Showing posts with label The Archies. Show all posts
Showing posts with label The Archies. Show all posts
From Ranbir Kapoor’s screen-worn jacket to Mogambo’s uniform, the afterlife of Bollywood’s material history
10:37 AM
In the absence of a formal museum, iconic artifacts — from Ranbir Kapoor’s screen-worn jacket to Mogambo’s uniform — are recirculated and stored across an unofficial ecosystem of godowns, trunks, and prop houses
Nisrin Saria (MUMBAI MIRROR; July 12, 2026)
A yellow Ambassador glides onto the red carpet. Flashbulbs erupt as Shanti Priya (Deepika Padukone) steps out in blush pink silk, her wave choreographed for stardom. Moments later, the fabric catches Om’s sleeve, setting in motion one of Hindi cinema’s most cherished meet-cutes. Years earlier, audiences had travelled to an altogether different world, where Helen danced to Mehbooba Mehbooba inside a cave lit by flickering torches. One film recreated the glamour of 1970s Bombay. The other conjured a ravine that never existed. Both persuaded millions that these worlds were real.
If you’ve ever visited the Harry Potter studio outside London, wandered through Warner Bros’ archives in Hollywood or admired K-pop exhibitions in Seoul, you know some entertainment industries preserve their history behind glass. Bollywood, for some reason, has never done so. Here, the cave comes apart plank by plank, the palace becomes plywood again, costumes disappear into garment bags and props are counted, labelled and packed into trucks. Still almost nothing is truly discarded.
“Most costumes and many props are hired,” says veteran filmmaker Prahlad Kakkar. “You use them for the shoot, return them afterwards and pay the rental.” Furniture, crockery, chandeliers, doors, windows and architectural fragments all begin another journey once the cameras stop rolling. Every item is checked against an inventory, packed away and stored until another script calls it back into service.
Ad filmmaker and photographer Sunhil Sippy says production designers often become collectors by default. “Many own prop houses themselves, or they’ve spent years building collections from Chor Bazaar and antique markets.” It’s not unusual for things from their own homes and studios to even find a way into frames. “For close-ups, I’d often bring something from my own house, an object I lived with every day because I knew I wouldn’t find it in a rental house. The right object gives a frame its truth.”
Cement brains and books
Not every prop returns to a rental house. Some end up at Many Many Things, a Versova prop studio run by production designers Shaira Kapoor and Dhara Jain, whose work covers Gully Boy, Bombay Velvet and The Archies. Over the years, productions have left behind what many would see as a museum-worthy collection of collectibles: a miniature red vintage car sourced for a Lays commercial featuring Ranbir Kapoor, gold bricks made for a smuggling sequence in Bombay Velvet, even two cement brains created as paperweights for a radio station set in Tumhari Sulu.
“We never planned to start a prop house,” says Kapoor. “Some pieces stayed back after productions, others came from family, and many were simply too special to let go.” Every object is catalogued, barcoded and tracked before heading out to its next assignment.
That, they insist, is how Bollywood has always worked. Doors, windows, plywood, lights, furniture and fabrics are dismantled, stored and reinvented. “We pride ourselves on making the same object look completely different,” Kapoor says.
“A new lampshade, fresh upholstery or different artwork can transform it.” Nothing illustrates that better than Zoya Akhtar’s The Archies. The pair sourced nearly 10,000 vintage books, along with vintage cookware and utensils, for Betty’s (Khushi Kapoor) home from Mumbai, Bengaluru, Ooty, Bangkok, and international Etsy sellers. Once filming ended, most were sold on. “We don’t know exactly where they went,” Jain says. “But they’re still in the ecosystem. They’ve simply moved to another shelf.”
History in mulmul
While a handful of props are preserved, Kakkar says that remains the exception. “Commercials work on rentals. Keeping elaborate sets after a shoot isn’t practical. The economics just don’t support preserving every unique creation.”
Costumes have had an even more uncertain fate. Academy Award-winning costume designer Bhanu Athaiya treated preservation as second nature, says her daughter, Radhika Gupta. “She never folded old saris or fabrics. She rolled them, wrapped them in mulmul cloth and stored them in steel trunks.”
