johar's Takht. Quiz her on her knack for choosing unconventional parts, and she says, "I go with my gut. My roles need to resonate with me as as well as the audience. The parts I have taken on so far have been integral to the story. I need to be convinced about what I bring to the table."

BOMBAY TIMES (May 9, 2019)

The makers of successful family entertainers like Raanjhanaa and franchises Tanu Weds Manu and Happy Bhag Jayegi, are set to give yet another quirky entertainer in Shubh Mangal Zyada Saavdhan.

Directed by Hitesh Kewalya, the film is a sequel to the 2017 sleeper hit, Shubh Mangal Saavdhan (SMS), starring Ayushmann Khurrana and Bhumi Pednekar in the lead. While SMS addressed the complex subject of erectile dysfunction with humour, the sequel delves into the subject of homosexuality.

Taking the highly anticipated franchise ahead are producer Aanand L Rai of Colour Yellow Productions, who is known for his eclectic choice of stories and actor Ayushmann Khurrana, who’s now synonymous with experimental films.

Says Aanand, “The success of SMS encouraged us to turn it into a franchise, which tackles taboo subjects in the most light-hearted manner. With Zyada Saavdhan, we have a great story in hand and who better than Ayushmann to play the lead. Hope audiences enjoy it as much as the first film.”

Ayushmann adds, “It is a beautiful story told in the quintessential Aanand Rai-style of film-making, which is known to touch hearts and leave a smile on the face. It is a pleasure to collaborate again with the master storyteller of our times.” Talking about the sequel, he reveals further, “It is one of the most brilliant scripts that I have read in a long time, and it also handles the subject of homosexuality, sensitively. An out-and-out entertaining film, it will also make you think, which is the hallmark of good cinema.”

With Shubh Mangal Zyada Saavdhan scheduled to release early next year, the casting for it is already underway.
-----------------------------
Himesh Mankad (MUMBAI MIRROR; May 9, 2019)

The Ayushmann Khurrana and Bhumi Pednekar-starrer 2017 sleeper hit Shubh Mangal Saavdhan is now being turned into a franchise. The second film in the series has been titled Shubh Mangal Zyada Saavdhan and will feature Ayushmann again, along with another actor who is still to be cast. It is expected to go on the floors in the last week of August. The film will be shot in a start-to-finish schedule with the entire ensemble cast and the makers are targeting an early 2020 release.

While the original was based on the 2013 Tamil film, Kalyana Samayal Saadham, and marked the Bollywood debut of its director R S Prasanna, the sequel will be helmed by Hitesh Kewalya who had written the earlier social comedy. “The first draft of the script has been locked. This time the makers have decided to bring homosexuality as the main theme in a mainstream Hindi film,” revealed a source close to the development.

Producer Aanand L Rai confirmed the news, saying, “The Shubh Mangal Saavdhan franchise is our tribute to the churning that keeps our society alive. Every installment will deal with a topic that touches every person but no one wants to speak about it publicly. Like the first film, this one too will broach a taboo subject with great sensitivity and light humour. I anticipate a lot of conversations and cheer around the second film too.”

According to the source, it is another social comedy set in a small town. “It revolves around how a conservative family comes to terms with the fact that their son is gay. The humour is situational,” added the source.

Before moving to Shubh Mangal Zyada Saavdhan, Ayushmann will wrap up Dinesh Vijan’s Bala which kicked off on Monday and features him as a small-town guy who is battling premature balding. It is directed by Amar Kaushik of Stree fame and also features Bhumi Pednekar, Yami Gautam, Saurabh Shukla, Javed Jaffrey and Seema Pahwa.

DNA (May 3, 2019)

Ayushmann Khurrana, one of the most talented names in Hindi cinema, will reunite with his lucky-mascot, the versatile Bhumi Pednekar this week. This celebrated actor duo,  who won rave notices for Dum Laga Ke Haisha (2015) and Shubh Mangal Saavdhan (2017) is getting together for Bala, which is being helmed by Amar Kaushik (of Stree fame). Both their earlier outings proved to be box-office winners and the actors are hoping to pull off a hat-trick.

Ayushmann says, “Bhumi and I have great chemistry together because of our equation. I’m glad audiences loved us in our previous two films, which became big hits. Being a hit jodi definitely adds to the pressure of delivering good work and I’m confident that our new film’s script will connect with a global audience, given its universal theme. Bhumi is an exceptionally talented actress and it’s always fun to work with her.  I’m hoping our third movie gets as much love as the previous two.”

Bhumi, on her part, says, “Ayushmann and I love slice-of-life films. I’m super excited to collaborate with him for the third time. We have been loved immensely in our previous two movies. I’m confident Bala will once again prove to be a fun watch. People expect our pairing to do quirky projects. Bala is a movie that takes on societal stereotypes in a hilarious manner. Ayushmann is a powerhouse actor, a great co-star and he always gets the best out of me.” Bala should roll any day now.

