Kabir Khan's upcoming web series tells the story of the foot soldiers and captains of Subhash Chandra's Bose's INA, a script he has nurtured over 20 years. He thinks there couldn't be a better time to release it
Aastha Atray Banan (MID-DAY; January 12, 2020)

It was 1999, and director Kabir Khan was 25. It was an exciting time, he says, as he readied for the journey of a lifetime. He was setting off on a road trip from Singapore, through Malaysia and Burma, back to India. What made it better was that his co-travellers included, Captain Lakshmi Sahgal and Gurbaksh Singh Dhillon, both aged 86 and former veterans of Subhas Chandra Bose's Indian National Army (INA). Formed in Singapore in 1942, the INA, led by Bose, aimed to march to Delhi and oust the British. Khan admits his obsession with what was locally referred to as the Azad Hind Fauj. "I was just a few years out of film school then and I got the opportunity to travel with them for my documentary, The Forgotten Army. This was the first time since World War II, that they were retracing the route the Fauj had taken. It was also the first time anyone from the INA was going back to Burma. It was special for them. As for me, I was being told the story by those who were part of history," Khan says on the eve of the launch of his Amazon Original show. The five-part series chronicles the story of Lieutenant Sodhi and his army of men and women fighting for Indian independence.

His interest in the Fauj ensured he didn't forget that he had long wanted to turn the documentary into a feature. But he knew, it was an ambitious project. It took him 20 years to recreate it in a fictionalised format. "The story never left me. The reason I don't make sequels is that once I have made a movie, the story is done. With this one, I felt, it needed a larger canvas. It was a promise I had made to Captain Sahgal and Captain Dhillon. When I made the transition to features, this was the first script I wrote. It kept growing inside me, and the research was internalised in the form of this goldmine of information that I had heard from them," says the two-time National Award winner.

Every day of those three months he spent with the two veterans, now deceased, is etched in his memory, even as they were being watched by the Burmese administration and intelligence. Almost every scene in The Forgotten Army is based on true events, as narrated to Khan. He recalls a time when Dhillon and Sahgal insisted on locating a cave in the jungles of Burma, where they had taken refuge. This was 1944. It was at a place called Mount Popa, and it was their last station. "Captain Sahgal would joke that her husband, Prem Singh Sahgal, who was instrumental in the army, would have named his child Popa [if he had his way]. Their home in Lucknow is named Popa."

They wanted to find the cave that they had operated from. By then they had been reduced to a guerrilla outfit. The three looked for four days, and on the fifth, they met with success. "We went in. Captain Sahgal had told me that her husband had placed a Buddha idol in the middle [of the cave]. And sure enough, there it was. I get goosebumps when I think about it even now."

The story, he says, is about the foot soldiers. Khan, a student of Jamia Millia Islamia and a history buff reflects on India's current climate when he says, "It's important that we watch a story of true patriots at this time. One of the main characters in the story says, 'to be able to fight for the INA, nobody is going to ask you if you are Indian enough, or ask for documentation. You just need to know you are Indian, and that's enough'."


Subhash Chandra Bose reviewing soldiers of the Indian National Army in 1944. Pic/ Getty Images

Kabir Khan chronicles how he recreated Singapore's City Hall in Mumbai for The Forgotten Army
Sonia Lulla (MID-DAY; January 10, 2020)

Kabir Khan's The Forgotten Army will trace the making of the Netaji Subhas Chandra Bose-led Indian National Army, the Indian military wing formed by Indian prisoners of war who were captured after the fall of Singapore. Since a large portion of the story plays out in Singapore of the 1940s, the director recreated parts of the island city-state in Mumbai.

"While we shot the scenes of current-day Singapore in the country itself, the grandeur of old Singapore had to be recreated in Mumbai. [We did so] with the help of archival footage and cutting-edge technology," says the director proudly, adding that his team scoured through extensive archival footage available as part of pre-production. "In fact, we have used some of that actual footage in the show."

A story about Bose's valiant army would be incomplete without a mention of the leader's iconic speech, Tum mujhe khoon do. Singapore's City Hall, which bore witness to the landmark speech, was replicated in Mumbai's Film City. "It was important for me to recreate the iconic places of Singapore to present an authentic account of the incidents that transpired. [We've shot] hair-raising moments, such as the Japanese attacking the British Army on bicycles, [and] 30,000 soldiers marching from Singapore City Hall shouting 'Jai Hind' while raising their rifles. We also shot at the INA memorial in Singapore. Most sets were built with the help of blueprints, with VFX used to [enhance them further]. We had around 900 people on set working round the clock."

Despite battling objections from Netaji Subhash Chandra Bose's family, Gumnaami, says Prosenjit, is having a positive effect in society
Upala KBR (MID-DAY; October 19, 2019)

Bengali star Prosenjit Chatterjee, last seen in Traffic (2016) with Manoj Bajpayee, is in Mumbai to release the dubbed Hindi version of his controversial Bengali movie, Gumnaami. It is the positive response that the makers received from viewers in Kolkata that inspired them to take the film to different parts of the country.

"Considering the way it is running even today in West Bengal, it will achieve a cult status. Though it released with War and Joker, Gumnaami and War were the only two films that ran to a full house, starting from the 8.30 am show. In each theatre, everybody cried in the last scene, and gave the film a standing ovation. This film does not have a particular language. That's why we decided to release it across India; the issue is a national one," says the actor, who plays the part of Netaji Subhas Chandra Bose, in the film.

"I employ Hindi and English in about 90 per cent of the film, and barely use Bengali. Surendra Rajan, who plays Mahatma Gandhi, and Sanjay Motilal Gurbaxani, who plays Jawaharlal Nehru, are both Bollywood actors. The Hindi version, which was released yesterday, has been dubbed by Kay Kay Menon. We know it will go to all the film festivals."

The movie is based on the Mukherjee Commission hearings, which took place from 1999 to 2005 in Rabindra Sadan, and posed questions on Bose's death. "Srijit [Mukherji, director] wanted to question why the mystery [around his death] has not been solved yet. The backdrop is the Commission, where we show Netaji in parts. The movie is a dramatisation of the hearings, where an investigative journalist supporting the Gumnaami Baba theory locks horns with the lawyer who supports the theory of him having died in a plane crash."

Even before the original released on October 2, director Mukherji courted controversy after Bose's grand-nephew Chandra Kumar Bose, criticised him for the portrayal of Gumnami Baba as Netaji in the film. But, despite the backlash, Chatterjee says the team did not struggle with acquiring a censorship certificate. "The censor board received many letters, and several cases were filed against the producer and director. A PIL in my name too was issued from various people, including political parties. Some people said the movie was being funded by the BJP. But, it is not true. It's a controversial film, but we had it censored within a day, and got the uncut version [approved]. I liked the fact that, sitting in Kolkata, a Bengali director raised a question on Netaji, and now political bigwigs want to watch the film. The new generation has started researching about the [issue]."