Even that could not protect them from the weather and termites that infested them. Athaiya began designing in 1953, long before climate-controlled storage. Studio lights generated intense heat, makeup stained fabrics and colours faded under harsh lamps. “The costumes didn’t survive very well,” Gupta says, “More importantly, they belonged to the production houses, not to her.”
Until the 1970s, few studios archived costumes. Raj Kapoor was among the exceptions, though many garments, including costumes from Mera Naam Joker, were later lost in the RK Studios fire. Gupta still remembers actors arriving at their home to try on costumes as tailors and embroiderers worked around them. “My mother was a director’s designer,” she says. Directors described the character and mood of a scene, and Athaiya translated them into attire, even using colours in the black-and-white era to create tonal contrasts on screen.
Not quite Narnia
Looking back, Gupta believes preserving costumes is about far more than saving clothes. “As Indians, we don’t really have a strong culture of preservation,” she says. “We tend to discard things and take them for granted.” Conservation, she adds, requires time, expertise and sustained funding.
Some of Athaiya’s surviving work has reached the public through the People of Mumbai exhibition at CSMVS, where costumes, sketches and archival material traced both her career and the city’s cinematic journey. “Bhanu Athaiya became a natural choice because her journey from the Sir JJ School of Art to costume design reflects that evolution,” says the exhibition’s architect, Nandini Somaya.
Displaying the collection required a careful process. Costumes were protected under acrylic sheets, while larger garments—including the landmark sari worn in Gandhi—were mounted on custom plastic supports and enclosed in protective cases to prevent stress on the fragile fabric. But such examples remain rare.
Madhav Agasti, who tailored costumes for more than 350 films, including Mr India and Andaz Apna Apna, says costumes usually remained with producers once filming ended. Mogambo’s military-inspired uniform, he believes, is still with Boney Kapoor. Lead costumes are never really reused, Kakkar explains. Designed for one actor and one character, they often end up with producers, collectors or members of the crew. Sometimes they become personal keepsakes. Shivam Hingorani, an assistant director on Yeh Jawaani Hai Deewani, still treasures the brown AllSaints jacket worn by Ranbir Kapoor. “The moment I saw it, I knew I wanted it.” And once production wrapped up director Ayan Mukerji handed it to him.
And, thus, Bollywood’s best stories survive in fragments: a sari wrapped in mulmul, a villain’s uniform in a producer’s cupboard, or a prop on someone’s shelf. They may never draw museum crowds, but for the person who recognizes one from the screen, those ordinary objects still possess the power to collapse time, carrying them back to the moment the story first came alive.
Vedang Raina on Main Vaapas Aaunga's BO miracle: "There is no other example..."
3:31 PM
Actor Vedang Raina opens up about dating rumours, the emotional rollercoaster of Main Vaapas Aaunga, and why a compliment from Imtiaz Ali will always matter more than the rest
Sonal Kalra (HINDUSTAN TIMES; July 11, 2026)
His relationship status sparks almost as much curiosity as his film choices. Fresh off the success of Main Vaapas Aaunga, a film that went from a disappointing start to one of the year’s most talked-about success stories, Vedang Raina has plenty on his mind.
For starters, the 25-year-old confirms that he “is currently single”. Notably, he was rumoured to be dating actor Khushi Kapoor. Asked what attracts him to someone, he says with a smile, “Kindness. There are other qualities too, but if you are not kind, everything else falls flat.”
Raina is still processing the extraordinary journey of his latest release. “It’s been quite overwhelming. The first couple of days or three days was a lot to take in. There were a lot of things being said about the film, which is now being unanimously loved by critics and audiences. The screenings that we went for... I have never seen reactions like that, and I felt it had to amount to something,” he says.
The film’s poor initial box-office performance left him disheartened: “It was very shattering. And then the turnaround took place. I guess it makes this entire thing even more special. There is no other example where it happened like this. I regained my faith in the fact that good films will find an audience.”
The actor believes the film’s success has offered reassurance to filmmakers across the industry. “If the product is good, people are going to love it regardless of all things around,” he says.
Among the many compliments he received, one mattered more than the rest. “I think the compliment that matters to me the most is always going to be Imtiaz (Ali) sir’s,” he says, admitting he put immense pressure on himself while playing the younger version of veteran actor Naseeruddin Shah.
