It’s been almost four years since actor Sushant Singh Rajput’s death, but his family, fans and friends from the industry still haven’t come to terms with the loss. Actor Manoj Bajpayee says that Rajput, who allegedly died by suicide in June 2020, “would get troubled with the blind articles” that were written about him. In fact, he advised the actor to not take them seriously.

“Bahut zyada vulnerable tha woh uss maamle mein. He was a very good person and perhaps that’s why all the blind items would affect him so much. Achcha aadmi hi affect hota hai. He would often come to me and ask, ‘Sir, main kya karoon?’ Toh main usey kehta tha, ‘Yaar, tu yeh sab zyada seriously mat le’. I knew how to go about it because main bhugat chuka hoon aur abhi bhi bhugat raha hoon,” Bajpayee said in an interview with Siddharth Kannan. The actor added, “Sushant would say, ‘Sir, yeh aap hi kar sakte ho. Mai nahin kar sakta. Mai kaise karoon?’.”

Reminiscing about some fond memories he shared with his Sonchiriya (2019) co-star, who also hailed from his home state, Bihar, Bajpayee recalled his last conversation with Rajput: “Bahut hi sensitive aur intelligent tha Sushant. Aur main jo mutton bana ke khilata tha set pe uska deewana tha. He would say, ‘Manoj bhai, aapke ghar aake khana hai’. So I told him, ‘Jab banaunga, main tujhe bulaunga’. That was our last conversation. Aur theek uske 10 din baad he passed away.”

The actor, who tweeted about outsiders not getting equal opportunities, says that the nepotism debate is flawed. The casting process and what the audience consumes are also to be blamed, and not just star kids, he feels
Renuka Vyavahare (BOMBAY TIMES; July 20, 2020)

Recently on social media, actor Avinash Tiwary, known for his work in Sajid Ali’s film Laila Majnu and web films, Bulbbul and Ghost Stories, reacted to R Balki’s take on nepotism. A few days ago, in an interview talking about the debate on nepotism, Balki had said, “Find me a better actor than Alia Bhatt and Ranbir Kapoor and we’ll argue.” Addressing the filmmaker’s views, director Shekhar Kapur tweeted, “Have huge respect for you, Balki. But I just saw Kai Po Che again last night. Three new young actors at that time. And stunning believable performances by each (sic).”

While writer and editor Apurva Asrani agreed with Avinash, filmmaker Anubhav Sinha defended Balki, and said, “I think what he meant was that they are both truly deserving stars despite their illustrious pedigree. And I agree with that.”

Speaking about his response to Balki and the nepotism discussion at large, Avinash in a chat with Bombay Times reasoned, “Everyone who is talented should get an opportunity. When I read Mr Balki’s statement, it almost said that yehi do log talented hain (Ranbir and Alia). I am not saying that look at me, I am more talented, but there are others who could be, but do they get a chance? I got my first film as a lead actor (Laila Majnu) after toiling for 15 years. I gave 21 screen tests for it and waited for three years for it to be made. Not many people can even afford to sustain this long. I am glad we have casting directors now, but how many casting directors cast the lead actors of a big film? Has Mr Balki found a casting director to cast his leads? The lead actors are often selected by the filmmakers. So, how would he know if there are better actors out there or not?”

He further explained, “Of course, Alia and Ranbir are brilliant actors and they would stand out even if they were outsiders. If Ranbir wasn’t from a film family, he would have probably taken 10 years to get a Rockstar, but he would have still bagged that kind of a film. Talent will shine through, and good work will be rewarded, but it isn’t a level playing field. Ayushmann Khurrana has taken eight or nine years to be a mainstream hero, Kartik Aaryan delivers 100-crore films today, but he too has been acting since 2010. That doesn’t happen with someone like Sara Ali Khan, who has a Simmba even before the release of Kedarnath. That’s an amazing privilege to have.”

Avinash, however, argues that we cannot blame the star kids here. “If my father was a big actor or producer, why wouldn’t I make use of my privilege? I hold the media and the audience accountable. The audience is the consumer. If they pay and watch cinema that is also being made beyond the mainstream, then it equalises things. Laila Majnu didn’t last in theatres even for a week. Why didn’t the audience go and watch Sushant’s Sonchiriya in theatres? It was a good film. Ab sab behti Ganga mein haath dho rahe hain. Ab yeh nepotism ka trend chal raha hai, so let’s talk about it,” he said.

The actor pointed out that the film industry is big enough to accommodate everyone, so the real issue lies in the casting of big-budget films. He explained, “Around 95 per cent of people in this industry are outsiders, 5 per cent may be insiders, but the mainstream is dominated by this 5 per cent, and all the eyeballs are on them. Most star kids assure filmmakers the returns as there’s so much media attention on them. The nepotism argument is flawed. We can’t blame a few individuals for nepotism. It’s the system and culture that needs to change. As an outsider, you are just happy to get an opportunity. My fight is not for validation. It’s for acknowledgement of my existence as an actor.”

When asked what is his take on the flak that Karan Johar has been drawing in the past month, he said, “Karan Johar gets a lot of flak for nepotism, but it was he, who cast me in Ghost Stories without even taking my screen test. I didn’t know him. I am not the kind to approach people easily either. So, I have seen both sides.”

Elaborating on his beginnings in showbiz, the actor said, “I started with a Doordarshan show for the acclaimed filmmaker, the late Lekh Tandon. In 2014, I did the TV show Yudh, starring Amitabh Bachchan. I thought it will change my life, but nothing happened as no one saw it. In 2015, I did a lovely ensemble film, Tu Hai Mera Sunday. I met Sajid (Imtiaz Ali’s brother) at the end of 2015 for Laila Majnu. They liked my screen test and verbally told me that I was their guy. I was barred from doing other work. But the whole of 2016 they kept auditioning other actors as I wasn’t mainstream enough. I remember telling Sajid that there could be better looking actors than me, but there’s no one who can play that part better. It took three years to make the film and within a week of its release, it disappeared from theatres. So, you are obviously upset. Aur kitna ladein? So, over the years, you learn to let go and focus on bigger things and life beyond movies.”

A LOOK AT SUSHANT SINGH RAJPUT’S BOX OFFICE PERFORMANCE

June 14 seemed like any other Sunday. But then, at 2 PM IST, news came in that prominent actor Sushant Singh Rajput has ended his life. It was a bolt from the blue and has led to brouhaha like never before. Instead of getting into it, let’s look at the track record of this actor at the box office.

Sushant Singh Rajput has been a part of 11 films till now. Of which, 9 have already released in cinemas. Drive released on Netflix while Dil Bechara, the official remake of The Fault In Our Stars, remains unreleased. Out of 9, 6 films were decent successes at the box office.

He started his career with Abhishek Kapoor’s Kai Po Che, released on February 22, 2013. Despite having newcomers and being a bit of a niche film, it created buzz among urban audiences. It opened at Rs. 3.68 crore which was great and it’s lifetime was Rs. 43.58 crore. The same year, he was then seen in Yash Raj Films’ Shuddh Desi Romance. This film created a bigger hype which led to a fine opening of Rs. 6.38 crore. Incidentally, it co-starred Parineeti Chopra, whose sister Priyanka Chopra’s film Zanjeer released on the same day. Zanjeer was more commercial and yet had a dismal opening of Rs. 2.84 crore. Shuddh Desi Romance meanwhile netted a lifetime of Rs. 46.26 crore. It became clear that in a span of 6 months, this newcomer had given two successive hits.