In a bid to become the character he was set to play, the actor says he would disconnect from society and spend time closeted in a room. "I had to immerse myself if I needed to [successfully enact] Netaji, including [mimicking] how he looked, walked and spoke in Hindi and English. We have used lots of prosthetics. I even spoke to Rajkummar Rao, who did the web series, Bose: Dead/Alive [for references], because I was astonished at how perfectly he took to the character. He told me how he worked on Netaji's role. His performance gave me a kick; [and urged me to] perform right too."

Jayatri Nag (MUMBAI MIRROR; August 30, 2019)

Srijit Mukherji’s upcoming directorial Gumnaami has landed in trouble after Netaji Subhas Chandra Bose’s family raised concerns over his portrayal in the film. Signed by 33 members of the family, including Netaji’s daughter Anita Pfaff, niece Chitra Ghosh, grandnephew and BJP leader Chandra Bose, nephew Dwarkanath Bose and niece-in-law Krishna Bose, the statement has called for an end to the “long-running and sinister campaign to malign the image and legacy of the legendary leader”.

According to the family, a Delhi-based private organisation has been propagating the theory that a penniless recluse, Gumnami baba, who left behind trunk-loads of Netaji-related fake collectibles, is Netaji.

The statement, which doesn’t mention the film, read, “The Justice Mukherjee Commission inquiry in 2005 provided conclusive proof through DNA test at the respected central forensic science laboratory in Kolkata, that there was no match between Netaji and this Gumnami baba. Handwriting comparisons carried out at the same Kolkata laboratory…delivered a similar, negative outcome.”

Chandra Bose tweeted: “What nonsense is going on-Justice Mukherjee Commission, Justice Sahai Commission based on evidence have rejected the outrageous claim that one Gumnami Baba was #Netaji! Rumours can’t prove impossibility! No one has the right to denigrate Netaji by comparing him with a recluse.” Harvard Professor and former TMC MP, Sugato Bose agreed with him, saying, “Portrayal of this kind is a sheer insult of Netaji Subhas Chandra Bose.” Krishna Bose, Director of Netaji Research Bureau, concurred, “I am really saddened by the fact that the great patriot is insulted. Otherwise anyone can make a film.”

Srijit (inset) has said that the film, which was reportedly cleared by the CBFC on Wednesday, does not portray Bose as Gumnaami Baba and pointed out that the Mukherjee Commission had also mentioned Gumnami Baba in their report. “Even if you discount a theory, you have to give references, you have to mention it... We have no intention to insult Netaji, we have shown our respect to him in the film. It is a democracy, a filmmaker has every right to show all possible theories and talk about the mysteries surrounding the great icon we are all proud of,” he said.

Divya Kaushik and Abhimanyu Mathur (BOMBAY TIMES; August 15, 2019)

Though it is the Red Fort where the Prime Minister unfurls the tricolour every Independence Day, curiously enough, it is the India Gate that has come to signify patriotism in most films and TV shows. Tigmanshu Dhulia is one of those rare filmmakers who have shot inside the Red Fort, an opportunity he got while making Raag Desh, a film based on the famous Indian National Army (INA) trials.

According to Tigmanshu, the Red Fort does not feature so prominently on the screen because of Bollywood’s laziness when it comes to research. “This has happened recently. I think it is basically ignorance. Not many filmmakers are inclined towards history because more research is needed there. Research is a recent discipline in Hindi films, it wasn’t there earlier,” says the director.

A student of history before he became a filmmaker, Tigmanshu delves into how before the India Gate was even constructed, it was the Red Fort that stood tall as the symbol of India’s freedom struggle. “India Gate is publicised in a certain way in popular culture. Maybe it is because of that that whenever we speak of freedom or anything nationalistic, we show the India Gate. But when Netaji was at Bahadur Shah Zafar’s grave in Rangoon, he pledged that aapko main Hindustan wapas leke chalunga. Hum aapko Red Fort mein baithayenge. This is a fact. It was always the Red Fort. Dilli Chalo was Lal Qila Chalo,” says Tigmanshu.

The director-actor has had a strong bond with the Indian freedom struggle. His grandfather was a freedom fighter. “During the Quit India Movement, he was in prison for four years. The legacy of that period is the eczema that he contracted there, which has stayed in the family. I also have it,” the filmmaker says with a smile. It was only natural for someone who grew up with that background to look for stories associated with the freedom struggle to show on the silver screen, and this quest culminated in Raag Desh, which brought him to the Red Fort.

The director admits that though he lived in Delhi for years, it was Raag Desh that introduced him to the history of the monument. He shares, “When I went for the recce, it was very overwhelming. Uske pehle main saat saal Delhi raha hoon, three of them with NSD, but Red Fort kabhi gaya nahin tha. I had gone as a tourist but I hadn’t seen that side (the barracks) even once. But when I had to make the film, then I went there. The uniforms of Prem Sehgal, Shahnawaz Khan, Gurbaksh Singh Dhillon are all kept there. It was overwhelming to see that, to think that they must have walked there at one time. It was a great experience.”

Inside the Red Fort, Tigmanshu shot at the very place where the barracks that housed the INA officers once existed. That is when he learnt about the significance of the monument for the British. He tells us, “The Britishers had this idea that these guys are trying to challenge us, so let’s set an example, let’s have the trial at the Red Fort as it was an iconic place. Bahadur Shah Zafar ko unhone dethrone kiya. They wanted to set an example by putting all INA prisoners inside the Red Fort and decided that the trials will happen there. They were so foolish that they chose these three officers – one Sikh, one Hindu and one Muslim – which was kind of representing the entire country. That went completely against the Britishers.”

Tigmanshu says the INA Trials were the final nail in the coffin for the British Raj. He recounts an incident from then to prove his point. “When the trials were taking place at the Red Fort, the three officers used to live there. Red Fort had barracks where the museum stands now. From the barracks, the officers were taken to the room where the trials took place in a truck. This one time, a British officer and his Gorkha soldiers were leading the officers. This scene is in the film too. The British officer pushes the INA officers. Gurbaksh palat ke ek maarta hai usko. Aur koi bhi Gorkha soldier uss officer ki madad ke liye nahin aata. Uss din inko lagta hai ki yeh kya ho gaya! That was a big setback. Even Nehru ji spoke about it. That triggered the thought among British that if soldiers are not with us, who will save us? We need to get out of here. Otherwise, Churchill had openly said during World War II ki woh India nahin chhodne wale. Woh toh Labour party jeet gayi wahan aur INA hua yahan and that changed everything,” he says.