If the success of Main Vaapas Aaunga has reaffirmed Raina’s faith in audiences, it has also given him a moment to reflect on the journey so far. Just three films old in the industry, the actor has already worked with filmmakers Zoya Akhtar (The Archies, 2023), Vasan Bala (Jigra, 2024) and now Imtiaz Ali... experiences he believes have shaped both his craft and outlook. He speaks about the lessons he’s carried from each, the choices he makes as an actor and why instinct remains his biggest guide.
What’s one thing you’ve taken away from each director you’ve worked with?
Zoya taught me much more than acting. The kind of person I’m shaping up to be has a lot to do with her. With Vasan sir, I saw a different school of filmmaking and acting. If I hadn’t done those first two films, I don’t think I would have been able to do what I did with Imtiaz sir.
Who’s the most brutal critic at home?
My father (businessman Ayush Raina). The other opinion I really care about is my younger sister’s. She’s trying to become a filmmaker. Whatever she tells me, I believe her.
What’s the biggest misconception that got busted once you became an actor?
I always thought getting your first film would be the biggest achievement ever. Now I realize the journey actually gets more complicated after that, as you suddenly have important decisions to make.
When it comes to choosing films, how much is gut instinct versus advice from people with experience in cinema?
When it comes to doing a film, it’s always about what I feel like doing. Choosing a film is a very emotional decision because you’re going to be part of that journey for such a long time. You have to be emotionally invested and almost obsessed with it. If I knew the decision had been made by someone else, I won’t be able to live with it.
You come across as very calm. But what is it that would anger Vedang Raina, if at all?
This is how I’ve always been, and I hear this all the time but it’s not true at all! It takes a lot to get my temper up, but I do get angry. In fact, I get triggered at the silliest things, such as the Wi-Fi not working or the TV not turning on. Maybe that’s a Gen-Z problem. Apart from that, it’s only my characters that bring out those emotions.
Who is your dream director to work with?
Christopher Nolan followed by Martin Scorsese. There are so many Indian directors I’d love to work with as well, but if I’m dreaming as big as possible, I’d choose those two.
Among Indian actors, whose career would you study as a student?
Everyone’s career trajectory is unique. Ranbir Kapoor, Ranveer Singh and Vicky Kaushal have all had their individual journeys. But I can’t emulate someone else’s trajectory, I can only admire it.
Earlier, there were certain actor-director collaborations, like Shah Rukh Khan would say, ‘If it’s a Yash Chopra film, I’m not even going to listen to the script’. Is there a director whose film you’d say yes to blindly?
Imtiaz sir. Even with Main Vaapas Aaunga, it wasn’t a narration, just five minutes of him talking about certain ideas he had. I simply said, ‘Sir, I’m doing it’. Today too, if he came to me, I wouldn’t ask for the script. I’d just say yes.
Mixed reactions are still reactions. This means people are watching and engaging-Khushi Kapoor
11:13 PM
Vinay MR Mishra (BOMBAY TIMES; March 12, 2026)
Khushi Kapoor made her debut with the OTT movie The Archies and followed it up with Nadaaniyan. Talking about her beginning in showbiz, she admits that her debut days left her feeling “mid”. She shares, “There were moments when I didn’t feel ‘there’ yet, but not ‘nowhere’ either. It was scary, but I reminded myself that growth happens in the middle, not at the end. That’s what helped me keep going,” she says. In a business that thrives on comparison, she shares how she protects her inner world.
“My safe space is with my people, my close friends and family who don’t see me as ‘Khushi Kapoor the actor,’ but just Khushi. Also, I follow small routines or rituals, like journaling, reading, or just a quiet night in, which help me shut out the noise and be present.”
Sharing her thoughts on the mixed reactions to Nadaaniyan, which featured her opposite Ibrahim Ali Khan, she says, “I take it as part of the process. Mixed reactions are still reactions. This means people are watching and engaging. I listen, I learn, but I don’t let it define me. My focus is on getting better with each role.”
The actress has kickstarted her next which is the sequel of her mother Sridevi's movie Mom.