In 2014, he was seen in a 20-minute appearance in Aamir Khan’s PK. The actor rocked the show despite limited screen time and in fact, dominated the climax. It emerged as an all-time blockbuster, earning Rs. 337.72 crore.

Few months later, in April 2015, he acted in Detective Byomkesh Bakshy, directed by Dibakar Banerjee. Despite being very niche, Sushant’s presence helped the film get an opening of Rs. 4.01 crore. The word of mouth was positive but wasn’t enough to attract audiences in hordes due to it’s theme. Hence, it ended it’s lifetime with Rs. 26.21 crore. This was Sushant Singh Rajput’s first flop.

1 ½ years later, in September 2016, Sushant Singh Rajput bounced back with M S Dhoni - The Untold Story. It was based on the life of celebrated cricketer Mahendra Singh Dhoni. Despite having a run time of 185 minutes, it had created humongous excitement and had an opening of Rs. 20.13 crore! Sadly, the word of mouth was a bit mixed. Hence, it had a lifetime of Rs. 119.09 crore. Though this was a huge figure, the high cost of the film prevented it from being hailed a ‘Super Hit’. It was, at best, a hit.

In June 2017, he gave another flop in the form of Raabta. It was a much-talked about film thanks to Sushant’s pairing with Kriti Sanon. Songs worked but trailer didn’t. Hence, the opening was poor at Rs. 4.63 crore. Word of mouth was horrible and hence, collections came down in the weekend instead of increasing. Its lifetime was just Rs. 21.68 crore.

Almost after 1 ½ years, Sushant Singh Rajput’s Kedarnath released. The word of mouth was mixed but the opening was huge, at Rs. 7.09 crore. It’s lifetime was huge at Rs. 70 crore. 6 months later, he was seen in Sonchiriya. This was an odd man out. Films like Raabta and Detective Byomkesh Bakshy at least had some sort of respectable opening. Sonchiriya, meanwhile, opened horribly at Rs. 1 crore! There was no growth and the lifetime was a mere Rs. 5.63 crore! The word of mouth was excellent but the theme was such that audiences were just not interested.

Sushant Singh Rajput’s last theatrical release was Chhichhore. It was directed by Dangal director Nitesh Tiwari and produced by Fox Star Studios and Nadiadwala Grandsons. It opened at Rs. 6.92 crore which was decent. However, the word of mouth was crazy and hence, audiences went to see it in hordes. From Rs. 6.92 crore on Friday, it jumped to an insane Rs. 16 crore on Sunday! The numerous holidays in the weekdays along with public response helped the film immensely. It’s lifetime was Rs. 147.32 crore and hence, it emerged as a super duper hit!

Hence, one can see, Sushant Singh Rajput’s track record, despite flops, was quite good. Even opening day numbers were fine, though it was never record breaking in most films. Yet, the opening day figures prove audiences liked his work and came to see the films for him, amongst other reasons. It’s highly unfortunate that he’s no more today. If he was, he would have done quite well for himself and given us many more entertaining and meaningful films. RIP.

As told to Akash Bhatnagar (MUMBAI MIRROR; June 15, 2020)

It’s very hard to come to terms with the news that Sushant is no more. He left all of us behind, who knew him as a fun-loving, respectful person, someone who was always curious about the unknown.

All the time I spent with him during Sonchiriya is flashing in front of my eyes. I can't believe that he will not meet me again. He wanted to have mutton for lunch at my place. But I am heartbroken that it will never happen now.

As told to Himesh Mankad (MUMBAI MIRROR; June 15, 2020)

From the youthful, energetic, give-it-all Ishaan of Kai Po Che! to an endearing, soulful performance as Mansoor in Kedarnath and a gritty, engaging role in Sonchiriya... Sushant’s journey showcased different roles and myriad emotions. Kai Po Che! was a memorable experience because Sushant was at his bindass best - super confident and super talented. He gave his all to the role and his energy on screen showed that a star was born. He showed versatility in everything he has done ever since.

Like me, he cherished memories and even during the release of Kedarnath, as excited as he was about this role, we spoke more about Kai Po Che! with him, as always, reflecting on his past and his highs. We met again during Sonchiriya’s release and he confided that this was by far his toughest role till date. In recent times, our discussions revolved around his love for science and astronomy.

He had no regrets. Rest in peace Sushant, may you find the peace you were looking for.

Ankita Chaurasia (MUMBAI MIRROR; June 15, 2020)

Sushant Singh Rajput was known as someone perennially brimming with ideas and young energy.

So, many didn't bat an eyelid while reading his last post on Instagram. Shared with a picture of his late mother on June 3, the post seemed like an inconspicuous observation in line with the general mood across social media feeds... until Sunday afternoon, when news of the actor’s suicide broke.

A student of metaphysics and spirituality, Sushant was a stickler for perfection when it came to his craft. He passed up six films and devoted six months to Shekhar Kapur's futuristic sci-fi romantic drama, Paani, which revolved around water wars. Prep for the 34-year-old actor meant reading and re-reading the script, understanding the character, his back story, where he was coming from and where he was headed. Talking to Mirror (September 14, 2015), he had pointed out that he could have six-pack abs but not for show, “because this guy lives in the Lower City, where everybody fights to get something to eat and then, there's no water”. It was only when he realised that M S Dhoni - The Untold Story would go on the floors before Paani, that he shifted focus to the biopic, spending 18 months ‘becoming’ the titular character with former Indian wicketkeeper Kiran More. “Complete immersion is important, more so when you're playing a real-life living character. Viewers must feel you are him and not pretending to be him," he had reasoned, admitting that there were times when he felt like he was talking like Dhoni.

During that interview, he was asked what if he could fast forward to 2040, when Paani unfolds, and he looked horrified, “I wouldn't even jump a year ahead, forget 25 years. I’m a control freak, which is why I can't sleep at night for longer than four-five hours. My friends insisted that I consult a doctor, who told me that I was excited and restless for no particular reason, which is why I couldn't sleep. Also, I was afraid that if I did, I would lose control.”

Sushant was a National Olympiad winner in physics, and having grown up in a large family, had learnt the value of money early on, when he couldn’t pursue his dream of going to Stanford University. Instead, he took the All India Engineering Entrance Exam (popularly known as AIEEE) and came seventh, securing a seat in the prestigious Delhi College of Engineering. However, he dropped out in the final year. “If I had waited another six months, I could have come to Mumbai with a degree. I take time to make decisions, but once it is made, there are no regrets or uncertainty,” he had pointed out.

Starting out with TV soaps like Kis Desh Mein Hai Meraa Dil and Pavitra Rishta, he made a smooth transition to films with Abhishek Kapoor’s Kai Po Che!, for which he bagged a Filmfare Award for Best Debut. With just 10 releases, his filmography is short but varied, with films like Shuddh Desi Romance, Detective Byomkesh Bakshy, PK, Kedarnath and his last release, Chhichhore, in which Sushant played a doting dad trying to revive his son from a coma caused by a suicide attempt.

Around the release of the Abhishek Chaubey-directed dacoit drama, Sonchiriya, the actor had told Mirror that he has 12 films in the pipeline. “It’s for me to decide what to do next…There is no film that I want to do that I can’t do,” he had stated confidently. His last film, Dil Bechara, an official adaptation of The Fault In Our Stars, was gearing up for a direct-to-digital release.