Tigmanshu further says that even Clement Attlee, who was the British Prime Minister when India became independent, attributed the independence to the INA. He shares, “Clement Attlee, who was the British Prime Minister for one term (from 1945-51), had come to India on an unofficial visit once. The Governor of Bengal (P B Chakraborthy, the then Chief Justice of the Calcutta High Court and the acting Governor of Bengal) invited him for tea. There, he was asked, ‘What do you think was the role of the Indian National Congress in independence?’ He just smiled and said, ‘It was not the Indian National Congress but the INA that sort of propelled us to leave India.’”

The director feels that the Red Fort and the history of freedom struggle associated with it symbolise religious harmony. He elaborates, “Red Fort stands as a symbol of an India that was there before the Britishers arrived and 1857 symbolises the Hindu-Muslim unity in this country. Woh jo mutiny hui thi, woh soldiers Hindu thay, Muslim thay, sabko East India Company ke khilaf ladna tha aur unhone bola Badadur Shah Zafar humara raja hai, toh sabne bola, Dilli chalo, Red Fort pahuncho. Red Fort humare Hindustan ki integrity, secular nature ko represent karta hai.”

In fact, during his research for Raag Desh, Tigmanshu came across several incidents related to the freedom struggle and the INA, which showed the secular fabric of the movement. He shares his favourite, “Burma had many south Indians at that time. There were Sikhs also. Netaji went to one south Indian temple. He was accompanied by some Muslim soldiers and the temple priest refused to let them enter. Netaji ne kaha mujhe toh yahan poore Hindustan ke liye puja karni hai. When he said that, the temple priest called them aur tika lagaya sabko. When they all came out of the temple, Netaji asked everyone to wipe off the tika from their foreheads and said the day we would start wearing religion on our faces, India will be divided. It was such a big thing. Don’t flaunt your religion. Religion is a very personal thing, aur aaj dekho kya haal hai.”

It was at the Red Fort during the INA Trials that the Hindu Mahasabha, Muslim League, and the Indian National Congress came together for the first time in support of one cause. The director sees certain lessons in this for the current populace in this fragmented climate. He tells us, “The right history was taught to us and we are a product of that era, but if that history is changed then there won’t be any meaning left in icons like Red Fort. People will forget 1857. In earlier days, roti and lotus flower had certain significance. Roti symbolises the moon or crescent and lotus flower has been Lord Vishnu’s symbol. So if one village wanted to convey it to the other that they are united, then one man from the village would carry a roti and a lotus flower. Even if that person would get caught, no one would realise what it was. So they started a system with these elements that were religious symbols, but the motivation was not religious. Kamaal ka daur tha 1857!”

With the recent spate of biopics, Mirror investigates whether Indian filmmakers can strike the balance between fact and fiction
Kunal Guha (MUMBAI MIRROR; August 26, 2018)

While directing Pandit Bhimsen Joshi, a 1992 documentary on the maestro’s life, filmmaker Gulzar quizzed him on his relationship with his stepmother. This was to also understand why the renowned vocalist fled home at an early age. “He told me, ‘Woh meri roti mein ghee kam dalti thi. But I only needed an excuse to run away because I wanted to learn music and not go to school’,” says Gulzar, adding that if he had misrepresented this chapter from Joshi’s life on celluloid in order to heighten the drama, it would not have been entirely honest. “If I had made that into ‘sauteli maa zulm karti thi’, that would be wrong,” says Gulzar. “The authenticity of such incidents is important. If you try to reconstruct them just to make them emotionally-loaded, gadbad ho jati hain.”

In this season of biopics, this is a glaring pitfall many filmmakers choose to ignore. Sanju, based on actor Sanjay Dutt’s life, is a prime example. Despite raking in a whopping Rs 339.93 crore, the film has been panned for being a PR exercise, which looks at Dutt’s tumultuous life through rose-tinted glasses. Filmmaker Rajkumar Hirani’s protestations that Sanju isn’t a whitewash job, appears to have fallen on deaf ears. Evidently, the constitution of Indian biopics borders on hagiography or a glorified portrayal of a life less ordinary. As sociologist Shiv Viswanathan says, they “theoretically, degenerate between bad history and bad hagiography”. And this unique blend of fact and fiction, with a dash of sparkle dust, renders a compelling narrative of rising above circumstances. Juggling between sensitive tribute and glorified portrayal, biopics have become a box office favourite, and Bollywood biggies are leaning in to translate the lives of everyone — from celebrated astronauts to accidental politicians to controversial writers — onto the big screen. But are they accurate depictions?

Keeping it reel
Most biopics rest on three planks: Biography, myth and folklore. “For a biopic to be successful, myth and history have to reconcile in the narrative. It cannot just be a linear narrative,” says Vishwanathan, adding that “describing Sanjay Dutt as an ordinary, everyday person would result in a boring watch”. But Sanju is not the first biopic to be selective about fact and fiction. Veteran cricket writer Prem Panicker recalls Azhar, based on former Indian skipper Mohammad Azharuddin’s contentious life, as an attempt to clean up his tarnished image. The 2016 film delved into the cricketer’s life and detailed the part when he was banned from First Class cricket on match-fixing charges. “While the film’s climax acknowledges that he took money, it says he did so with the benevolent intention of exposing corruption in the sport. This transmutes it into pure fiction, as it never happened,” says Panicker, adding that Mani Ratnam’s multiple National Award-winner Nayakan (1987), was loosely based on gangster Vardarajan Mudaliar’s life “but it was never endorsed as a biopic”. When one claims to make a biopic, says Panicker, “the liberty of playing around with facts is considerably limited”.


Consensual creative liberty
Shaad Ali, who has directed Soorma, based on hockey player Sandeep Singh’s life, believes that “a filmmaker is allowed to take creative liberties if the subject is kept in the loop. But if you do it without their consent, you may end up with a breach of trust or contract.” That the hockey player was paralysed, waist down, following a freak shooting accident that threatened to end his career, provided Ali with “a readymade dramatic point”, eliminating the need to create one. But he did make minor alterations to fit his narrative. For instance, Singh’s comeback match was in the 2007 Men’s Hockey Champions Challenge, but in the film it is shown as a ‘Commonwealth Championship’. Also, Singh’s onscreen avatar (played by Diljit Dosanjh), is seen scoring three consecutive goals in the decisive final of a tournament that India didn’t even qualify for.

“If you took creative liberties, you wouldn’t be making a biographical film,” says Shyam Benegal, who directed Netaji Subhas Chandra Bose: The Forgotten Hero. While Netaji’s extraordinary life offered enough fodder for Benegal to not have to resort to fictionalisation, the final product didn’t go undisputed. “Quite a few people believe that Netaji hasn’t died, even to this day,” says Benegal, adding that ‘mythifying’ heroes is not unusual in Indian society. “Also, an entire political party refused to accept he was married and insisted he was a Brahmachari. This, despite his daughter being invited to attend various government events.” Clearly, even sticking strictly to facts gleaned from books doesn’t always validate a biopic.