The actor analyses path-breaking hits from his repertoire
Roshmila Bhattacharya (MUMBAI MIRROR; October 27, 2018) 

For two successive years, Ayushmann Khurrana has set a unique record with back-to-back hits — Bareilly Ki Barfi and Shubh Mangal Saavdhan in 2017 and AndhaDhun and Badhaai Ho this year — and the actor is overwhelmed that his choices are resonating with the audience. What’s interesting is that from his very first film — Vicky Donor — he’s gambled with risky, at times even risqué subjects, and the move has paid off. His Dussehra release, Junglee Pictures’ Badhaai Ho, which revolves around parental pregnancy, has netted Rs 66.10 crore in its first week in the domestic market alone and $3.15 million at the overseas box-office where screens have been increased in the second week on popular demand. A harbinger of social change, his commercially successful entertainers without being preachy have got people talking about sperm donation, erectile dysfunction and identity theft, helped change perception about arranged matches and over-weight brides, and made the organ mafia more real than newspaper headlines for the aam janta. Ayushmann on why these stories worked for him and the audience alike:

Badhaai Ho
This is the most commercially viable film I’ve ever done because while we touched on a taboo subject — parental pregnancy — we did not need to explain it to the kids like sperm donation ( Vicky Donor) or erectile dysfunction ( Shubh Mangal Saavdhan). The subject is unique yet consumable. People from all ages are going to watch the film today, including senior citizens with their walking sticks, which for me is a real high. I believe the way the story plays out, through different perspectives — my character’s and his brother’s, that of the parents and grandmother, it’s even seen through the eyes of my girlfriend’s parents — is the reason Badhaai Ho is getting so much praise and commercial success.

I said “yes” as soon as I heard the narration because the premise is not unfamiliar to me. I have a friend who is my age but whose father is my grandfather’s age and his brother my father’s age. Back in the day, it was pretty normal. My father has five siblings and my mother six. But today, in the midst of the ‘Hum do hamare do’ naara, the story is funny.

Also, it is set in a metro and not in a rural setting and in the cities; young people today don’t want to get married, and if they do, they tie the knot rather late and then, don’t want to have children till much later. In such a scenario, for the mother to get pregnant for the third time can be bizarre and embarrassing for grown-up kids. I’m glad though that people are amused and not embarrassed by the subject of our film.


AndhaDhun
I was intrigued by a one-line idea which sums up the whole film — a blind man witnessing a murder. It’s a kind of an oxymoron and grabbed my attention immediately.

This was the first time I had approached a director for a role (Sriram Raghavan) because after a spate of slice-of-life films, I wanted to change gears. AndhaDhun turned out to be a mould-breaker both for me and the audience.

We have had blind protagonists in the past, but what makes Akash different is that he’s only pretending to be blind because of his artistic idiosyncrasies. He believes it will enhance his senses and make him a better and purer, artiste. In the process of playing this blind man’s bluff, he witnesses a murder... then, another. It was this quirk, mixed with the darkness of the premise, which made the film entertaining. And the organ mafia coming out of nowhere in the second half, was another surprise. To see Akash get out of his shell of a life revolving around the piano and a cat, and being swept into a different world where everything goes against him, keeps the interest alive till the end.


Shubh Mangal Saavdhan
This film was diagonally opposite to Vicky Donor and triggered a more serious discussion on erectile dysfunction, which is common but not openly spoken about because the male ego is involved. Recently, during an interaction with sexologist Dr Mahinder Watsa, I learnt that normally women approach doctors directly because they don’t know how to broach the topic with their spouses.

My reaction to the narration was an instant “yes”. I was kicked by the unique concept and the sanitised treatment. Yes, one has to be really secure, as a man and a star, to do a film like this which questions the quintessential alpha male status of a commercial leading man. But for me, it was a subject which needed to be addressed. And after the film’s commercial success, I’m happy to see that guys are talking about their ‘man’ problem.


Bareilly Ki Barfi
This Hrishikesh Mukherjee kind of film was perhaps the most conventional of all the stories I’ve done. A simple love triangle, it did not have any social stigma attached to it but was progressive in its portrayal of the father-daughter relationship with the two sharing a cigarette on the terrace and trying, in a gentle way, to change the age-old concept that a girl’s mission in life is marriage. Also, in the era of Facebook and Twitter, it deals with identity theft with humour. Eventually it all boils down to entertainment and this one scored big on this count.


Dum Laga Ke Haisha
The very first scene sums up the film. I’m sitting at the girl’s house and my character is distinctly uncomfortable, almost squirming, because he doesn’t want to be in this situation. The film questioned a lot of things, from the institution of arranged marriage to weight issues. It was a practical depiction of any lower-middle class guy who is a loser, harbouring an inferiority complex and the aspiration of wedding his dream girl. Prem is a despicable character to begin with. He finds his match in a girl who is overweight but intelligent, a school teacher, and the couple eventually go on to find love.

My parents and all my chachas have gone through an arranged marriage. In fact, one of my uncles, a good-looking man, found himself in a similar situation, when he was married off to my aunt who is not conventionally good-looking but very intelligent. As a result, I could easily empathise with Prem and Sandhya and emulate these examples from real life.

Vicky Donor
As part of a bizarre task while on the reality show Roadies, I had donated my sperms. So, much to the surprised delight of my director Shoojit Sircar, I was aware of the subject and excited with the script which was clean and well-written. I did wonder why he’d thought of me to play a sperm donor. He admitted he’d liked me on TV and thought I had the innocence and earnestness to carry off the role without making anyone cringe. Back in 2012, while people knew all about blood donors, many were in the dark about sperm donors. When they learnt that I’d be playing one in my debut film, I was asked, “Are you serious?” Vicky Donor turned out to be a case study. A small film that went on to earn big, it normalised subjects like sperm donation, IVF and surrogacy, turning them into drawing room discussions.