Two years ago, the actor had flown down to National Aeronautics and Space Administration (NASA) to train as an astronaut to play one in a film, which he later opted out of, but not before buying a piece of land on the moon and promising to come up with his own space film. Then, as a part of his 50-dreams-to-realise list, he wanted to send kids for workshops at Indian Space Research Organisation (ISRO) and NASA. He would regularly study constellations in the sky from the terrace of his Pavana home, also going fishing, boating and swimming in the lake close by. But he had clarilifed that both the Bandra apartment and this holiday home were rented. “The only property I own is on the Moon, besides the Maserati, which was a childhood dream,” he had informed.

During the lockdown, the actor was learning how to code for his love of computer games. He even listed down tried-and-tested methods to optimise Return of Investment on time, advising fans to get seven hours of sleep, meditate regularly, journal, exercise, optimise digital time and practice intermittent fasting to upgrade their quality of life. His words, "If you give me more money and fame, I will keep it because I am smart, but if I don’t get it, I won’t worry because I have enough already,” spoken during an interview, resonate as we bid him adieu.

Last year, he had confided that for his 33rd birthday on January 21, he had wanted to fly to Norway and paint the Northern Lights. It was one of the many things on his 150-to-do list that remained incomplete.

Solanki Diwakar, who’s acted in films such as Dream Girl and Sonchiriya, sells fruits on Delhi’s streets to support his income when he isn’t working on a film
Niharika Lal (BOMBAY TIMES; May 29, 2020)

Solanki Diwakar, an actor who has worked in films like Dream Girl, Halka, and Sonchiriya, has been supporting his family with his ‘side-business’ of selling fruits from Okhla to Malviya Nagar in Delhi. The 38-year-old actor, who hails from Agra, lives in Sriniwaspuri in Delhi, and when he is not auditioning for (or acting in) films, he’s back on the streets with his fruit cart.

But it’s not like filmmakers haven’t tried to help him. Solanki says, “When directors came to know I’m selling fruits during the Coronavirus pandemic, they got in touch with me to help, but I have been selling fruits as a part-time job for almost 10 years, and now when shoots have completely stopped, this is what’s keeping me afloat. My directors Nila Madhab Panda, who gave me a role in Kadvi Hawa and Halka, and Raaj Shaandilyaa, who directed me in Dream Girl, got in touch with me, but I’m doing well. Everyone’s in distress during the pandemic, not just me.”

Cine associations are supporting actors and crew members in Mumbai, didn’t he get in touch with them for support? He says, “While I am supporting myself by selling fruits, several artistes and crew members want to do only film industry-related work, hence they need more help to sustain themselves right now. All shoots have stopped. Maybe, in a couple of months, we’ll start shooting again.”

Solanki adds, “I have done small roles in over 30 films. I went to Mumbai in 2005, but I didn’t get the opportunities I wanted, so I came back to Delhi.” He says that since the income from films is not sufficient, he can’t stop selling fruits.

But with interested customers, Solanki loves to share his experiences from the film world. He says, “Yes, people often ask me, ‘Aisa lagta hai aapko kahin dekha hai.’ I smile and tell them that they must have seen me in movies.”

Stating that Sonchiriya will 'always top my filmography', Bhumi Pednekar disappointed at dacoit drama being snubbed at awards shows so far
Mohar Basu (MID-DAY; December 19, 2019)

It has been an "overwhelming" year for Bhumi Pednekar. After kicking off 2019 with Sonchiriya, she followed it up with Saand Ki Aankh, Bala and Pati Patni Aur Woh. "The benchmark for what I expect of myself is so high right now that I hope I can keep meeting it," she smiles.

While her remaining films hit the bull's eye, Abhishek Chaubey's dacoit drama proved to be a washout at the box office. "It is heartbreaking that the film didn't get its due. For me, it will always be at the top of my filmography as it taught me a lot. Abhishek changed me as an actor. The film required a lot from me — I was playing a rape survivor who had a child marriage. I couldn't have tapped into those emotions without Abhishek's guidance."

The stellar performances and gritty treatment of the story was widely applauded by critics, with many believing it would be a strong contender for awards.

Surprisingly, the drama has been snubbed at the awards shows held so far. "It feels bad. But the silver lining was that Sonchiriya never faced a dearth of love. It earned a lot of respect."

Although she took home a gong for her shooter dadi act in Saand Ki Aankh, Pednekar admits she would rather "chase rewards". "I don't understand how awards work, but any appreciation for your work is good. I don't want to do a film to get an award. I want the audience's respect, and if you get an award in the process, that's great."

Bhumi Pednekar, adding she is here for the long run
Suktara Ghosh (MUMBAI MIRROR; November 29, 2019)

Not many leading men and women of Bollywood can rival Bhumi Pednekar’s resume. The actor, armed with a kitty of six films, has proven her craft as well as her mettle in only four years. From piling on nearly 30 kilos—quite unheard of in this part of the world—for her debut Dum Laga Ke Haisha (DLKH), to playing a 60-year-old in Saand Ki Aankh, and soon a 19-year-old in the upcoming Dolly Kitty Aur Woh Chamakte Sitare, Bhumi seems to have already done it all.

2019 indeed, has been a special year. She’s had three releases, of which two are hits, and a fourth film, Pati Patni Aur Woh, is set to release on December 6. “I’m still processing it, but I’m more confident about my choices as an actor now,” says the 30-year-old.

Bhumi, in fact, oozes confidence. “I’m very ambitious, I want it all,” she says. And when she opens up on her craft, one doesn’t need to make much of an effort to spot the clear eye and steady head at work. Quiz her on the recent flak she received for playing a shooter double her age and using makeup to play a dark skinned lawyer in Saand Ki Aankh and Bala respectively, and she retorts: “By that logic, a naturally fuller woman should have played Sandhya in DLKH.”

“I’m an actor. It’s my job to transform into different characters,” she points out. “I respect people’s opinion, and I did take a step back to think about what they were saying. But I think I will continue to pick such roles because I like challenging myself. And let’s not forget that there simply aren’t enough meaty roles written for women.”

Bhumi though, seems to find her way to those that are. She almost hops with excitement while talking about Dolly Kitty…, Alankrita Shrivastava’s upcoming film co-starring Konkona Sensharma. “It’s a celebration of womanhood and I had a blast filming it,” she says. She’s also consciously looking to impart some of her real-life glam to her onscreen avatars. While she’s tight-lipped about how she’s prepping for Karan Johar’s magnum opus Takht, she has thoroughly enjoyed playing Vedika in Pati, Patni Aur Woh. “She is a strong woman who’s very aware of her beauty and the power she has over the opposite sex. I want to do these glam roles too. I have grown up on ’90s Bollywood… I love all the dancing and nakhras!” she laughs.

But it’s in her rooted-in-life roles that the actor undoubtedly finds her mojo. “My life has become infinitely more enriched since I began acting, and it’s because of these roles,” Bhumi says. “I realised I am so privileged that I can’t even imagine not having access to a toilet. Or take what Chandro and Prakashi Dadi have achieved—that is real feminism.”