Holding out for heroes
Why one biopic works and another doesn’t, depends on various factors. Shibasish Sarkar, CEO of Reliance Big Entertainment, feels that stories “told in an aspirational manner, do well”. His studio is backing forthcoming biopics such as Super 30 (where Hrithik Roshan will play mathematician Anand Kumar) and Chanakya (with Ajay Devgn playing the strategist). Sarkar thinks Indians have been “raised to follow idols and seek out stories of heroes”. He says: “We aspire to follow in the footsteps of heroes. Many are aware of [former Indian skipper] Dhoni’s success, but not many are aware of his journey to greatness, and that can be a great hook.” Even Krish, maker of the forthcoming Manikarnika: The Queen of Jhansi, feels this is an important factor to determine the success of a biopic. “Everyone knows the story of Lakshmibai, but how many know that her actual name was Manikarnika? People usually know things at a superficial level,” he says. “Everyone knows about Gandhi, but when you watch the movie, you learn so much more about his personality.”

The 39-year-old filmmaker, who is also slated to make NTR (on actor politician N T Rama Rao), feels biopics are often tinged by the larger-than-life aspect of their subjects. “NTR is treated like a prophet in Andhra Pradesh, and you cannot say anything [negative] about him. Everyone knows his story. He is both, a myth and a real person, so a film must reflect that — which means exhaustive research and treading with caution,” says Krish who considers Nag Ashwin’s Mahanati (on the life of actress Savitri) to be the “gold standard” in biopics.


Literary deductions

While working on the 1988 TV series Mirza Ghalib, Gulzar remembers how he managed to recreate the Urdu poet’s personality through his writings — his letters and published works. And Nandita Das, who will make her directorial debut with Manto, on Urdu writer Saadat Hasan Manto, followed a similar perocess. Das believes it is essential to retain the subject’s personality without whitewashing his flaws. “I have made no attempt to put Manto on a pedestal, like most biopics end up doing. He is fallible and full of contradictions, like all of us,” says Das.

But retro-fitting facts to elevate a personal account can actually be a dangerous thing. Panicker feels deliberate ‘lapses’ can be accepted by future generations unquestioningly as the truth. “What are you leaving behind as a record of your times? Why assume that art only exists in the moment, and has no resonance for the future?” Panicker asks, adding that his opinion of French courts, for instance, was partly formed by the writings of Alexandre Dumas. Viswanathan, on the other hand, feels that in India, a biopic is a clear combination of myth and history, and can never be just one or the other.

So who would make for a winning subject for a biopic? “Anyone who is a caricature of themselves,” says Vishwanathan, adding that late actor and politician Jayalalithaa would be a strong contender. “Her life as a corrupt chief minister is so sordid that it makes for great cinema. When an income tax office once raided Jayalalitha’s house and visited the bathroom, he saw that the tub was made of gold. He said, ‘I couldn’t even wash my hands as my sense of hygiene was vioilated’.” But there are those who feel sticking to facts will not render a compelling narrative. Mayank Tiwari, who is adapting Sanjaya Baru’s The Accidental Prime Minister, based on former PM Manmohan Singh, feels that “any biopic, no matter how sincere, will ultimately remain what it is: a story. But human life isn’t a story as such. I am not saying one should make up facts or create drama where there is none. But in the end, we are making a film, and the idea is to engage the viewer with as much truth and integrity as the writer/director can muster.”

Hansal Mehta on the ‘insular, insulated industry’ that is in desperate need of empathy, why he didn’t want to justify the actions of the protagonist in his upcoming action-thriller, and how Simran was derailed by a public face-off over writing credits
Roshmila Bhattacharya (MUMBAI MIRROR; March 20, 2018)


With Omerta, you’ve explored an evil mind for the first time. Were you able to come out of the experience unscathed?
It’s tough because I’ve been travelling with the film to festivals and so I keep reliving the horrific journey of Ahmed Omar Saeed Sheikh (the Brit terrorist of Pakistani descent who is serving time for the kidnapping of western tourists in 1994 and the murder of Wall Street journalist Daniel Pearl in 2002). But cinematically it’s satisfying because Omerta unabashedly presents a villain who forces us to explore our prejudices and the world around us. I describe the film as a brief history of terrorism through one man’s journey.

Mukul Dev pitched Omar’s story to you in 2005, why did it take 13 years to bring to the screen?
The process of writing was long and painful. It was full of fits and starts. I came back from a sabbatical to pitch Omerta but made Shahid instead because it was an easier film to make. I’m glad I did, because had I made Omerta before I met Rajkummar Rao, it would have been a different film. Shahid showcased what we could do together and paved the way for Omar’s story.

Why is Rajkummar so important to Omerta?
He internalised the evil and presented it as a human trait, making it really scary in the process. Omar is not your conventional, over-the-top villain, he’s the Hannibal of terrorism who could be planning how to outwit you even while talking to you.

There’s a sequence just before Omar kidnaps the foreign tourists, when I let Rajkummar loose on the streets of Delhi’s Paharganj area and followed him with a camera. When it plays out on screen, a lot of foreigners who’d interacted with guys like him while walking through Chandni Chowk and Paharganj suddenly found themselves wondering, “What if he’d been Omar?” It’s a chilling thought.

The late Shahid Azmi, who inspired your National Award-winning biopic, had stopped short of turning into another Omar by becoming a lawyer and human rights activist…
That’s why I call Omerta a companion piece to Shahid and would like to re-release the earlier film before this one if possible. Ironically, choosing the righteous path only created problems for Shahid Azmi and got him killed at the age of 32 while Omar who continued with his violent, destructive journey is still alive, under the patronage of the establishment in Pakistan, and for all you know, might be freed this year.

Do the struggles you bring out through films like Dil Pe Mat Le Yaar!, Shahid, Citylights, Aligarh and Simran reflect your own struggles in Bollywood? After Raees actor Narendra Jha’s untimely demise recently you tweeted “this profession is a killer”.
In this industry you see disappointment everywhere because so many are unable to meet the expectations they’ve set for themselves. The pressure of living up to the achievements of their peers takes its toll. Last year alone, so many young lives were lost to heart attacks and kidney failure as mental stress manifested itself in physical illness. We need to be more empathetic by doing something constructive.

Like what?
Counsel people, and impress upon them the importance of self-care. But our film associations are too busy fighting disputes or stopping shoots to worry about the well-being of its members. As it is we rarely discuss health problems because we worry we could lose out on work if people knew. Even I was guilty of this till my wife made regular health check-ups mandatory.

Would you say that a film takes away at least 10 years from an actor or a director’s life?
I have filmed in some really difficult locations in the harshest of weather and that’s never bothered me. For me the bigger struggle is the time between two films, when you are not working.