Abhimanyu Mathur (BOMBAY TIMES; October 22, 2018)

To say that Ayushmann Khurrana is on cloud nine these days would be a massive understatement. With two hit releases in a single month, the actor is basking in box office glory. If AndhaDhun was heralded as the sleeper hit of the year, then his latest, Badhaai Ho, has set the cash registers ringing even harder. We chat up the actor on why he is never wary of doing these “content-driven” films, how Badhaai Ho will be a case study for future filmmakers, and more. Excerpts:

It’s only been a few days since Badhaai Ho’s release and already, the film’s dialogues are creating a buzz. There are several articles on the internet with titles such as ‘The 10 best lines from Badhaai Ho’ or ‘Ayushmann’s five funniest dialogues from Badhaai Ho’. So you have basically become a quotable star now...
(Laughs) It’s very overwhelming. I am quite blessed that I have chosen scripts that are working and are amazing. With Badhaai Ho, the lines are so quirky and the situation is so humorous, awkward, and bizarre that people are taking away a lot from the film. The dialogues are amazing. We aren’t trying to make people laugh, but the situation is such that people end up laughing.

You have played the Delhi boy several times before. But Nakul is different. He is urban and yet has that Meerut accent at home. He is rustic while being cosmopolitan. Did you draw him from your own observations, or did you rely completely on the writers and the director?
It was from the writers and the director and also from my own side. I could see this guy speaking in three different accents here. I have never spoken Haryanvi in any of my films. I have never spoken the Meerut accent in any of my films. I have also not been anglicised in any of my films. I had the opportunity to be a little urban and anglicised in my office space, Haryanvi with my friends and have the Meerut accent at home. And it happens all the time. Delhi guys are like that. They are all cool and intellectual at their workplace and so desi at home. You will not feel that it’s the same guy. He is so cool and suave at work and suddenly becomes all desi and rustic at home and with his friends. That happens in Delhi.

You have called Badhaai Ho a content-driven film, a term that can be used for a lot of the films you have done before, starting with Vicky Donor and Shubh Mangal Saavdhan. Do you consciously choose such films or do such scripts automatically make their way to you?
It is a conscious choice to go for content-driven scripts because that is the key for any film to work. There are no two ways about it, and I have always been attracted to great content. Even when I was looking for my first film, I knew I wanted to be in something that was good. I knew I was not a star kid and I will not get any other chance. Even right now, I treat every film as a fresh film, as my first film. I would go with the same enthusiasm and excitement about a script as I did for my first film, and I think that’s very important.

Are you ever wary of doings such films, though? Because there is always a risk involved when it comes to the box office when the subjects are unconventional...
I have started consuming films, while taking the narration, as a layman. I take off that garb of actor/star when I read a script or take a narration. I take it as an audience member, as ‘Ayushmann from Chandigarh’. I think about how I will see the film, and I get that objectivity of whether a film will work or not. If I’m laughing, if I’m enjoying it, I think it will. Because it eventually boils down to entertainment. If a film is entertaining, it will work irrespective of anything. It should be entertaining and engaging, otherwise it becomes a documentary.

With Badhaai Ho, the difference is that despite taking up a subject that is unorthodox, it is a family film.
Yes, I think that’s a positive with Badhaai Ho that it is a family entertainer. You can go watch it with your kids and there is nothing you would have to explain to your kids. Like in Vicky Donor, you’d have to explain to the kids ki what is a sperm donor. In Shubh Mangal Saavdhan, the kids would ask what is erectile dysfunction. In Badhaai Ho, there is nothing to misunderstand. The mother is pregnant, that’s it. That’s why we have got this kind of good opening. There is nothing cringeworthy in the film. And I want to emphasise that even in the earlier films, there was nothing cringeworthy or obscene. It’s just that you would have to explain to the kids ki yeh kya hai. Woh isme nahi hai.

Does this signal a change in the tone of these unorthodox films? Fifteen years ago, largely, if you made a film on parental pregnancy or erectile dysfunction, it wouldn’t be a funny family film. Films with such subjects would be darker, edgier, more sombre...
Yes, these films have become entertainers and they have to be entertainers. As I said, it boils down to entertainment. People will not ask you about logic if they are getting entertained, be it Andhadhun or Golmaal. Parallel cinema, back in the day, was darker. Those films were slow, but now, actors, directors, writers have realised that they have to tread the middle path of content and commerce, otherwise there would be no takers for it.

Badhaai Ho seems to have found that balance. Despite having no huge star and a subject that could have been considered unorthodox, it has earned Rs 31.5 crore in its first three days.
It will be a case study for sure, because three years ago, or maybe a few more years back, most of my taboo-breaking films have earned a maximum of Rs 45 crore, like Shubh Mangal Saavdhan or Vicky Donor. This is expected to smash that barrier and go way beyond that. So it will be a case study for sure. I mean, it’s talking about a social taboo like middle-age pregnancy and if it achieves that mark of big commercial success, I think it’s a huge victory.

The oft-repeated cliché of ‘content is king’ — it’s not just a cliché in your case, is it? It is actual fact...
Of course, content is king! You become the king via the content. A super script will make you a superstar. That is the only way. Even the superstars are looking at content-driven scripts. Look at Aamir Khan. He always is a curator of great scripts. Successful films like 3 Idiots, PK, or Dangal, they are all great, fabulous scripts, not run-of-the-mill. So I think content is obviously the king, irrespective of the actor.