Earlier while talking to us, Khushi spoke about navigating the uncertain “in-between” phases of life. When asked what being in the middle of her journey means, and she replies, “I feel like I’m not at the finish line, I’m just learning, growing, and figuring it out. It’s comforting to know that being in the middle doesn’t mean being stuck—it means you’re moving.”
On a parting note, she added, “Reminding myself why I started out keeps me sane. I chose this career because I love storytelling. Staying close to my roots, spending time with family, and keeping my circle small help me stay grounded.”
I haven’t changed every single thing about my face-Khushi Kapoor
10:14 AM
Akash Wadhwa (BOMBAY TIMES; July 21, 2025)
Actress Khushi Kapoor, has definitely come into her own with films like The Archies, Loveyapa and Nadaaniyan to her credit. Khushi’s films may not have made as much of a buzz, but her presence on and off screen is enough to make up for it. In Lucknow sometime back, the actress shared her candid experiences in an exclusive chat with us, opening up about her visits to Lucknow, her debut film The Archies, and her take on industry debates. She revealed why she finds the City of Nawabs so appealing, how she faced her first camera jitters, and why she believes honesty about personal choices matters.
Khushi said she first visited Lucknow with her sister Janhvi Kapoor, who filmed here earlier. The young actress admitted she did not see much of the city at that time. “I was here for a couple of days, just spending time on her sets, but Janhvi always has great things to say about Lucknow. She specifically told me that Lucknow’s food is amazing, especially the kebabs.”
Comparing her personality with Janhvi, Khushi highlighted her reserved nature. “Oh yes! I am more of a quiet person and not much of a talker,” she confessed. She then recalled her nerves during her first on-set experience for The Archies, acknowledging that she felt frightened while shooting.
“During the time of The Archies, I was really very nervous and scared. But after that movie got over, immediately the nerves went away. Zoya (Akhtar) was an amazing team captain and taught me and the whole team everything, even the basics like catching the light, hitting the mark, etc. But I would admit that there was a lot of fear while shooting that film. Even though I have been a part of this industry, but I have always been behind the scenes. As a kid, when I used to be on the sets with my mom and dad, I didn’t bother to take any notes of the process as I never thought ki kabhi yeh mere kaam aayega though I wanted to always be an actress,” said Khushi.
Addressing her openness about undergoing cosmetic procedures, Khushi, who is rumoured to have gone under the knife, stated, “Yes, I have changed my looks. But everyone thinks I have done some 10-20 things on myself. It is obviously not the case. I don’t think going under the knife for your looks is such a big deal. For me, it is not okay to be dishonest with people around me about my looks. There are a lot of impressionable youngsters who follow us on the internet. Plus, if we don’t do something about our looks, then it is a problem and people will judge you for your looks, and if we do something for ourselves, feeding your insecurities, then also people have a problem. People will say that why did she change herself and did not stick to her original looks? So, you are not going to win either way. I am going to live my life the way I want to. Also, I was not born like this and all actor’s groom themselves, and of course vanity is a large part of our life! I care about my looks, but haven’t changed every single thing about my face. I don’t want to set unrealistic standards of beauty and so I became open about the procedures I had done to look like this,” stated Khushi.
Khushi admitted she had certain expectations from her first venture and learned much in the process. “I think everyone has certain expectations for themselves, but I learnt a lot from that process. I worked with such an amazing cast, mentor and made so many friends. For The Archies, for the response we got, all I can say is that not everything is for everyone. Before the project was released on OTT, there was a certain opinion about it. It wasn’t like I was oblivious to what was going to come when The Archies would be released. There is a certain stigma coming from a family like mine and I understand that people have certain perceptions and opinions about me. I was aware and prepared, and I learnt from my shortcomings,” she remarked.
With her second project, she felt more confident. “From the first project to the second and now third, the level of confidence has changed. I had a lot of self-doubt despite taking my own decisions. For an actor confidence is the key as it translates into the performance. My mindset is different while the approach still remains the same. I have miles to go,” she said.