Since your return from the sabbatical have you felt it was getting too much to handle?
It still feels too much and even after 25 years, I’m the outsider rather than an industry keeda. And that’s the way I like it because it’s an insular, insulated world full of hypocrisy. Thank God for my travels and my wife’s work that keeps me in touch with the real world and drives me to tell the stories I do. Thank God for friends like Rajkummar whose equation with me doesn’t change with Fridays.

In another life I was running an IT company and while that was a struggle too, this business places more emotional pressure on you because your self-esteem depends on praise and criticism. It promotes a herd mentality and takes the artistry out of art. Art is all about expression and it is being repressed because we are scared.

Aligarh courted controversy; aren’t you afraid for Omerta because of its subject?
These things don’t bother me. In fact, I thrive on it. As long as there is a debate, my point is heard along with the counterpoint, I’m okay. It’s when something like what happened with Padmaavat happens that it’s regrettable because it has nothing to do with the film you have made but with what benefits certain fringe elements.

With Simran—the tussle for writing credits between leading lady Kangana Ranaut and writer-editor Apurva Asrani—it went beyond intellectual debate…
That was unfortunate. I have nothing against anyone seeking attention or media space but not at the cost of work. In Simran’s case the film got completely derailed. It was a lesson to me to choose my team of producer, actors and technicians more carefully in the future.

Rajkummar and I have known each other for seven years, we’ve had our differences too but we’ve resolved them by talking and understanding each other’s point of view. Creativity is not about I; it’s about us. And while I’m still struggling to make money, I’ve never struggled to make friends.

You and Apurva go back a long way…
This is very personal and I’ve steadfastly refused to be drawn into conversations on the matter.

Any chance of a reconciliation?
I don’t know. I’m too busy right now to think about it. I’ve always said everyone has their own journey and we have to find that journey on our own.

Simran had a beautiful performance by Kangana…
It did but it went beyond that sparkling performance. It had some spectacular moments and a woman who was unapologetic of her flaws. Simran had a lot more going for it and could have been a greater film but because of what happened people did not see all that. I’m not talking of commercial success here. I’m almost indifferent to that.


Any regrets?
Well, it was a difficult year-and-a-half from when we started shooting to the release and it did take a toll. There were times when I asked myself why I had taken this emotional and physical trauma. But today, when I look back, I’m proud of it. Yes, there is some anger and bitterness filed away somewhere and it will remain there. I’m thankful to Rajkummar who brought me out of a self-imposed exile with Shahid and then pushed me out of a really difficult phase with Bose: Dead/Alive.


Omerta premiered at the Toronto International Film Festival two days before Simran released…
(Smiling) Yes, it was a week of agony and ecstasy for me. Life can be amazing!

What was the response to the film after the first screening?
Shocked silence… Some people were really angry and some girls found Rajkummar’s evil avatar sexy in an odd way, something I noticed in Florence too. There were lots of questions because viewers wanted to discuss the state of the world, my point of view and what message I wanted to convey. It had no message really, I left everything open to interpretation.

Someone said we should attack Pakistan but that’s too simplistic a solution. The world needs solutions that grow out of multiple answers and translate into strategies that can put diplomatic, international and military pressure on these dark states to stop aiding terrorism. Omerta is a provocative political thriller that is a call for action against states that harbour terrorists. Top magazines like Variety gave the film very favourable reviews.


There was also a section of the media that, while raving about Rajkummar’s performance, felt you could have delved deeper to justify Omar’s actions…
That would have turned him into a hero. I made an engaging thriller and left it to the audience to explore. The West celebrates brevity while Indians are always asking for more but that’s something I can live with. There are bound to be detractors and I welcome criticism.

It’s still a very topical film. There are many Omars out there who are still being radicalised, given weapons. I hate calling it jihad because the term has been twisted for political gains and misinterpreted by men like Omar.

You refused to make a hero out of Omar but you made a hero of Subhas Chandra Bose who in his own way also stood up against the establishment?
I’ve always looked up to Bose and Bose: Dead/Alive was my way of chronicling history from a different perspective. While making it I realised that this generation’s knowledge of the freedom struggle is confined to Mahatma Gandhi and Jawaharlal Nehru when Bose was actually the revolution and hastened the exit of the British.

I was told that no one watches period dramas so it’s heartening today to see that amidst all the mushy stuff, we’ve found ourselves a large audience that knows what Bose did for India. There are so many such stories waiting to be told.

Tell us about the film on former media advisor to the PM Sanjay Baru’s 2014 memoir The Accidental Prime Minister: The Making and Unmaking of Manmohan Singh?
Initially I was writing the film but under a major time constraint. So, I am involved as a creative producer now, guiding and mentoring the project while debutant Vijay Gutte (who has written it with writer Mayank Tiwari) is directing it. It’s an interesting story with Anupam Kher in a reinvented avatar after 500 films with the huge responsibility of playing someone who was in recent public memory. I’m also excited about having Akshaye (Khanna), a fine, under-utilised actor, in a crucial role.

What happened to the Sachin Tendulkar biopic?
I dropped it because I did not know who to reach out to. But I’ve been working on developing the Ram Jethmalani biopic for Ronnie Screwvala. There’s also a big and exciting action-packed superhero film which is being written. And I’ve acquired the rights to some books, including Shashi Deshpande's Strangers To Ourselves, a relationship drama. My son, Jai, is also on verge of making his directorial debut so it’s a good, even if a tad hectic, time. I hope I live for many more years so I can tell all the stories I want to.

Kabir on why he roped in fresh faces for his show on Subhas Chandra Bose
Upala KBR (MID-DAY; December 19, 2017)

With the debacle of his Salman Khan-starrer, Tubelight, behind him, Kabir Khan has shifted his attention to his upcoming web show, The Forgotten Army. Having kicked off work on the series, based on his documentary by the same name, Khan refutes suggestions that Bollywood bigwigs are associated with the project. “There are no Bollywood actors in the series,” he says, close on the heels of reports that indicated Hrithik Roshan and Saif Ali Khan’s association with the outing. “We thought of approaching them, but then chose to cast fresh faces.”

The series, being touted as Amazon’s first international series from the country, is based on Subhas Chandra Bose’s Indian National Army. That it will also release in countries that do not recognize Bollywood talent was another reason to avoid casting the actors, says Khan. “It’s better to invest in the story and trust new talent, than spend heavily on actors for such a platform.”

Given that the series will release in 204 territories, as Khan claims, he has roped in talent from across the globe. “We have soldiers from the Indian, Japanese, British and Burmese armies, and talent from across the globe. The best part about the casting is that the characters will speak in their native language.”