Chaya Unnikrishnan (DNA; October 17, 2018)

Ayushmann Khurrana can’t stop grinning. He has been inundated with compliments for his turn as a blind pianist in his last release AndhaDhun, which has got rave reviews. It’s all the more special for the actor as it is his first thriller. Not only that, the trailer of his next, Badhaai Ho, has already created a buzz. It sees him returning to his forte — a slice-of-life comedy. “I’m expecting a good opening. It’s a festival release (it opens in cinemas on October 18, Dussehra), which is a first for me, so I’m really proud of that,” he says happily. Here, Ayushmann talks about his upcoming movie, its clash with Namaste England and the biopic he has his heart set on...  

‘I approached Sriram for AndhaDhun’
Ayushmann got to know from casting director Mukesh Chhabra that filmmaker Sriram Raghavan was looking for somebody to be cast in his next. “I was probably not on Sriram’s radar, but I texted him after getting a one-liner from Mukesh. However, Sriram said it’s not a slice-of-life film and I told him I didn’t expect that from him! I said, ‘If you are not convinced, let’s do a screen test.’ It was a long scene and after that, he said, ‘Let’s discuss the dates’,” confesses the actor, who always wanted to do a thriller. The former anchor also considers it his most challenging role till date. “I have not worked so hard on the nuances of any character ever in the past. The director did not want a body double, so I focussed on the music pieces, met a blind pianist and took lessons from a piano teacher, Akshay Verma,” he shares, before adding that the lenses he wore for the role took away 80 per cent of his vision during the shoot. “I couldn’t see properly, it was all hazy, so the body language was real,” he reveals.

No wonder, the 34-year-old is “overwhelmed” with the response. “It has got four to five stars, which is unbelievable. It has a dark premise, but the tonality is fun. I am glad I did this movie,” he beams.

Back to slice-of-life films with Badhaai Ho
Though AndhaDhun was his attempt to break from the clutter of slice-of-life films that he is known for, Badhaai Ho will see him returning to that zone. “During the narration, I was cracking up every five minutes. It was a no-brainer for me and it takes my legacy of doing such movies forward. People expect it from me,” he grins.

The comedy, which features Sanya Malhotra, Neena Gupta and Gajraj Rao, deals with late parental pregnancy. “Parents are judged when they have a child at a later stage. There is nothing wrong with physical relations at that age, but having a huge gap between children becomes slightly embarrassing for the elder siblings. Peers make fun of you and you feel awkward,” elaborates Ayushmann. He feels that it was normal in the days when people had nine to 10 children, where the difference between the eldest and youngest sibling would be 20 years. In fact, one of Ayushmann’s close friend’s father is 90 years old, almost his grandfather’s age! “It’s only now and that too, in urban areas where people get married late that having a sibling when you are 20 becomes awkward. The humour emanates from that,” reasons the singer-actor.      

Two films releasing within a close gap
While AndhaDhun opened in cinemas about a fortnight ago, Badhaai Ho hits theatres on October 18. “Ideally, there should be a fair gap between two films, but the first priority is to have a good release date. And I think both movies got it right. Last year, I was jittery when Bareilly Ki Barfi and Shubh Mangal Saavdhan clashed, but they were running to packed houses simultaneously. AndhaDhun has got critical acclaim and Badhaai Ho is looking bright, so fingers crossed,” he says.

Clash with Namaste England
Earlier this month, AndhaDhun clashed with LoveYatri and now, Badhaai Ho, too, will have a face-off with Namaste England at the marquee. But Ayushmann is not worried. “Namaste England is in a different genre. Also, the day and age we live in, solo releases are not possible. On Independence Day, there was a clash between Gold and Satyameva Jayate, but both did well. Hope that will happen this time, too,” he quips.

Keen on Kishore Kumar biopic
Besides his performances, the Dum Laga Ke Haisha actor has also impressed audiences with his singing skills. He has lent his voice for tracks like Paani Da Rang (Vicky Donor), Nazm Nazm (Bareilly Ki Barfi) and singles such as Mitti Di Khushboo, Ik Vaari, etc. Not surprisingly, the actor wants to do a film that has him playing a singer-actor. “By default, I have been singing in every movie. I rendered two songs in AndhaDhun and one in Badhaai ho. But I would love to play a singer-actor. In fact, I want to do the Kishore Kumar biopic as I am a huge fan of his. In between, there were talks about filmmaker Anurag Basu making a movie on him, I think he should make it with me,” he smiles. Another genre he wants to try his hand at is action. “I have never undergone a physical transformation as my roles require a realistic body type. But I would love to do an action film and buff up,” signs off Ayushmann.

Even with these aces up his sleeve, Ayushmann Khurrana continues to remain focussed on his films and his music
Avinash Lohana (MUMBAI MIRROR; October 1, 2018)

After the success of Ashwiny Iyer Tiwari’s Bareilly Ki Barfi last year, Ayushmann Khurrana has reunited with Junglee Pictures for Badhaai Ho which opens this Dussehra on October 19. He plays a Delhi boy who suddenly discovers that his mother, played by Neena Gupta, is pregnant again and he’s going to have a second sibling. “The character is very desi at home but polished at work,” he points out, careful not to let out any secrets too soon.