On the subject of nepotism, Khushi acknowledged her privileged background. “It is important to recognize when you come from a space of privilege and understand that you have an upper hand over other people. And the issue that people have is when we don’t acknowledge this fact. People think that because we come from this family, we take things for granted but that is not the case,” she emphasized, adding, “Of course, things are easier for us, and you can’t debate about that. It is important to acknowledge that and make the most of the opportunities coming our way and prove ourselves. Once we have proven ourselves, no one is ever going to question us. There are so many people who have come from this privileged space and were able to stay for so long because they have proven themselves as good actors. I don’t blame people for having an opinion about me right now, thinking I am not good or worthy enough to get these opportunities. I have had an unfair advantage, but I want to make the most of it now.”
Commenting on her personal life, Khushi stayed tight-lipped about rumoured boyfriend Vedang Raina. “I am very new to the industry and want my work to be the focus. Of course, I’m not going to sneak around and hide from the paps but it is important to keep your work the main conversation,” she said.
Loveyapa director Advait Chandan on Junaid Khan's public appearances: "When you're a terrible dancer..."
8:27 AM
Director Advait Chandan talks all things Loveyapa—from not treating it as a star kids’ launch vehicle to being proud of Junaid Khan’s conduct in promotions even as the internet slams his awkward behaviour
Priyanka Sharma (MID-DAY; February 5, 2025)
Director Advait Chandan is getting the “exam-wali feeling” as Loveyapa readies for release this Friday. But this is an exam that the director was reluctant to take in the first place, he tells us. When producer Madhu Mantena bought the rights to the Tamil hit, Love Today (2022), and asked Chandan if he wanted to adapt it, his answer was a straight no.
“I said that I don’t want to do a remake. After Laal Singh Chaddha [2022], I had decided I’d work on something original and not do a remake. I was writing something of my own,” he narrates. But when Mantena persuaded him to watch the rom-com revolving around a young couple, who exchange their phones before getting married, he had a change of heart.
Chandan was sold as far as the story was concerned. But he had reservations whether Junaid Khan and Khushi Kapoor were the right choice to lead the Hindi adaptation. With his dilemma, he went to the one person he trusts the most in the industry—frequent collaborator and Junaid’s superstar-father Aamir Khan.
“I was unsure of both Junaid and Khushi. Maharaj [2024] hadn’t released, nor had The Archies [2023]. So, I went to meet Aamir sir and told him, ‘A film has been offered to me with Junaid and Khushi attached. I’m considering taking the film up, but I don’t know if Junaid is the right person for the film.’ He said, ‘Take up the film. If you think Junaid is not right for the part, then drop him. I won’t mind it and won’t create any pressure on you. You do whatever is right for your film.’ He suggested that I do readings, auditions, and hang out with them and if at the end of the process, I feel they aren’t right, I should let go of them. That was very reassuring,” he smiles.
Over the next two months of readings and prep, the young actors won Chandan over with their “hard work and dedication,” sealing their place in Loveyapa. While it marks the big-screen debut of Junaid and Kapoor, the younger daughter of late Sridevi, the director asserts he didn’t approach the film as a launch vehicle for the two star kids.
Chandan says, “If a producer comes to me with a budget and a good story, I will make it with anybody who is talented. Khushi and Junaid didn’t walk in with the attitude that ‘I am Sridevi’s daughter’ or ‘I am Aamir Khan’s son’. They came with the approach of making this film well. Khushi made a playlist for her character, she sent me colours that she thought Bani would wear. The pressure was not to launch a star kid. My responsibility is not to star kids, it’s to the audience who has given me their time and money. If I managed to entertain them, I have also done right by Junaid and Khushi. I approached them as two professionals, who needed to know their lines, be emotive and professional. They were all these things. By collaborating to make a good film, we all helped each other. What does that have to do with who is whose father?”
In the last few weeks, the two young leads have aggressively promoted the film. The director takes immense pride in the way Junaid, a self-confessed introvert, has made public appearances.
Tell him that the actor’s awkwardness is glaring, and Chandan replies, “It takes immense amount of strength and courage to stand in front of an audience that is so quick to throw eggs and tomatoes at you, and troll you. He still stands, does that one step again and again, and takes all of that just because he is keen on calling people to theatres. I take immense pride in that boy. It’s easy to go on stage or feature in a reel when you’re a good dancer. But when you’re a terrible dancer, to stand on stage and do that hook step takes courage.”