Working with directors such as Abhishek Chaubey (for the hard-hitting Sonchiriya; incidentally, her only film that failed at the box office) too adds to her actor’s arsenal. The avant-garde filmmaker asked her not to emote through her eyes while playing a rape survivor in brutal Chambal. “It was very tough but it taught me a new tool,” she says, adding that she facetimes with the child actor, Khushi and 500 other kids, who are cared for by a Madhya Pradesh NGO, every Sunday. “They have become a huge part of my life.”

Given that most of her characters are from heartland India, Bhumi works hard to ensure their authenticity. “I read, do workshops, watch videos, try spending time in that region, talk to locals, read their literature, try learning songs,” she shares. “It’s a lot of homework. But the moment you start thinking like the character, a lot of things automatically fall into place.”

Her biggest school, however, was her time behind the camera—she began working as a casting director at 17 with one of B-town’s leading studios before switching sides. “The first thing you learn is that every person on the set contributes to your work. Actors are usually full of themselves, and think they are the fulcrum of a film. That’s not true,” she says. Those six years also taught her to be a professional. “I absolutely hate being late for work commitments. I’d get up at 2.30 am to get ready for the long makeup schedules of Saand Ki Aankh and Bala because I didn’t want to be late,” says the self-confessed workaholic, who feels guilty about not working one Sunday.

She also credits her parents and her growing up years between Juhu and Jaipur—where she spent idyllic holidays with her grandparents—for her intuitive understanding of people and characters. “My sister and I have been brought up in a secular, empathising environment. I’m a people’s person too. I used to chat with the didis and bhaiyas in school. I talk to my staff or people I meet along the way—it’s who I am,” she shares.

And does her empathy ever collide with her privacy? Bhumi says she enjoys her stardom and knows what comes with the territory. But she did find herself floundering when a fan began clicking selfies without asking her as she sat crying outside her grandfather’s hospital room in Chandigarh. “I was a mess. My nose was running, I couldn’t breathe. I didn’t know how to react. I simply walked off,” she says.

Bhumi has, by and large, managed to steer clear off the other bane of a celeb’s life these days—trolls. That is, till she started an online campaign to raise environmental awareness. “People tell me some very nasty things,” she laughs, adding that it’s her way to do a little bit for the world. She has brought in small changes in her personal life as well. “I used to be a shopaholic and loved hoarding makeup, for instance. Now, I know how much of our resources go into making these, and I’m really ashamed,” she says.

The actor also feels she has become a better person. “I’ve matured a lot, I take responsibilities and have de-cluttered my life. The people I have met have widened my horizons.” And what does the ‘future leader’ in her Twitter bio signify? “I want to be someone who has enough sensibility and brains to be emulated.” This girl’s sure got places to go.

Playing a small-town girl again in Pati Patni Aur Woh, Bhumi Pednekar argues her characters have been distinct despite a similar milieu
Sonil Dedhia (MID-DAY; November 9, 2019)

Bhumi Pednekar has had a busy year with as many as three movies hitting screens. While each film has underlined her acting prowess, detractors have argued that she rarely goes beyond the small-town woman act. A case in point being the upcoming Pati Patni Aur Woh that sees her as a Lucknow-based homemaker.

Point this out to Pednekar, and she says that the coincidence hasn't missed her notice. "I am a desi girl and I will celebrate it because, in my real life, I am nothing like my characters. So, I am proud that I can transform myself for these roles. I have played a 70-year-old woman in Saand Ki Aankh, a 20-year old in Dolly Kitty Aur Woh Chamakte Sitare, and a 28-year-old mother in Sonchiriya. In Pati Patni Aur Woh, my character breaks the stereotype of how a patni is shown on screen," she reasons, adding that she has chosen parts that are markedly different from one another despite a similar milieu. "As of now, the audience hasn't found it repetitive. The day that happens, I will have to rethink [my choices]."

For now though, Pednekar is enjoying her moment in the sun. While Bala is being lapped up by the audience, Saand Ki Aankh continues to find takers in its third week. The Tushar Hiranandani-directed drama came alongside two Diwali releases, but has managed to hold its own at the box office.

"[I am overwhelmed] by the love showered on Saand Ki Aankh. I am not a trade analyst, but I have observed that despite its rocky start, the film's collections are slowly and steadily rising. It's a motivating factor for me."

Rachana Dubey (BOMBAY TIMES; October 16, 2019)

In about four years of making her debut, Bhumi Pednekar has been stereotyped, but not in a way that she minds. The actress has increasingly played roles that belong to small-town-India in Sonchiriya, Toilet — Ek Prem Katha, Shubh Mangal Savadhan and Dum Laga Ke Haisha. And moving forward, her kitty is brimming with films like Bala, Pati Patni Aur Woh and Saand Ki Aankh in which she plays characters from the interiors of India. In a conversation with BT, Bhumi talks about her Haryanvi lineage, her insecurities, fears and a special friend who she is being linked to. Excerpts:

At 30 something, your decision to play 65-year-old Chandro Tomar in Saand Ki Aankh has become a point of conversation on social media. Your thoughts?
When it comes to films, people are entitled to an opinion, and it’s fine. I don’t necessarily have to agree with what everyone says. If a great character, irrespective of her age, comes my way, and I like it, I will take it up. I won’t shy away from it just because someone has an opinion different from mine.

You often get attacked on social media for your posts. Do you ever feel the need to react to them?
I don’t even read most of them, forget about reacting to them. I post a lot of things on a variety of subjects, but I don’t bother with the reactions. The only time I make an exception is when I write something about climate change. People write the dirtiest comments on those posts and I read each one of them. I don’t let them affect me. Strangely, I get trolled every day for my posts on climate conservation. Few would know that I’m very passionate about this subject and I have also started something on my own for this cause. But each time I post something, people write nasty comments. I have never understood why!

In an interview, you said, ‘I was meant to be an actress. I didn’t become one by accident.’ After toiling hard to make it to the silver screen, you’ve not adhered to a single industry norm. And yet, you’re in a space where you have one film releasing every month, for the next few months. There’s a game-plan at work, right?
I can just say that it’s not easy, but it’s fulfilling. I’m just four years old in this business, out of which I spent one year knocking off the weight I had piled on for my debut film. While Sonchiriya didn’t do well for the producers, it did wonders for me. I was appreciated and the eight-month-long prep paid off. I’ve landed myself a chance to work with directors like Abhishek Chaubey, Zoya Akhtar, Karan Johar, Mudassar Aziz, Amar Kaushik and Tushar Hiranandani in the last one year or so. By the end of this year, I will be eight films down. I have the backing of some amazing directors; what else do I need as an actor to survive?

But why have you not consciously tried to break away from the small-town-girl stereotype?
I just seek good roles. It doesn’t matter where they belong. I don’t mind becoming the face of small-town, rural India, because it’s home to such beautiful stories. In this year alone, I’ve gone from playing an urban 19-year-old in one film, to a girl of my own age from Lucknow in another, and a 65-year-old woman from a village Saandh Ki Aankh. I’ve played a woman of every age this year. I indulge in the craft of being an artiste, so, I don’t have a reason to be insecure. God has been kinder to me than most people, who have had to wait for longer to get that one ounce of success. I had some amazing films coming my way right from the word go and it all happened quite fast. I got that appreciation that everyone yearns for. The momentum in my career right now is something else and I have worked hard to get it. It really didn’t happen by chance. I am not saying that I don’t want to break the stereotype you are talking about, but the role has to be good enough. I won’t give the nod to a role for the heck of it. In today’s day and age, artistes anyway have enough avenues to display their real selves to the audience, so there’s no stress as such.