Two weeks before Badhaai Ho opens, the 34-year-old actor will have another release, Sriram Raghavan’s Andhadhun, in which he plays a blind pianist. While speaking to Mirror (September 6), the director had revealed that Ayushmann was prepared to even audition for the role and he admits that doing a film with Sriram had been one of the many things on his bucket list.

“Besides having established myself with quirky slice-of-life films, I wanted to shift gears and this film seemed perfect as Sriram is a master of thrillers and the quintessential rule-breaker,” the actor smiles, adding that the filmmaker will not give you a conventional bound script but a screenplay with moments. “Also, being a very spontaneous person, he is likely to change things on set. This shoot took me back to my days of improvisations in theatre and I can say today that I’ve grown as an actor after working with him.”

Quiz him on references and Ayushmann reveals that he doesn’t watch too many films and is more into plays, books and simply observing life. “As part of my prep, I spent a lot of time at the blind school in Worli where I met this blind pianist called Rahul and learnt how he approached a piano, marked his centre, sat there and played the most sublime notes. I also observed how he would walk, using his stick to mark the road,” he informs, adding that there is so much more to learn from such differently-abled musicians, including the way they absorb music as their sense of sound is more enhanced. “I’ve started revering music in a different way now and I would suggest that if you really want to test a song, play it for a blind person. If he likes it instantly, you know it is a hit,” he advises.

Meanwhile, there were rumours that another 2017 film, R S Prasanna’s Shubh Mangal Saavdhan, which did well at the box-office, is gearing up for a sequel. “I think they are working on the script but haven’t announced anything or approached anyone. If the idea is interesting, we’ll do a Part 2. For now, we are waiting for them to crack it,” Ayushmann reasons.

The actor admits that he too wants to write a script but acknowledges that writing is a full-time job. “I write couplets on Twitter and maybe I will compile them into a book someday. That’s a plan for sure. I also plan to write a script but for that I’ll need to take a break. Right now, my focus is on my acting and music assignments,” he asserts.

His wife, Tahira Kashyap, who has earlier directed the short film Toffee, is all set to make her feature film debut. A slice-of-life film, it will roll in February. Will he be in it? “Casting is on. While I won’t be playing the lead, I do want to be a part of it somewhere,” he signs off with a smile.

Lasyapriya Sundaram (BOMBAY TIMES; September 18, 2018)

The trailer of Ayushmann Khurrana-Sanya Malhotra-starrer Badhaai Ho, directed by Amit Ravindernath Sharma, has hit the airwaves. Just before the trailer launch, Sanya had taken to social media, to wish her co-star, ‘Baadhai Ho’. The tweet did cause some confusion initially, but once the trailer was released, it cleared the air. Ask Ayushmann about it and he says, “When everyone started tweeting ‘Badhaai Ho’ to me, many people must have thought that I am becoming a father for the third time. But now, of course, everyone knows why those wishes were coming my way. It’s about my film, in which I deal with my mother’s pregnancy. When you are in your twenties, you don’t expect your parents to have sex. The film explores this topic. It’s embarrassing for the character I play on screen, but entertaining for the audience watching it (laughs!).”

Elaborating on the concept of older couples having children, the actor says, “I know people who have been through this experience. One of my closest friends, who is my age (34 years), has parents who are 80 years old. His siblings must have been embarrassed when they were young. Older couples having kids doesn’t happen nowadays, but earlier, women would get pregnant at 50. Badhaai Ho is a laugh-out-loud comedy and I said ‘yes’ to the film the moment the narration came to an end.”

Ayushmann has often featured in films, which have addressed issues which are not spoken about openly — for example, sperm donation (Vicky Donor) and erectile dysfunction (Shubh Mangal Saavdhan). Ask him if he has a knack for choosing such scripts and the actor says, “I want to be called the King of Quirks (laughs!). Every year, I should star in a film which breaks taboos and is quirky. I am glad that these films get attracted to me. Main inhen dhoondhne nahi jaata. Yeh apne aap hi mere paas aate hain. So, it’s good fun.”

Badhaai Ho is a family comedy presented by Junglee Pictures, in association with Chrome Pictures. The film, produced by Vineet Jain, Aleya Sen, Hemant Bhandari and Amit Ravindernath Sharma and co-Produced by Priti Shahani, is set to release on Dussehra, October 19.

Don't Worry. Be Happy. That’s Aanand L Rai’s mantra and the reason why the producer director, in his decade-long trek through wonderland, has fearlessly broken with convention, experimented with taboo subjects and made the kind of films he believes in rather than what he believes will work. Tracing his journey through his adventures…
Roshmila Bhattacharya (MUMBAI MIRROR; August 13, 2018) 


HAPPY PHIRR BHAG JAYEGI (2018)
Mudassar spent a lot of time on Happy Bhag Jayegi but somewhere along the way, I felt that he had not relished the film as much as he should have. So, I urged him to enter the ‘Happy’ space again and flush it out of his system completely since he already had a plot to take forward. I’d like to believe that this time it was a truly happy experience for him. Last time, since he was returning from a seven-year sabbatical, Mudassar had perhaps been on the back foot, this time he played on the front foot.


HAPPY BHAG JAYEGI (2016)
Mudassar Aziz came to me with this ‘Happy’ fi lm when I had just started prepping up for Tanu Weds Manu Returns. I’m a director first and told him that while I would have loved to involve myself with his baby, for the moment, my first love was myself and my film. I offered to speak to studios and line up a good producer for him. But Mudassar was adamant he wanted to make the film with me and insisted on waiting. It was his trust in me that led to my producing Happy Bhag Jayegi for him. The film brought about the realisation that I can become a good support for my directors.