But isn’t it unfair to make an actor, clearly uncomfortable with putting himself out there, engage in excessive promotions? Chandan shoots back, “Did your heart go out to him? If yes, then my job is done. This is what makes an actor a star.”
As he gears up for the Friday test, it also brings back memories of the last Friday two years ago when he had failed. Chandan’s Laal Singh Chaddha (2022) may be widely loved today, but upon release, the Aamir and Kareena Kapoor Khan-starrer had tanked at the box office. It’s understandable when the director says he is still not over it.
“I went into a dark space. I took the failure to my heart; those days have still not ended. I still feel very emotional when someone says they like Laal Singh Chaddha. I care about the audience and every critic. I have read every comment on the film’s trailer on YouTube and every comment about the film on X (formerly Twitter). When the film didn’t land for a lot of people, it knocked me out.”
While Aamir has publicly expressed that he believed his performance was one of the reasons for the film’s fate, his director disagrees. “Aamir sir has a lot of grace and maturity to process it, I did not. I just shut down. I didn’t know if I could make a film again. But then, I got back and said let’s do better this time. While making Laal Singh Chaddha, I cared about every aspect of that film. I cared about Aamir sir’s performance. His performance landed for me. When I remember the scene in which he is sitting at Rupa’s grave, I choke up even now.”
Did he fear for his career after the debacle of Laal Singh Chaddha, considering he was at the helm of a superstar vehicle? “A director absolutely fears whether he will get enough work after a superstar vehicle doesn’t work. I am grateful to Aamir sir because without him, I wouldn’t have the craft or a career. I wouldn’t be anywhere without him. The way Munna Bhai hallucinates about Gandhi ji, I hallucinate about Aamir sir,” he grins.
Working with Alia Bhatt in Jigra was an even bigger dream come true-Vedang Raina
3:04 PM
The actor talks about his dream-come-true career as he shares screen space with Alia Bhatt in his second film
Sugandha Rawal (HINDUSTAN TIMES; September 12, 2024)
For actor Vedang Raina, it’s been a whirlwind journey in Bollywood, right from his debut in The Archies (2023) to working with actor Alia Bhatt in their upcoming thriller, Jigra. Calling it an “insane” journey, the actor says he’s in no mood to take it slow as he adjusts to the newfound fame.
The 24-year-old has had several takeaways from being in the limelight but still feels it’s new to him. “Even if one person on the street recognizes me, it’s absolutely new to me. Never in my life did I think that this would be the case,” he says, adding, “What I realized and has been my number one takeaway, is that always be yourself. Because there will be a lot of changes given the nature of the industry, you can’t forget your own identity amid it.”
Gushing about finding his footing right in his second film, he says, “Working on The Archies was a dream come true at the time. And Jigra was an even bigger dream come true for my second film to be working with the likes of Alia and Vasan [Bala] sir. It has been zero to 1,000 to 2,000. I can talk about it now, which feels surreal.”
Not only his acting chops, Raina will also be showcasing his singing prowess in the project, having voiced Ek Hazaron Main Meri Behna Hai. “It has always been a dream of mine (to create music). If ever I get the time or the opportunity, I would love to make some interesting music and put it out there someday,” he ends.
I believe you should embrace both your masculine and feminine sides, and show emotions-Agastya Nanda
2:46 PM
The actor revealed that he became ’religious and spiritual’, and it helped him overcome the period
HINDUSTAN TIMES (February 25, 2024)
Agastya Nanda, the grandson of actor Amitabh Bachchan and Jaya Bachchan, may appear to have an easy existence, but in a recent podcast with his sister Navya Naveli, he candidly disclosed going through a “bad phase of anxiety” during the shooting and release of his debut, The Archies (2023).
He revealed that religion and spirituality helped him overcome his nervousness and anxiety: “We’re so used to getting things in an instant that it’s easy to lose faith. It came naturally to me; I became religious and spiritual. When I started acting, I didn’t know if people would like me. So, I did my best and left the rest to God, to keep faith in something beyond me.” He added, “Whoever you believe in, whether it’s God, or energy. If you just pass on that burden, it relieves you.”