What drew you to play the 65-year-old sharp shooter, Chandro Tomar, in Saand Ki Aankh?
When director Tushar Hiranandani narrated the film to me, I wondered what he wanted me to play. There’s very little about Chandro and Prakashi daadis’ youth in the film. He told me that he wants me to play Chandro Tomar throughout the film. I felt it’s a chance of a lifetime to play someone who has had such an inspiring journey. It’s an endearing story about two grannies who, after living their life behind a veil in Johri Bagpath, decided to become sharp shooters at 65. They broke the shackles of patriarchy for their daughters and grand-daughters. They’ve uplifted some 50,000 children by now. Their life and journey prove that merit can take you places at any age. This could have become a dark, intense film about social imbalance, but the writers made sure it’s not. These women didn’t suffer violence or oppression. It was a matter of fact for them that women are given lesser importance than men. These daadis accepted social inequality as their way of life. Meri naani ne woh sab dekha hai; these women don’t even realise if they have their own dreams and aspirations. Things began to change with my mother’s generation because my grand-dad was in the army. My mother led a different life.

You trained in shooting a gun. There are also videos that show how Taapsee Pannu and you spent time with Prakashi and Chandro. Apart from the prosthetic make-up, how challenging was the prep?
Prakashi and Chandro daadi are so different. Taapsee and I fit their parts well because coincidentally, we’re like them in a lot of ways. Chandro daadi thinks a lot before acting on something, and Prakashi, acts on impulse. Taapsee and I are like that in real life. We picked up the spirit of leading life from them. At times, Taapsee and I spent time with the daadis together and sometimes, we met them alone, too. I knew of them. They belong to the region my mother comes from. I saw a lot of their videos and spent time with them before playing the part.

You’ve never really spoken about your Haryanvi lineage...
Actually, playing Chandro daadi is a tribute to my granny. I have put so much of her in this character, apart from real character references. Recently, I saw the film with my family, and my mom told me that she could see my naani in me. My naani was a lot like Chandro dadi — strong, intelligent, witty and funny. If you look at grandparents, after an age, they become so pure and cleansed. I felt that purity at this age; it’s a rare experience. I am a half-Maharashtrian and half-Haryanvi, and that is the reason I felt more pressure while playing the role. I don’t know the language and my mother is a theth Haryanvi, who is very proud of her roots. Playing roles that belong to your lineage can be very difficult. I couldn’t go wrong with the language, although it’s Hindi-laced in the film.

When you make decisions like playing a character twice your age, do you fear that this could be a professional risk?
Of course, I was scared. When I was signing up for Saand Ki Aankh, I was told that I was making a mistake and it’s a silly choice. I plunged into the film with my gut instinct. How often do you get a chance to play such characters? I am glad that I always land a role which is different from the herd. I understand that people who advise you against a film also have your best interest at heart, but Sonchiriya taught me that when you make a decision, stick to it and own up to the outcome. The hit-flop aspect stops affecting you and you move on. Today, for a filmmaker, talent is more valuable than anything else. In the last eighteen months or so, I’ve switched between so many characters that at one point, I had forgotten what I really look like. I had bouts of sickness and fatigue, but I didn’t want to stop, and I didn’t, because it would have annoyed me a lot. I’m not scared to try something new and challenging where my prep is far more than chopping my locks.

You’ve not been home for more than a month this year. But rumour has it that you’ve been seen hanging out with actor-producer Jackky Bhagnani in the city, and there’s something more to this than meets the eye...
I don’t react to such things because there is no truth to it. I have read the most bizarre things about my whereabouts. Often, I’ve not been in Mumbai and I’ve still been spotted in the city, hanging out with someone or coming out of someone else’s car. It’s so random and bizarre. If there is fodder for speculation, I can understand, but baseless stories are beyond me. I have known Jackky from before I became an actress. We go back 10 years. I can’t ruin my friendship over short-lived gossip. It’s a rare, beautiful friendship. So, whenever I read something stupid, I just speak to him about it and move on.

So, there’s no time to fall in love?
I have to tell my mother to find me a boy because I don’t have the time for it. I don’t miss being in a relationship right now. Actually, I don’t have the bandwidth to invest in another human relationship. The ones in my life are enough to keep me happy.

Bombay Times spoke to the producer after the Competition Commission of India ruled in favour of the multiplexes on the Virtual Print Fee (VPF) issue
Rachana Dubey (BOMBAY TIMES; July 26, 2019)

Back in March, producer Ronnie Screwvala had filed case with the government body Competition Commission of India, against four multiplex chains — PVR, Inox, Cinepolis and Carnival Cinemas — and the FICCI Multiplex Association of India, alleging undue imposition of Virtual Print Fee (VPF). In his petition, the filmmaker complained that the multiplexes make Indian film producers/distributors cough up Rs 20,000 for every film screened, per screen as VPF.

On Wednesday evening, the CCI ruled the matter favouring the multiplex chains and their association, citing that there wasn’t enough reason or material for them to initiate a probe in the matter as Ronnie had demanded in his petition. The Commission observed that the general allegations made in the case, including lack of transparency in exhibition of trailers and promotions, do not fall within the ambit of the provisions of the Competition Act, 2002. The Commission was of the opinion that there exists no prima facie case warranting investigation into the matter.

Talking to BT about this, Ronnie said, “I have read the ruling from the CCI on the cartelization by the multiplexes and they have dismissed the petition on the grounds that it lacked documented proof of such misuse of collective power. My complaint was not an anonymous one which is normally how it starts. It was based on asking the CCI to launch a formal probe and investigation and they would have got all the documentation and proof they needed. But they have ruled on it and I respect and abide by their final view. I am disappointed, though not surprised, at the complete lack of support from all colleagues, producers, distributors and the creative community who in private commended the action. But not one individual, company or association supported my complaint as that would have gone a long way to endorse with the CCI the apparent practices that is common knowledge to all. I am a firm believer that there is a circle of life and in the end, truth always catches up with reality. So, I am sure that at an appropriate time there will be justice to this. Meanwhile, it’s business as usual for the multiplexes while fair play takes a back seat.”

Talking about the ruling, Kamal Gianchandani, the head honcho of PVR Cinemas, told BT, “I think the CCI’s decision validates what we have believed and said from the time this one particular matter came to the fore. I am thankful to them for viewing it objectively.”

To jog your memory, as a result of Ronnie’s petition, Inox Leisure had boycotted the film Mard Ko Dard Nahi Hota and refused to screen it (which was produced by Ronnie’s company). Reportedly, he was asked to withdraw his complaint, if he wanted the multiplex chain to screen his film. The producer, it’s learnt, had paid VPF to other multiplexes, albeit under protest, for his film to be screened. His petition described VPF as a draconian, discriminatory charge that the multiplex chains are forcibly imposing.

In 2010, following a discussion among producers, distributors and exhibitors, the process of transformation from physical prints to digital had started. Back then, it was agreed upon that VPF will be levied to support the transition for five years, which ended in December 2015. According to Ronnie’s complaint, the period was extended twice, following a verbal agreement between producers and distributors with the sunset clause till December 2017.