SHUBH MANGAL SAAVDHAN (2017)
Coming from the middle-class world myself, I knew we had grown and it was time to shed the tag of ‘conservative’. The idea behind taking an ‘adult’ subject and turning it into a family entertainer was to bring what had, for all these years, only been spoken in whispers behind the close doors of the bedroom, into the living room. Being the father of a teenage daughter, I also wanted to bridge this generation gap. Shubh Mangal Saavdhan (see featured image) brought together two generations in a way that they could talk to each other as friends.


MANMARZIYAAN (2018)
During Mukkabaaz I met a director who was raw and yet so neat. The Anurag Kashyap you will meet in Manmarziyaan is more polished, milder but bolder. This two-film journey was all about getting associated with one of the most brilliant directors of the country. Mujhe apne andar kuch change lana tha, maybe he felt the same way. Working with him has made me a more gutsy filmmaker, while I think he’s more controlled today, perhaps a little happier too.

ZERO (2018)
We have finished shooting the film but I have yet to meet Shah Rukh Khan, the biggest actor in the country. Khan saab has met me like a friend and a brother, a philosopher and a guide, a senior colleague and a student, but ab tak unhone uss superstar se milne ka mauka nahin diya. I look forward to meeting him some day.


NIL BATTEY SANNATA (2016)
I was 40, high on the success of Tanu Weds Manu and its sequel and didn’t want to play safe. I wanted to do something out-of-the-box, something daringly different, and through its overwhelming acceptance make the Hindi film industry believe that our audience is far more evolved than we give it credit. The film was about a maid who wants her daughter to become an IAS officer. Her argument was that if a doctor’s son becomes a doctor and an engineer’s son an engineer, toh bai ki beti kya karegi? I’m grateful that a teacher’s son got this opportunity to make films and told myself if that can happen to me, then why can’t a maid’s dream come true? Nil Battey Sannata remains one of our most important films and if it inspires even one maid to educate her child, I would say it was the most successful film of the decade. More recently, my associate Rahul Shanklya came to me with an idea and I told him to just go ahead and make it on a minimal budget. Meri Nimmo (right) was the purest cinema, a small film with a big heart.


NEWTON (2017)
For me, it was an important step to be associated with a film like Newton because while being an issue-based story, it was, to my mind, also a commercial film. As an audience, I believe the divide between the two cinemas is decreasing and viewers are looking for an intelligent film that’s also engaging. Newton, for me, was that film.


RAANJHANAA (2013)
After the box-office success of Tanu Weds Manu, everyone expected me to quickly come up with a sequel, but I didn’t wish to get typecast as a maker of romcoms. I wanted to challenge myself as a director with a tragedy and Raanjhanaa happened. It was a gamble making a film set in Varanasi with a South superstar, but I was confident that Dhanush was the right casting choice and that this was the best way to play my innings. Just before Tanu Weds Manu, I had lost my Dad and that transformed me as a person. I wanted my films to reflect this change that was happening within me. Raanjhanaa helped me grow not only as a director but as a person too. The fearlessness I carried forward from Tanu Weds Manu was now tempered with a new-found maturity.


TANU WEDS MANU (2011)
I had made two films before this, Strangers (2007) and Thodi Life Thoda Magic (2008), and they had not worked because I had been trying hard to prove that I was a director who knew his job. I realised later that you don’t have to impress people, you just have to tell a story. And that’s what I set out to do with Tanu Weds Manu. It was the best time for me because I was scraping the bottom of the barrel and had nothing to lose. I could behave like the biggest director because no one was looking at me. It took me three years to finish the film but I was sure from here I could only go up. It paid off.

TANU WEDS MANU RETURNS (2015)
In the four years that it took me to return to the franchise, I had grown as a director. But the best part was that I was not focussed on only my own growth but that of my actors as well. Queen had happened to Kangana (Ranaut) in the interim while Maddy (R Madhavan), after some wrong choices in Bollywood, had found the right path in Tamil cinema. Even my writer, Himanshu Sharma, had had his share of ups and downs and grown, as had my audience who were ready for a new cinema. They understood that Datto was not a gimmick but was for real and accepted her as warmly as they had embraced Tanu. Even the story took off exactly four years after the first film had ended with Tanu wedding Manu.

Chaya Unnikrishnan (DNA; January 31, 2018)

Saqib Saleem, who will be seen playing the lead role in Dil Juunglee opposite Taapsee Pannu, is full of praise for Rajkummar Rao and Ayushmann Khurrana. “Usually heroes are perfect, and they can do no wrong, but Rajkummar and Ayushmann excel in playing the flawed heroes,” says Saqib. He also wants to essay characters that are less than perfect, have some incapability or are negative. “It is more fun to play such personalities than portraying heroes who are perfect,” he quips.

Rajkummar, he says,  was “stupendous” in Bareilly Ki Barfi. “He got to play two characters and Rajkummar did them both convincingly. I can’t imagine anybody else doing it. When I see some films I feel ‘Main bhi ise aise hi karta’, but when I see Rajkummar I feel I can’t do what he has done. He had a wonderful year in 2017 with films like Newton, Bareilly Ki Barfi, Shaadi Mein Zaroor Aana and Trapped. He has really worked hard to reach where he is today. He started with Love, Sex Aur Dhoka, had a small role in Talaash, did Gangs Of Wasseypur and with time his stature went up, so much so that he has become a successful box-office bet. His journey is so inspiring,” gushes Saqib.