Sharing how he also found help online, Agastya said, “Today, in the times that we are in now, there’s a lot of stuff that can exhaust us. But there are a lot of available platforms to seek help. You can simply go on YouTube and say, ‘How do I feel less anxious? How do I feel more confident? How do I feel happy? How do I feel secure?’ All these things are out there. I searched on YouTube, ‘I’m feeling anxious, what do I do?’ I swear, it sounds stupid [but I did it].”
Agastya, who is gearing up for his second film, Ikkis, directed by Sriram Raghavan, also went on to discuss subjects such as toxic masculinity and male vulnerability on the podcast. He shared, “I believe you should embrace both your masculine and feminine sides, and show emotions. I show emotion, I am in touch with my feminine side. I believe in a healthy balance of both. I’ve never been told not to show emotions, so I don’t think it’s wrong.”
What makes the star kid is the press, the photographers, and then the audience-Saif Ali Khan
8:49 AM
HINDUSTAN TIMES (February 10, 2024)
Saif Ali Khan enjoys a level of privilege in Bollywood by proximity of being the son of veteran actor Sharmila Tagore. The next generation of the Pataudi family have followed suit, with daughter, actor Sara Ali Khan debuting in 2018 in Kedarnath, and son, Ibrahim Ali Khan prepping for his launch. Married to actor Kareena Kapoor Khan, their kids Taimur and Jehangir are also pap favourites. It’s no surprise as people are curious about star kids.
The actor said, “The audience and people are interested in star kids. Look at The Archies (2023). We’ve only been talking about certain [actors those who are star kids].”
The musical marked the debut of actors Suhana Khan, daughter of actor Shah Rukh Khan, Agastya Nanda, grandson of actor Amitabh Bachchan, and Khushi Kapoor, daughter of late actor Sridevi.
Saif told Film Companion how cameras have been chasing his younger kids since their birth: “They’re constantly being photographed, being followed. Tomorrow, if someone wants to make a movie on them, it’s not rocket science, because someone would obviously be [thinking about their popularity]. So we have to decide why this attention [exists] and where it comes from.”
Recalling the time Taimur was practising taekwondo, “people photographed him and it was all over the internet”. He adds, “What makes the star kid is the press, the photographers, and then the audience.”
Zoya Akhtar just wanted to follow around three boys, no hair/make-up for Zindagi Na Milegi Dobara-Reema Kagti
8:36 AM
Bollywood’s top screenwriter plus producer duo, Reema Kagti, Zoya Akhtar, decode the craft behind their art
Mayank Shekhar (MID-DAY; January 20, 2024)
Made In Heaven, that’s wrapped two seasons on Prime Video—surely, you’ve seen it already—is an episodic series. In the sense that ensemble characters and stories change, with each episode, while the leads remain the same.
That is, Tara (Sobhita Dhulipala) and Karan (Arjun Mathur), who are BFFs/soulmates, single, sharing life together—also business and creative partners, at a wedding planning firm. Which involves stressful planning and production, some scripting, and creativity, too. Not very different from filmmaking itself.
It’s only while watching the show’s second season that it occurred to me—hey, these two protagonists could be inspired by the life of the screenwriting plus producer duo, Reema Kagti, Zoya Akhtar, who are behind the show themselves; no?
“No. Well, work-wise, yes. But not [so much] socially,” Zoya argues, when I bring this up. Although Reema concedes, “When we were discussing [the show, with co-writer], Alankrita [Shrivastava], this did come up—if we have set the people on ourselves. Definitely the friendship, where they are also kinda soulmates. Not that Zoya and I are soulmates.”
They are “professional soulmates,” they concur. So, the social lives are largely separate? “We do have the same gang, when we hang out. But let’s just put it this way: Zoya is extremely social. I’m absolutely anti-social,” Reema laughs.
The two have remained friends and colleagues for over two-and-half decades. Starting out as assistant directors (ADs) on Kaizad Gustad’s Bombay Boys (1998). And with a combined filmography of over 10 films/shows as credited writers on the screen, since.
Yet, while we know enough about Zoya’s background, famously daughter of writers Javed Akhtar and Honey Irani—we barely know anything about Reema.