The action for the series, he adds, is being helmed by Sham Kaushal. “But we are also collaborating with teams internationally.” Having returned to the set on December 15, Khan calls the “laborious and painstaking process of filmmaking”, enjoyable. “We started shooting in Film City and will wrap up the ongoing schedule by January 4. Then, we head to Thailand, near the Burmese border, and will shoot a major chunk there, and in the jungles nearby. We’re keeping the series realistic. So, the number of people involved with the project is large, especially since we’re showcasing a war between two countries.”

Khan refutes suggestions that filming for his series was deferred. “We always planned to wrap up our Thailand schedule by February. It is relatively dry in the area around this time. And we needed it to be that way.”

Television Czarina Ekta Kapoor backs her apparently frivolous TV offerings as she discusses disparity in content across platforms
Sonia Lulla (MID-DAY; December 10, 2017)

For several years, Ekta Kapoor dismissed accusations of adding to the depleting pool of content on television with a, "Don't like it, don't watch it." Yet, chatter about the offerings on her digital platform being superior to the apparent inanity on TV is testimony to her creative genius. Soon after the release of Bose: Dead Or Alive, which dips into the subject of the freedom fighter's life after his speculated death, Kapoor talks about the lessons she's learnt that fuel the decision for segregated content. What comes to the fore is her unparalleled business prowess. Excerpts from the conversation:

Subhas Chandra Bose is the first public figure on whose life you've decided to make a web series. What about his story inspired you?
I came across news pieces which spoke about these strongly suggested spottings of Bose. There were conspiracies about the crash that apparently killed him. So, I started to Google him. And, each time I read something, I was pushed onto another link. Every link introduces you to another conspiracy. So, I hope this show makes you think and realise that if Bose were alive after his speculated death, what could have happened. If he chose to stay in hiding, why was that?

Bose's daughter, Anita had alluded that it was time people stopped bringing up the possibility of Bose surviving the crash. Did you interact with her as part of the preparations or to seek permissions?
We did not take any permissions from Bose's family. He's a national figure and we haven't spoken about any personal issues that weren't documented. As far as I'm concerned, if you are highlighting a political figure's life, you have to be fearless. You can't worry about who will be offended and who won't. I don't care. This is the simple belief of my life. When I read that Bose met Hitler, I was shocked. I wondered, what was he thinking? He was allowing himself to look bad [before the people of India]. That is unlike what politicians do. The man didn't care how he looked. His aim was clear - independence. In today's world, we need someone like him.

There's a very clear distinction in the kind of content you create for each medium.
Honestly, the first time I made LSD [Love Sex Aur Dhokha, 2010], people were shocked that I even knew the word sex. They thought I was someone who could only make sanskari shows. They forgot that I was a single girl, living in Bombay. The brand, Balaji Studio, is synonymous with family entertainment. [After LSD came out of this brand] people told me they didn't expect this from me. So, we created two brands that were at odds with each other. We have to respect cultures when we go to peoples' homes. When you watch a TV show, your grandmother, nephews and nieces do so together.

So, you have to watch entertainment that doesn't hurt sentiments. When you're alone, you're a different person. The different content is catered to the distinct personas of people. There's communal viewing [TV]. And then, there's personal viewing, which happens on the mobile phone. When you're home alone, you are making a choice for yourself. Thus, we are catering to different audiences. Even the web audience is so distinct. An urban girl living in Mumbai may enjoy a Test Case. A single man, who is interested in political thrillers, will like Bose. My mom will like Karrle Tu Bhi Mohabbat. A young girl from Bareilly, one who is trying to break away from forced moral rules imposed on her, will like Dev DD.

There's constantly a discussion on the depleting quality of content on Indian TV.
TV does a lot to promote acceptable social values. It showcases working girls, who also support families. For me, it's very important that all of my heroines be involved with some or the other NGO [on the show]. None of my girls are unemployed. All of them are working girls. Of course, if it's a drama, they're getting kidnapped and all, but there's always a conversation about work in all my shows. We have taken on social issues too. But, I can't show sex.

Is there any other public figure on whose life you'll make a show?
I had wanted to make one on Gayatri Devi, but it didn't materialise.

There's a lot of discussion around the filming of your next, Kedarnath, in the tough terrains. Did you interact with the unit?
I was there for one day and I don't know how they survived. When I reached, I was in shock. There's no civilization. There are four or five stalls of food, and for several kilometres, there's no civilization. There was no food. Keto [diet] was the most impossible thing to do there (laughs). Gattu [Abhishek Kapoor, director] had five people in his room. The heater would be on for five minutes, and would turn off for 10. We'd take turns to sit near it. It was a noisy one, but that didn't matter then. You can't hear a sound after 8 pm. It was scary. If you need medication, and if the helicopter can't reach, what will you do? The pitthoos [porters] were amazing. They were these guys carrying [huge] people. I don't know why people don't pick this up as human labour? Their agility made me jealous.

Mohar Basu (MID-DAY; November 10, 2017)

While Rajkummar Rao’s web series, Bose: Dead/Alive, has raced to the finish line and even released its trailer yesterday, Kabir Khan is still to lock in the final cast of his miniseries based on Subhas Chandra Bose.

Kabir’s dilemma stems from the spot he suddenly finds himself in, after his leading man, Saif Ali Khan turned down the Amazon Prime project, given that he features in the Netflix original, Sacred Games. Saif was set to play the role of Colonel P K Sahgal, who fought for Bose-led Indian National Army. A massive set has been erected at Mumbai’s Film City studio several months in advance.

In order to abide by the plan, the crew had been informed of a shooting schedule in December, however, Kabir is yet to begin recasting. A source says, “Kabir has a packed 2018, given that he starts filming for the 1983 World Cup film, and must hence wrap this up earlier.”

The eight-part miniseries is eyeing big names for its male and female characters. Parineeti Chopra was among the top contenders for the part of Saif’s colleague-turned-wife, Lakshmi Sahgal. However, it appears that the actor will also be unable to work on the outing, given her other commitments.

Although actors are not contractually bound to stick to one video-streaming platform at any given point in time, Saif decided to turn down Kabir’s project at the behest of Netflix. “Since Sacred Games is the channel’s first Indian series, they didn’t want to entertain any conflict of interest [on the actor’s part],” says a source.

Sushant Singh Rajput, the face of the campaign took questions from DNA readers
Nayandeep Rakshit (DNA; August 15, 2017)

This Independence Day, DNA is doing a campaign titled India’s DNA. The thought is to educate millienials about India’s struggle for freedom through pictures via the Instagram handle indias_dna. Sushant Singh Rajput, the face of the campaign took questions from DNA readers. Read on to find out how it panned out

Rutwi Mistry: What does independence mean to you in today’s times?
Sushant: In today’s context, I feel we are connected to each other through the Internet. When an event happens anywhere in the world, it resonates everywhere. We have become more sensitive to each other. And we have become interdependent, we need to change the definition of independence. Because of freedom — in terms of what you want to do, what you want to say, how you want to say it, freedom of speech and the non-linear complex system, the butterfly effect happens more. And we are more interdependent so everything that we do or say will be heard more and will effect the entire system. We need to be more careful now.