Ayushmann, according to Saqib, is a very good actor, but underrated. “Whether it was Shubh Mangal Saavdhan or Bareilly Ki Barfi, he has been the flawed hero. In the latter, he was a selfish bully, but he played it with honesty and in a humane way,” says Saqib in praise of his friend.

The actor sees himself in the same space as Rajkummar and Ayushmann. “I am a content-driven actor, I am not the guy who will give a Rs 100-crore film. People are not dying to watch me in a film, but give me decent content and I promise you I will put my heart and soul into it. I am still finding my journey,” he signs off.

Aanand L Rai on his superstar dwarf, his ‘Happy’ state of mind and why he can’t think of himself as a king
Roshmila Bhattacharya (MUMBAI MIRROR; January  2, 2018)


So finally your ‘dwarf’ film has a title and a release date. But why Zero and December 21 in particular?
I grew up in a simple, middle-class family without a car, air-conditioner or five-star dinners, yet I was perfectly happy because happiness, as I’ve come to realise, is a state of mind. You can touch infinity even when you are zero, like Khan saab’s (Shah Rukh Khan) character. December is a month when we celebrate life and what better time for a boy who celebrates that he is physically incomplete and in his incompleteness completes others as he travels from Meerut to New York. There is a beauty in incompleteness we are celebrating.

Why Shah Rukh Khan?
I needed a big star and even if you cut two feet away from Khan saab, he’d still stand tall. Also, this story has a wide reach and he will take it to the world.

It’s a tough journey with all the VFX?
I’d use the word ‘enjoyable’ rather than ‘tough’ because he’s made it fun. Yes, it’s a VFX heavy film, but the effects are to tell a story and not just for impact.

With SRK in, did you need two other A-listers, Katrina Kaif and Anushka Sharma, or was it to get into the big league?
I took Katrina and Anushka not because they are big names but because they fit the characters. I know people think I want to get into a different league but when they see the film they will realise it’s still about casting and not set-up. I may be on a new pitch, playing new shots, but I’m still true to my roots and original in my storytelling.

Scared?
(Smiles) No, secure.

Yes, right now the biggest name in this project is Aanand L Rai who can make hits of even taboo subjects like erectile dysfunction.
Hits and flops don’t affect me, on the first day, I’m as nervous as any newcomer, relying on a team of 250 to bring my vision from the paper to the screen. When actors like Khan saab forget who they are to make my characters real, I feel indebted because I were asked to be anyone other than Aanand, I’d be lost. Acting is tough, as I keep saying, there are no bad actors, only bad directors. How can I feel like a king? A king gives magnanimously, while I’m the only one on the set always asking my actors, cinematographer, light men, everyone to give me something, generously.

Talking about erectile dysfunction, what made you risk a Shubh Mangal Saavdhan?
Twenty-five years ago, just before I took off on a trip with my college buddies, I confided in my father that they were planning to drink beer and I was worried. That evening, he returned home with two bottles of beer and we drank together so that when I was with my friends, I’d know the taste and could decide for myself if I wanted to drink it or not. For me that was a sign of changing times. Today, a quarter of a century later, if we can’t talk about sexual problems within the family, we haven’t evolved.

I admit even my wife was uncomfortable with the idea of me touching on such a taboo topic, telling me it could tarnish my clean image and we didn’t need the money. I explained that this wasn’t about money and I wasn’t making an adult film but a family entertainer, it was an important subject that needed to be breached. Today, many tell me that after seeing the film, they can talk more openly about such subjects.

From Tanu Weds Manu and its sequel to Raanjhanaa, Nil Battey Sannata, Newton and Shubh Mangal Saavdhan, the films you’ve directed and produced have broken new ground. Is there a pressure now to deliver something new every time?
When I was struggling to make films, I’d see other makers with four-five hits behind them, on a good wicket and wonder why they were playing safe and not bringing something new to our cinema. Seven years later, I’m in the position to do so and if I were to repeat myself, I’d lose sleep. Tanu Weds Manu Returns worked because Datto was new and original. If I brought her back, I might get away once, with investors and viewers, but it’d take me back five paces. The crux of this journey is this connection between a storyteller and his audience which is unseen and can only be felt. The day I stop being true to my audience, start lying to myself about my reasons for doing a film and worry about box-office numbers, I’ll feel the pressure.

So, will Zero be a gamechanger too?
That’s a word I would like to hear from someone else, not from my own lips. But what I can promise is some takeaway, people will discuss it long after it’s over.

Were you disappointed when Newton dropped out of the Oscar race?
When I saw the film I wasn’t thinking of festivals or awards, it was just a story I wanted every Indian citizen to see, including my daughter. We’re the biggest democracy in the world but aaj democracy bas baat ban kar reh gayi hai. If in the next elections, even 10 people feel obliged to go out and vote, I’ll know Newton was worth it. As for the Oscars, I told Amit Masurkar, he’ll win next time. Newton is only his second directorial, he will get better. India is telling good stories, in five years, Oscar bhi aa jayega.

You’re not sure about a Tanu Weds Manu 3 yet but Happy Phirr Bhag Jayegi is on the way to the theatres…
When he made Happy Bhag Jayegi, Mudassar Aziz was returning from a six-year sabbatical and a flop debut with a slice-of-life romcom. He worked hard, but his apprehensions held him back which is why I told him to go out and make himself ‘Happy’ again.