What is Virtual Print Fee?
Earlier, when films were developed from negatives, the distributors and producers had to pay a Print Fee to develop the print of their films. And the exhibitors used to bear the projector costs. VPF was first introduced to help make multiplexes compliant with Digital Cinema Initiaties (DCI), a technology that helps reduce cost, curbs piracy and enhances the movie-viewing experience. Since the technology was costly, it was agreed that the multiplex chains will charge Rs 20,000 per screen for each movie for five years to recover that cost, beginning 2010.
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Ronnie Screwvala reacts to the CCI’s order against his allegation of undue imposition of Virtual Print Fee by national multiplex chains; Kamal Gianchandani of PVR says it was not an industry issue
Himesh Mankad (MUMBAI MIRROR; July 26, 2019)

On March 19, Mirror had reported that Ronnie Screwvala had filed a case with the Competition Commission of India (CCI) against four multiplex chains—PVR, Inox, Cinepolis and Carnival Cinemas—and the FCCI Multiplex Association of India after the release of Sushant Singh Rajput’s dacoit-drama, Sonchiriya, for “anti-competitive collusion with respect to undue imposition of Virtual Print Fee (VPF)”. In his petition, the filmmaker had alleged that the multiplexes make Indian film producers/distributors pay Rs 20,000 for every film screened in their theatres as VPF. He described it as a “draconian discriminatory charge that the multiplex chains are forcibly imposing”.

We have now learnt that in its judgment passed on Wednesday, the CCI has given a clean chit to the multiplexes. “The informant (Ronnie) did not allege that VPF is anti-competitive per-se, rather, the allegation of informant pertains to its undue imposition after a certain period,” read the judgment. It observed that there is no formal/written agreement pertaining to imposition of VPF between producers and national multiplex chains, hence a ‘Sun-set clause’ doesn’t exist. The case was filed under section 3 of the Competition Act, 2002, which prohibits an association or enterprise from entering into anti-competitive agreement.

Ronnie, in his petition, had stated that following a discussion between producers, distributors and exhibitors in 2010, the transition from physical prints to digital started and a fee was agreed upon to support the evolution for five years till December 2015. It was extended twice, following a verbal agreement with producers/ distributors till December 2017. “But they have continued collecting VPF directly from distributors of Hindi and regional films,” he groused. Apart from VPF, Ronnie also raised concern over delay in release of payment by the multiplexes, lack of transparency over screening advertisements and inserting interval in films which don’t call for a break. These grouses didn’t fall within ambit of the Competition Act, 2002. The concluding lines of the CCI’s order read, “The commission does not find alleged contravention of the provision of Section 3 of the Act against opposite parties being made out.”

Kamal Gianchandani, CEO, PVR, reacted to the CCI’s order, saying, “It is a validation of the position we had taken all along.” He added that partners often have disagreements and he’s looking forward to the future because content producers and suppliers are integral to the business. “We are committed to working in a constructive fashion. I’m glad that the debate at the CCI forum is out of the way, this wasn’t an industry issue, but rather a disagreement with one producer,” he insisted.

Ronnie is disappointed that colleagues from Bollywood didn’t come forward to support him. He believes that CCI’s verdict would have been different had the film industry shown some unity. “Have read the ruling from the CCI on the cartelization by the ’plexes and they have dismissed the petition on the grounds that it lacked documented proof of such misuse of collective power. My complaint was not an anonymous one which is normally how it starts and was based on asking the CCI to launch a formal probe and investigation to all the practices and they would have got all the documentation and proof they needed. But they have ruled on it and I respect and abide by their final view. Am disappointed though not surprised at the lack of support from colleagues, producers, distributors and creative community who, in private, commended the action but not one individual, company or association supported my complaint as that would have gone a long way to endorse with the CCI the apparent practices that is common knowledge to all.”

He ended saying, “But I am a firm believer that there is a Circle of Life and in the end truth always catches up with reality so am sure at an appropriate time there will be justice. In the meantime, it’s business as usual for the ’plexes while fair play takes a back seat.”

Stating that Bollywood is now open to experimental films, Arjun Kapoor keen to boost his box-office run with India's Most Wanted
Sonil Dedhia (MID-DAY; May 3, 2019)

It's a busy time for Arjun Kapoor, who has three films lined up this year. That he is constantly experimenting is evident in his choice of projects, which include the action thriller India's Most Wanted, a black comedy in Sandeep Aur Pinky Faraar, and a historical in Panipat. "2018 wasn't my year, so I am hoping that 2019 is the year for me," says Kapoor, acknowledging his less-than-favourable run at the box office last year with admirable honesty.

He is set to kick off his innings this year with the Raj Kumar Gupta-directed thriller. Proud to front a film that is far removed from the mainstream fare, Kapoor says Bollywood is now welcoming of experimental cinema. "Now, one can't think in terms of a hero or villain. It's the best time to experiment because directors and scriptwriters are coming up with brilliant ideas. It's about taking the right chances and in the process, even if you fail, you learn from it. I am here today because the audience wants to pay to watch my films."

An admirer of Gupta's gritty movies, Kapoor considers himself fortunate to work with him early on in his career. "When I called to congratulate him on Raid [2018], he told me that he wanted to share a story. I read the story on Valentine's Day last year and agreed to be part of it. I totally went with his conviction."

Quiz him on his long-delayed film with Dibakar Banerjee, and he says, "Sonchiriya and Luka Chuppi [blocked the date] that we were supposed to come on. So, that date was cluttered. Since India's Most Wanted was already slated to release on May 24, we didn't want to shift it to accommodate this one. Sandeep Aur Pinky Faraar will release immediately after India's Most Wanted; Yash Raj Studios [producer] will announce the date soon."

After Ronnie Screwvala poured his heart out to BT about his fight against the Virtual Print Fee (VPF) charged by multiplexes for screening films, producers and distributors have begun to echo his sentiments. Here’s what some of them had to say...
Rachana Dubey (BOMBAY TIMES; March 27, 2019)

A few days ago, Ronnie Screwvala filed a case with the Competition Commission of India against four multiplex chains — PVR, Inox, Cinepolis and Carnival Cinemas — and the FICCI Multiplex Association of India, alleging undue imposition of Virtual Print Fee (VPF). In his petition, the filmmaker complained that the multiplexes make Indian film producers/distributors cough up Rs 20,000 for every film screened per screen as VPF.

As a result, Inox Leisure boycotted Mard Ko Dard Nahi Hota and refused to screen it in their properties. Prior to that, the scale of Sonchiriya’s release was impacted and looking at the cost involved, the filmmaker was forced to release Love Per Square Foot digitally. In his interview to Bombay Times, Ronnie told us, “The five charges I have brought about are very serious and need a final solution, even if that means a face-off. The matter is now sub-judice and so, I cannot comment more on it. But it would be a cop-out to not take full accountability for what you think needs to change.”

We also reached out to several top bosses in Bollywood’s production and distribution stream. A few of them told us what they think:

HANSAL MEHTA, PRODUCER-DIRECTOR
The matter is sub judice, but Ronnie has taken a huge initiative. He brought this before the CCI. With them, you can even file your complaints anonymously, but Ronnie didn’t do that. Now, we have to wait and watch what happens.