Ananya Ishwar: If you were to play a freedom fighter in a biopic (apart from Bhagat Singh), who would it be and why?
S: It has to be Subhas Chandra Bose. Because he had his own way of thinking. In 1939, he was almost becoming President of Congress but he could not because as far as I know, Sita Ramaiya was there and they had different ideologies. I am more with the ideology that Subhas Chandra Bose had, when I read now. Of course, I don’t know what was happening then. But right now, if I look back, I am more with his way of thinking. So I would love to play him and know why the Forward Block, the Indian National Army was formed. It’s also a very interesting character to play and understand.

Smriti Chawla: Which decade of the freedom struggle would you have loved to be part of, if given a time machine?
S: It would be 1857 when it all started. The entire generation, at that point of time, was thinking about something... I think what happened with Mangal Pandey and others was the tipping point. It triggered everything and the set-up was all there. For a second, Britishers were actually thinking what to do back then. The first thing is always fresh and new and to experience that, is always fascinating.

Raunak Narula: What do you think is the most striking thing/event of our struggle for independence?
S: I have always believed that where you arrive at is not the only thing that’s important. Of course, the Independence of India was extremely important and at that point of time, it was something that everyone wanted. But without taking away much of that feeling, I feel the path that you take to reach there it is also equally important. Whether it is the right way or the wrong way is very contextual, it’s your perspective of looking at things. When Mahatma Gandhi came to India and the Khilafat movement happened, around 1920-21-22, there was non-cooperation movement and for a second, the Britishers were clueless again. Then, Chauri Chaura happened and Gandhiji backed out. He knew the Independence of India was inevitable and it will come, but at the same time, he had to make a point that the way we get it will be a big differentiator in the kind of India we will create post-Independence. That’s a very striking event.

Tapan Mishra: Did you find history boring too, as a student?
S: I don’t find history boring. I only find those history books boring, which want to make a point and are not just giving facts as they are, but carefully picking and punctuating facts so that they underline the opinion of theirs. Even the same series of events are carefully put together, you will realise that it’s because of this cause, that was the effect. And something else gets emphasised.

Lalitya: Why should Independence Day matter even after 70 years?
S: It only reminds us again and again that we should not take it lightly. With Independence, it’s not just the freedom that you experience but there’s also a responsibility that you need to take. Because this is again a very different set-up. Any democracy with this much population is a first time phenomenon. There’s no reference point to it. There aren’t any guidelines for anyone to function. We’re still figuring out. And thanks to the Internet, we are all interconnected and the more connected we are, the more interdependent we are. It’s just not a reflection of what the majority thinks but it’s only seven per cent of what the public opinion is. Only seven per cent. All the trending topics you see, trying to make a point, are just fractions of those seven per cent. But you somehow get lured by it and get biased. So, it forms opinion rather than just reflecting opinion. We need to be extremely responsible and learn the importance of the struggle of Independence. By knowing the struggle, you will appreciate it more.

Pertash Kaul: What are your plans for this Independence Day?
It’s a ritual I do every August 15th. I wake up and listen to the Prime Minister talking about the country. I get jalebis also to go along with it. (Smiles) At the same time, I think there will be the Jai Jawaan show where you can see me trying few things that I really liked. I spent some time with the soldiers and it was an extremely liberating experience. I thoroughly enjoyed myself and I even performed all the drills that the soldiers perform. Although I felt I won’t be able to finish it, I actually did. So with the show, I also want to relive those moments. I will be calling a few friends over to show them that I can also make absolutely circular rotis which I did, finish all those obstacle courses and play cricket with the jawaans.


Sushant Singh Rajput with jawaans in Manipur

 Physical transformation aside, Rajkummar on his prep for biopic on leader
Mohar Basu (MID-DAY; August 15, 2017)

Rajkummar Rao has established himself as an actor who goes to any length to bring authenticity to his roles. His prep for his latest web series, which sees him in the role of freedom fighter Subhas Chandra Bose, has only given credence to this opinion.

For Rao, who not only shaved off his hair, but also gained weight to carry a paunch for the part, getting into the skin of the character enabled him to understand the era when Bose’s appeal was at its peak. “When I started shooting for the show in Kolkata, I was on cloud nine. Bose had a layered personality. I wish more people would pick up from this fraction of history and present the stories on screen,” Rao says, adding that the physical transformation was only a small part of his preparation. “I read every possible account of Bose and his journey. Thankfully, a lot of material is available. A few documentaries had archival footage of him. Those clips helped me understand his body language and voice.”

Creator Hansal Mehta, who collaborates with Rao for the fourth time with the series, says, “I marvel at his dedication. His transformation is never just physical. Even here, he immersed himself in understanding Bose. I am hopeful that the show will make our countrymen more informed about one of our most charismatic heroes.”

Shaheen Parkar (MID-DAY; July 12, 2017)

Tigmanshu Dhulia’s last directorial venture was the Saif Ali Khan and Sonakshi Sinha-starrer Bullett Raja (2013), which failed to live up to expectations. The maker of the National Award-winning film, Paan Singh Tomar (2012) and Saheb Biwi Aur Gangster (2011) is back on the scene after a gap with a slice of history, Raag Desh, which releases later this month.

“I hope there are expectations, and I hope I live up to them this time,” the filmmaker tells mid-day, adding, “To make a historical, you need to be interested in the subject and be its student. Not everyone can make one.” Dhulia’s film is based on the 1945 Indian National Army (INA) trials, which saw the court martial of officers Colonel Prem Sahgal, Colonel Gurbaksh Singh Dhillon, Major General Shah Nawaz Khan for treason.

Dhulia believes that it is great performances and not big names that decide the fate of a historical, and backs his star cast comprising Kunal Kapoor, Mohit Marwah and Amit Sadh. “In a historical, it is better to work with actors. When you work with a star, the audience sees the name, not the character. It is easier to mould actors into the characters,” he says, adding that his love for history inspired him to make this film. “I studied history at Allahabad university. You need to do extensive research to make such a film. Luckily, we had visual references too. I was keen to tell people about the role that Netaji Subhas Chandra played in the INA.”

Dhulia was keen to shoot at army outposts, but was denied permission following the surgical strikes in September 2016. He settled for makeshift studios in Dehradun, Delhi and Mumbai instead. The filmmaker plans to release the drama on July 28, following which it will also hit the small screen as a six-part mini-series. “We can reach out to a bigger audience,” he reasons.

Raag Desh clashes with Madhur Bhandarkar’s Indu Sarkar and Anees Bazmee’s Mubarakan, but Dhulia says he has limited options. “Every week, several films are lined up. I wish the Film & Television Producers’ Guild of India would take up the issue and segregate releases accordingly.”