And with Anurag Kashyap, your dream project Manmarziyan is finally coming to life?
Anurag loved the script but told me he wanted to make Mukkabaaz first and was looking for a partner. So, I told him we’d produce it together and then he could direct Manmarziyan for me. I’ve been living with the idea for so long, now I have a storyteller who will own it.

Before we sign off, tell me about the Shah Rukh you’ve come to know in the last one year.
I’m not talking as a director here but as a person with 46 years of life’s experiences behind me. Being with this honest and intelligent man who teaches you even through his own mistakes, has changed my perspective on many things and helped me grow as a person.

Harshada Rege (DNA; January 2, 2018)

The year 2017 was a great one for Ayushmann Khurrana, and now, he is excited about going ‘dark’ in 2018. It will be a major shift for the actor, who has a foothold in the slice-of-life genre. He’s equally aware of the booming digital world and the challenges that it will pose for filmmakers. Here, he talks about all that and much more...

The choices that you made last year paid off. Does that make you braver as an actor?
As an artiste, you need to connect with scripts first. I should be excited about doing them. I’ve always enjoyed taking up roles that are unconventional. In fact, I started off as an unconventional actor; so, my choices would be like that. I would love to do things that nobody else is attempting. Films like Vicky Donor, Dum Laga Ke Haisha, or Shubh Mangal Saavdhan were really off-centre and concept-based. This year, too, I will continue to do the same. 

You had three releases in 2017. Is that how you want to work ahead?
I generally go with my gut feeling. This year, I have two releases — Shoot The Piano Player (working title) and Badhaai Ho. I don’t want to jump at everything, but I’ve been getting great content now, so I’ll follow this trend.

With Sriram Raghavan’s Shoot The Piano Player, you are stepping into the thriller space. How has that experience been?
It is, of course, one of the darkest films that I’ve done so far because I’ve only done light-hearted movies till date. After being in the industry for five years and establishing myself in slice-of-life films, I needed to make that shift. It was a deliberate effort. I’m fortunate that I’m working with Sriram. His process is completely different. You have to be on your toes as an actor. I’m glad that I’ve done theatre in the past, so there’s a lot of room for improvisation.

Many actors have turned producers in recent times. Do you see yourself getting into that space, too?
I recently produced a short film for my wife, Tahira, with Mukesh Chhabra and Ajay Rai. It was screened at the MAMI Festival and was also nominated in the best short film category. It was an experiment from my side as a producer, though I’ve always wanted to be a writer-director. But I’m an artiste, so I think like one. In order to have a producer’s sensibility, I need someone who knows his stuff. If in the future, I’ve to collaborate then I would like to do so with Mukesh and Ajay as I trust them. Though we worked together for a short while, the process was exciting. But right now, I’m too busy with my acting assignments. So, let’s see how it goes in the future.

We are in the phase of digital revolution. Actors like Saif Ali Khan, Nawazuddin Siddiqui, and Rajkummar Rao have already made their foray. Do you plan to explore the space too?
As an actor, I’m excited about everything related to acting — be it stage, television, films or digital. It’s the character and script that excite me. People say digital is the future, but I would say that it is the present. It’s already arrived. If I get an edgy, wacky script with a zany character, I would love to do it.

Do you think streaming channels will make a huge impact on the business of cinema?
There is great competition from that side. I think digital is the space where censorship is lenient, and you can create content which you can go crazy with. Having said that, the whole experience of collectively going to a theatre to watch a film is vintage, nostalgic and entertaining as compared to seeing something on your laptop or home theatre. The audience’s collective consciousness reflects on us at the same time. Film viewing will never suffer because of this, but, of course, we need to be more creative with the content. We have to be out-of-the-box with the creative process where we have to give something to the audience that they want to watch.

Last year, slice-of-life movies were loved by the audience and towards the end, typical masala films made money. Do you see the trend continuing in 2018?
I think we do our own research, make our own permutation-combination and call it a trend. But eventually, it’s entertainment that survives. If people are entertained, they will love the film irrespective of its genre and tonality. A movie has to connect with the audience. That’s my take on it. We saw Baahubali 2: The Conclusion, which was a mammoth success in the initial months. Then, there was a huge surge of movies like Bareilly Ki Barfi and Shubh Mangal Saavdhan. Towards the end again, there were commercial films. So, it’s just entertainment that the audience responds to.

You are also a musician and a writer. Do you have plans to come out with a single or pen something new this year?
As of now, I’ve been singing for my films. I sang Nazm Nazm for Bareilly Ki Barfi, which was liked by a lot of people. Then there was an unplugged version of Kanha in Shubh Mangal Saavdhan, which was a beautiful track. There is no desperation to cut a single or have an album because I’m happy to lend my voice for my films. If there’s a decent gap between two movies, I might come up with something because I’ve some songs ready. I’m just waiting for the right moment.

Any New Year resolution?
I don’t believe there’s a certain time to make a resolution. There’s no wrong time to do the right thing. If you know this has to be done, then the month doesn’t matter. But yes, at the beginning of the year, you think about what you would like to do that year. I would want to do more films, strike a balance between my professional and personal life, learn more music and be more regular with my riyaaz. I had neglected it in 2017 due to my busy schedule.