DINESH VIJAN, PRODUCER
There is merit in Ronnie’s stand against the system. Our initial gesture was meant to support each other and grow better and stronger as a fraternity. We have continuously extended our support to the exhibitors, and paid our dues. However, our agreement was for a five-year term and since we have upheld our end of the deal, they should, too. We should stand together and support each other in creating a fair and ethical working environment.

JAYANTILAL GADA, PRODUCER
I thank Ronnie for taking a huge step ahead. VPF is an expense that hurts producers. It’s been waived off in so many progressive countries. It affects the success ratio of films in a big way, and has to be brought down considerably if it can’t be fully eliminated. At some point soon, it has to be eradicated for more films to reach theatres and increase the ratio of hits that we produce. In fact, if you look at the South industry, everything is controlled, including the VPF expense. The industry must support Ronnie’s move.

AMOD MEHRA, INDEPENDENT DISTRIBUTOR
Ronnie was brave enough to take these cinema chains head on. The VPF cost was meant to recover the cost of transition to digital projection; it’s not anyone’s right to collect that money from distributors and producers for eternity. That’s like highway robbery. It’s become a given that all the multiplex chains, including the new ones that are starting with digital projection, will charge that VPF to producers and distributors. They arm-twist us and make sure that no one raises the issue, let alone fight it. And we are helpless as an industry because we need these cinema chains to screen films.

RAJESH THADANI, INDEPENDENT DISTRIBUTOR
As an industry, we should feel inspired by the South. They stood firmly together against the imposition of a hefty VPF amount. There is not much unity here and Ronnie is the lone warrior. I hope more producers join forces with him, because it’s not his problem alone.

ANAND PANDIT, PRODUCER (His film PM Narendra Modi releases in two weeks)
Business thrives on business and the fundamentals of demand and supply. What was started to aid a change has now become a habit. While everyone has the right to run their business and make profits, it’s important for multiplexes to understand that a big number of smaller, and great contentbacked films will not be able to release or sustain if this fee is continued.”

RAMESH TAURANI, PRODUCER
Ronnie has made a huge point in his interview with BT. VPF was meant to ensure that we all evolve together but now, it’s really hurting the producers. It’s a massive cost, which also has to be recovered for a film to be called a hit in the book of accounts. It’s a lot of pressure. Also, I agree with Ronnie’s point of view about spending excessive amount of time in a theatre watching ads in the middle or the beginning of a film. A two-and-a-half hour film takes over three hours and fifteen minutes to get over. It’s fatiguing for the audience to go through this and this needs to be looked into, immediately.
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INOX DENIES ACCUSATIONS

Here’s the statement issued by the multiplex chain:

According to certain media reports that have appeared in recent days, INOX Leisure Ltd (INOX), has reportedly been named in a complaint made to Competition Commission Of India (CCI). INOX would like to clarify that we do not possess any specific knowledge of the complaint, and this statement is based solely on what has been reported by the media.

INOX strongly denies and vehemently rejects the defamatory accusations of unfair and discriminatory practices, made in the media reports and the interviews by the said complainant. INOX emphatically denies the slanderous and malicious allegations regarding conduct which amounts to cartelization, and states that all these allegations are false, fabricated and madeup to negatively impact our image.

INOX will pursue its legal options as advised by its counsel from time to time, and will respond to all queries received from, or processes initiated by, any regulatory authority as and when asked to do so. Since the matter appears to be subjudice, as indicated by the aforesaid media reports, INOX refrains from making any specific comments at this stage, or answering any specific allegations. INOX would, however, like to reiterate that it has full faith in due legal process.

INOX is India’s second largest, and fastest growing multiplex chain. As a responsible corporate entity, it is driven by the highest standards of corporate governance and legal compliance. INOX respects and adheres to all regulatory guidelines, in letter and in spirit, in all its business practices.

Filmmaker has complained that Indian producers/distributors are being forced to pay Rs 20,000 per theatre, something Hollywood films are exempt from
Himesh Mankad (MUMBAI MIRROR; March 19, 2019)

Ronnie Screwvala has filed a case with the Competition Commission of India against four multiplex chains—PVR, Inox, Cinepolis and Carnival Cinemas—as also the FICCI Multiplex Association of India for “anti-competitive collusion with respect to undue imposition of Visual Print Fee (VPF)”. In his petition the filmmaker has complained that the multiplexes make Indian film producers/distributors pay Rs 20,000 for every film screened in every theatre as VPF. He described it as a “draconian discriminatory charge that the multiplex chains are forcibly imposing”.

Following a discussion among producers, distributors and exhibitors in 2010, the process of transformation from physical prints to digital started and the fee was agreed upon to support the evolution for a period of five years till December 2015. But, according to the complaint, it was extended twice following a verbal agreement with producers and distributors with the sunset clause till December 2017. “However, they have continued collecting VPF directly from the distributors of Hindi and regional films,” the petition states, pointing out that Hollywood movies, even dubbed versions, are exempt from VPF and this gives them a competitive advantage over domestic films.

The petition brings to notice that 2016 Aamir Khan-sport drama, Dangal, produced by Disney was not charged the discriminatory fee owing to an arrangement with the foreign studio regarding the exhibition of their international films in India. “This severely limits any kind of level playing field that Indian content creators crave for.”

The petition informs he was forced to release Love Per Square Foot, digitally, as the exorbitant charges to get his film screened in the national chains were not economically viable. It reasons that while national multiplex chains are the obvious choice for a theatrical release since they control 60 per cent of the entire multiplex film exhibition business in India, given that Love Per Square Foot was made on a budget of just Rs 8 crore, the additional cost would have made it a loss-making venture, as hypothetically, the multiplexes would have earned in excess of Rs 7 crore from him as compared to his earnings of Rs 2.35 crore. “All the Indian producers on an average have to pay Rs 2 to 3 crore to the multiplexes as Visual Print Fees, if they want to release their film on 1000 to 1500 screens,” it states.

More recently he had a run-in with cineowners during the release of the Sonchiriya. He’d planned to release Sushant Singh’s dacoit drama on 505 screens in PVR, INOX, Cinepolis and Carnival. But that would have meant spending Rs 93 lakh on VPF. So he had to change his release plans.

When we reached out to Kamal Gianchandani, the CEO of PVR Cinemas, he said, “Since the matter is now sub-judice and will be under investigation there is nothing more to add at this stage.”

Sonchiriya is a gripping fare, executed very well by master director Abhishek Chaubey. From the first scene itself, you are sucked into the bad, lawless world of Chambal. It takes a while to get a hang of the dialect, the characters and their equation with each other. But once that happens, there’s no looking back. The confrontations are dramatic and the action scenes are raw, gory and real. The way the secrets tumble out make the proceedings even more interesting. On the flipside, the film is quite complicated. This is more so on the second half. In fact, one has to be very attentive, especially in the finale. There’s one crucial angle which honestly speaking, I failed to comprehend. I guess I’ll need repeat viewing but even those who got the film completely would enjoy watching it again as one is sure to find and discover nuances which might have been missed earlier. Very few Hindi films boast of such a feat. Lastly, except for the title song, none of the songs are memorable. Talking of performances, Sushant Singh Rajput as always is in top form. One might miss his entry in the narrative – he has blended that well in his character and in the gang in the film. His performance is spot on and he looks very endearing in the light-hearted scenes. Bhumi Pednekar gets to play a very interesting role and is effective. Manoj Bajpayee dominates everyone in the film but sadly has a very small role. I wish to see more of him! Ranvir Shorey is too good, especially in the second half. Watch out for Sampa Mandal as Phuliya…what casting! Others also give their best. All in all, Sonchiriya is a genuine attempt, made without focusing more on the commercial aspects and with the intent of telling a story most honestly. Here’s hoping audiences give this film a chance!