The actor has been enjoying the ‘golden period’ of his life as he binges on junk food and discontinues working out for his next
Sanyukta Iyer (MUMBAI MIRROR; July 5, 2017)

Known to slip into his onscreen avatars seamlessly, National Award-winning actor Rajkummar Rao had locked himself in a house for three weeks, living on a diet of carrots and black coffee, to lose eight kg for his turn as Shaurya in Vikramaditya Motwane’s survival-drama, Trapped. For Behen Hogi Teri, which followed Trapped, the 32-year-old actor tipped the scales on his normal weight with a scheduled workout plan and a diet rich in proteins and fibre.

Now, Mirror has learnt that he has put on another 11 kg for his pot-bellied, balding look for his portrayal as Subhash Chandra Bose in a series directed by Hansal Mehta.

Speaking to Mirror between shots, Rajkumar said, “For all my previous films — Citylights, Aligarh and of course Trapped— I’ve been asked to lose weight. So I was delighted when I was asked to gain weight. I have been binging on pizzas, Bengali sweets and junk food for the last one month and a half and will continue this routine till August. I stopped working out two months ago.” Hailing the prep as the “golden period” of his life, the actor says that he’s been eating everything he has craved but couldn’t because his directors wanted him in a certain look.

For his Netaji avatar, the makers tried to make the look work with prosthetics for the hairline and the waistline but it wasn’t what the actor wanted. Rajkummar then decided to work through an internal and external process for the part. “I decided that I wanted to see the character whenever I looked in a mirror and not Rajkummar. I even listened to Rabindrasangeet on the loop and read Bose’s unfinished autobiography to connect with the era. These helped me the most,” he says, adding that the series portrays him in several looks from Bose’s college days to when the freedom fighter founded the Indian National Army.

Nayandeep Rakshit (DNA; June 6, 2017)

Kabir Khan may have made the biggest commercial hits, but in his heart he is a documentary filmmaker, who is fascinated by war, espionage, spies and terrorism. He has played with these subjects in Kabul Express, New York, Phantom and Ek Tha Tiger. Now that Tubelight is up for release, he is gearing up for his next.

After the blockbusters, Kabir will now direct a web series for Amazon Prime Video. Says a source close to Kabir, “He has been wanting to make this subject for a long time. He has lived with this project for years as he discovered it during his days as documentary maker.” The web series ­— The Forgotten Army — is about Subhas Chandra Bose’s Indian National Army. Kabir has approached his Phantom actor Saif Ali Khan for the same.

Reveals our source, “Saif and Kabir share an excellent rapport, and have been wanting to work together. The series is about the soldiers who worked for the INA more than about Bose. Kabir has discussed the idea with Saif and while he has shown interest, he is yet to sign on the dotted line for the project. But if he does, he will play a soldier from Bose’s troupe.”

Hollywood actors in web series
Mark Hamill in Pop Culture Quest
Jerry Seinfeld in Comedians in Cars Getting Coffee
Tom Hanks in Electric City
Zach Galifianakis in Two Ferns
Neil Patrick Harris in Dr Horrible’s Sing-Along Blog
James Franco in Making A Scene
Ashton Kutcher’s Katalyst HQ

Another web series on Bose
Rajkummar Rao will be essaying the role of Netaji Subhash Chandra Bose in a new digital series that will be directed by Hansal Mehta and produced by Ekta Kapoor. The actor will gain around 10 kg for the role, the look tests for which have already begun.

Shilpi Sampad (MID-DAY; May 26, 2017)

After going unrecognisable with heavy prosthetics in Raabta, Rajkummar Rao is experimenting with his look yet again for an upcoming web series based on freedom fighter Subhas Chandra Bose. This time around, he has decided to ditch prosthetic make-up and opt for a one-time solution — the actor has shaved the crown of his head to look convincing.

Says a source, “When Rajkummar gave his nod to the web series, he thought of sporting a semi-bald look as value addition to his appearance. He takes his roles seriously and doesn’t hold back from putting in extra effort to make them more relatable and interesting.” The show, directed by Hansal Mehta, will be an attempt to present the life and struggle of Bose to the current generation.

Bose is credited with revamping the Indian National Army, whose aim was to secure India’s independence from the British rule. Bose was fair and bespectacled, his wide forehead and a receding hairline being distinguishable features. That’s what Rao set out to achieve. “We tried prosthetics, but it wasn’t working for me. Playing Bose was a huge responsibility and I didn’t want to go wrong. It was an impromptu decision to go shave,” says the actor, adding that his well-wishers advised him to give it a second thought. “But I had made up my mind. It isn’t that big a deal. I did what had to be done.”

Rachana Dubey (BOMBAY TIMES; April 14, 2017)

The filmmaker is set to venture into the digital world with an ambitiously-mounted mini-series that will touch upon Subhas Chandra Bose’s Indian National Army
Avinash Lohana (MUMBAI MIRROR; March 29, 2017)

After wrapping up his Salman Khan-starrer Tubelight, which is set against the 1962 Sino-Indian war and marks the Bollywood debut of Chinese actress Zhu Zhu, Kabir Khan has quietly begun work on his next. Mirror has learnt that the filmmaker is now foraying into the digital space with an international web series set during World War II that will be directed and produced by him.

“It’s a war epic, an Indian Band of Brothers (the 2001 American wardrama miniseries co-written by Tom Hanks and featuring Homeland star Damian Lewis) of sorts, which will touch upon several stories, including the contribution of women in the Indian National Army. Kabir has been working on the subject since many years and now has a screenplay ready, however, he will develop the story further only after the release of Tubelight with a team of writers,” informs a source close to the development.

“Kabir is extremely excited about this mega project with a scale and budget that will be way higher than any of his films till date. It will mostly be a nine to 10-episode series to be shot extensively abroad with some portions set in India and will feature actors and technicians from all over the world but Kabir will begin casting only after the release of Tubelight,” says the source, adding that Kabir is currently focused on the post-production of his upcoming Salman Khan-starrer.

After working as a cinematographer on Gautam Ghosh’s documentary film, Beyond The Himalayas, Kabir had made his own directorial debut with a documentary, The Forgotten Army, which was based on Subhas Chandra Bose’s Indian National Army. The film dates back to the time when 70,000 Indians had waged a war against the British Empire and contains rare footage from the war in Burma. The TV series had gone on to win the Grand Jury Award at the South Asian Film Festival in Kathmandu in 1998 and was then screened at film festivals abroad. Kabir had followed up his debut success with two more documentaries before foraying into mainstream Hindi cinema with the John Abraham-Arshad Warsi-starrer Kabul Express in 2006. He then made more box office hits like New York, Ek Tha Tiger and Bajrangi Bhaijaan.

Natasha Coutinho (MUMBAI MIRROR; December 5, 2016)