My rating - *** ½ out of 5!

2 RUSTIC, DIVERSE SMALL-TOWN FILMS TO TRY THEIR LUCK TOMORROW!

After the release of two significant films over the last two weeks – Gully Boy and Total Dhamaal – it’s now time for a slew of small and medium-budget films. In fact, except for Kesari, the entire month of March and half of April is dominated by such films. Tomorrow, it’s the time for two moderately-priced movies, out of which one has a better chance to score. My analysis:

LUKA CHUPPI: It’s the first film of Kartik Aaryan after the super-hit Sonu Ke Titu Ki Sweety. Hence, the curiosity and buzz is there. The film looks interesting and his pairing with Kriti Sanon has also got noticed. The plot seems interesting and can make for a nice watch if made well. It’s also in the lines of loved films like Bareilly Ki Barfi and Shubh Mangal Saavdhan. Talking of music, it shockingly has only recreated songs. ‘Poster Lagwa Do’ however has become a chartbuster and the other songs are also being liked. The hype is not that huge. But it should attract youth and have an opening of around Rs. 4-5 crore. If the film has a strong family element, then it can sustain even better. Sonu Ke Titu Ki Sweety also initially seemed like a youth-based film. But when it came to light that family members of the lead characters also has a crucial part and is well executed, families started coming out to see it. Luka Chuppi can also have that advantage and can score. If response is bad however, it can crash from Monday.

SONCHIRIYA: It is directed by acclaimed director Abhishek Chaubey of Ishqiya and Udta Punjab fame. It stars Sushant Singh Rajput, Bhumi Pednekar, Manoj Bajpayee and Ranvir Shorey. Based in Chambal valley in 1975, it focuses on a gang of dacoits. The trailer promises some realistic drama and gory action. It also indicates that the makers have worked hard in giving the audiences as real an experience as possible. However, at the same time, it’s too niche. The CBFC has given it an adults-only certificate. As a result, the business won’t be huge even if the response is positive. It can take an opening in the range of Rs. 2-3 crore. Business can zoom upwards from Saturday and Sunday and sustain well in coming weeks, if response is positive. A lifetime of Rs. 35-40 crore would be good enough for the film.

WHICH FILM WOULD YOU LIKE TO SEE AND WHY? DO LET ME KNOW!

Bhumi Pednekar also reveals she’s playing a ‘Mughal-rich’ character in a Karan Johar film
Avinash Lohana (MUMBAI MIRROR; February 26, 2019)

Sitting comfortably on a couch in a suburban hotel, Bhumi Pednekar greets you with a smile. The glow can be attributed to her last two films, Toilet - Ek Prem Katha and Shubh Mangal Saavdhan. And now, with five new films in the pipeline, the actress is looking at a busy year ahead. Excerpts from an interview:

Tomorrow you will complete four years in the industry. How does it feel?
(Laughs) It’s giving me goose bumps. I’ve always wanted to be an actor as this is the only thing I know how to do but since I don’t belong to a film family, I wasn’t sure. But my parents gave me a good education and the freedom to follow my dreams. Dum Laga Ke Haisha set the ball rolling and Toilet - Ek Prem Katha took it a notch higher. I lost my father a few years ago before I became an actor and today, I think he’s my guardian angel, guiding my career. All the characters I’ve played so far have been diversely different, none of them are from a rich background but they have been rich in emotions.

Priyanka Chopra also believes her late father, Dr Ashok Chopra, to be her guiding angel. Would you like to play your ‘girl crush’ in a film chronicling her life story?
I don’t think anyone can emulate Priyanka but given that I’m a decent actor, I can try. We share a birthday and since she was crowned Miss World, I’ve been obsessed with her. I look up to strong women and she is one.

Meanwhile, Abhishek Chaubey’s dacoit drama, Sonchiriya, set in Chambal, opens this Friday.
When Chaubey sir came with the offer, he was categorical that Chambal would be a big characteristic of the film as it’s distinct in terms of its people, their language, humour and quirks. Sushant (Singh Rajput, co-star) and I prepped up for three months before reaching Morena, eight days before we began shooting. We lived with the locals, cooking for them and cleaning their homes. Our physical training had started at Chaubey sir’s Aram Nagar office itself, when we had to walk without chappals. I learnt to carry water pots on my head, have ground kilos of wheat and chillies, cooked halwa and curry for the film’s core team on a chulha. My eyes would be watering and my hands would sometimes burn, but eventually it was worth the effort.

The lingo you speak on screen can be incomprehensible at times…
While learning Bundelkhandi, I realised this wasn’t the usual dialect training. It’s a language in itself and I had to work really hard to get it right. Of course, we have toned it down in the film for the audience to understand.

How was it shooting with dacoits?
They were dacoits once, now they have been rehabilitated but they have amazing stories to narrate. A few of them you will see in the film. In fact, many locals are a part of the cast. They would send us food on the set and were very nice.

Have you seen Shekhar Kapur’s Bandit Queen?
I must have seen it over a 100 times as we didn’t have any other film or material as authentic as Bandit Queen. In fact, the song “Choti Si Umar” was on my playlist during the shoot as it helped me get into character. There were certain locations where Bandit Queen was shot and I would click pictures and send them to Shekhar sir.

Next, you will be collaborating with your frequent co-star Ayushmann Khurrana for Dinesh Vijan’s Bala.
I’m looking forward to that because Ayushmann and I are not just co-stars but really good friends. We love working together as the comfort level is high. I love his parents, wife (Tahira Kashyap) and kids. While a lot of work has come our way of late, we were waiting for a great script and Bala felt right. It’s entertaining, quirky and has a lot to say, very true to our kind of cinema.

You wrapped up Alankrita Shrivastava’s Dolly Kitty Aur Woh Chamakte Sitare in January. How was that experience?
It was a set full of women, unlike Sonchiriya where I was the only woman amongst all the men. Not that made a difference, but it was fun. I’ve been wanting to work with Alankrita since I saw Lipstick Under My Burkha and Koko (co-star Konkona Sen Sharma) is one of the most beautiful people I’ve met… So attractive yet so unaware of her beauty, which is lovely!

While you have been applauded for your small-town characters, will we ever see you playing a city girl?
Every time someone tells me this, I keep repeating that I’m not seeking a character, but a story. Thanks to the wave of nationalism in the last five-six years, makers are making beautiful stories about our own country that need to be told. Most of these films require a performance and since I’m not repeating myself, I’m fine with that. Playing a city girl comes naturally to me, may be this year I will do something along those lines.

You mean there’s an offer?
I can’t talk about it except to say there’s a project in which you will see me be the most modern I can be. Also, in Karan Johar’s Takht, I will look the richest you have seen me. Karan has made me Mughal-rich (Laughs).

With so much happening on the work front, do you have time to date?
With the kind of films and prep I am doing, going to Chambal for Sonchiriya and Noida for Alankrita’s film, where do I have time for a love life? I am a young girl and I am open to dating, but at the risk of sounding clichéd, I really don’t have the time for it.