I’ve scoured the Internet, before meeting them. It hasn’t helped much. Most of her video interviews online are with Zoya. Reema’s calmingly chilled, securely quiet. Which sufficiently explains the “anti-social” self-description, doesn’t it?
Reema says she grew up in Assam. Went to a boarding school, Loreto Convent, in Shillong, Meghalaya: “Back then, there were hardly any good schools in Assam, so it was common for parents to send their kids off to boarding schools. Unlike in bigger cities, where only the naughty kids got sent!”
She was admittedly a naughty kid, though: “I used to make my parents’ lives hell. But they were supportive.” Not as much for her filmmaking ambitions, initially.
“I think my father had this very 1980s, ’90s notion of Bollywood. He was very disappointed [with my career choice]. It’s only when I got him to watch Lagaan, that I was an AD on, that he said, okay—if this is the kind of films you want to make.”
Reema’s father was an engineer at an oil company, before leasing out a 350-acre land to farm, “four hours’ drive from China”. The umbilical cord with her home-state remains.
“You can’t really outgrow your roots. My cook is Assamese. I eat Assamese food. My family is back in Assam.” Reema had moved to Bombay for college, at Sophia, and thereafter a course in social communications at the media school, Sophia Polytechnic.
“At some point, I bumped into Zoya. We liked the same kinda films, had a lotta common ground, we began writing small stuff together” she trails off.
To be more precise, this was during the auditions for Bombay Boys (1998), where Reema was already an AD. Zoya had dropped in for the same position.
Zoya had been an AD on Dev Benegal’s Split Wide Open (1999), after returning from a diploma in filmmaking from New York University (NYU). She had assisted in the costume department on Mira Nair’s Kama Sutra (1996), before NYU.
“Only, the director, Kaizad, was keen to test Zoya for Tara Deshpande’s part in Bombay Boys,” Reema recalls. She was staffing the audition. Right after which, Zoya told Reema, “I’m the world’s worst actor!” Reema replied, “Listen, I don’t think you’re getting this job either!” Well, she got the job she wanted.
Which was as a freelance AD, the rotating culture of which only spawned in Bollywood in the late ’90s, early ’00s: “We were moving into a phase of sync-sound on the sets, shoots getting wrapped in a single schedule. To pull that off, you needed a more structured system. Unlike before, when films would take years to finish, and everyone just hung around in offices—there would be 12 ADs, and everybody did everything,” Zoya says.
Reema had earlier worked on Rajat Kapoor’s directorial debut, Private Detective: Two Plus Two Plus One (1997): “That was my film school. I got to dabble in all departments of filmmaking.” But there was one thing both Zoya and her were clear about—they were not going to assist only one person, throughout, which was, at the time, the common practice.
Zoya says, “I don’t know how we had the guts to take that call. Back then, ADs were associated with particular filmmakers, or even production houses, when it came to advertising. There was a ‘chhaap’ [creative trademark] of that director, that remained with you, even once you left them and went your own way.”
Sensing a trap, neither wished to mirror particular mentors. Writing and directing their own movie was the end-goal, anyway. They got to work on multiple sets, when they did; and wrote their own scripts, when they didn’t. It was around this time they decided to script a short film together.
Zoya remembers, “We almost killed each other—let’s do this, let’s not do that, etc. Later, I wrote Luck By Chance (2009). Reema started writing Honeymoon Travels Pvt Ltd (2007). We gave our scripts to each other for feedback. She finished the portions I got stuck at. Likewise, me with Honeymoon. While we hadn’t credited each other, we were on each other’s films. Because this worked out so well—plugging holes in either script—after that, we just wrote together. Talaash (2012) was the first script we developed [as a team], from scratch.” Zindagi Na Milegi Dobara (ZNMD, 2011), arguably the finest Bollywood entertainer in the ’10s decade, was their second.
It’s not like the creative bickering, if you may, has stopped, or receded. Zoya admits, “People around have just got used to it in our office.”
Reema laughs, “This one time [producer] Ritesh [Sidhwani] told us, you should just not work with each other anymore. During ZNMD, [Zoya’s mom] Honey aunty got a call from the neighbours—something is going on in your house; please, it’s really scary, people are shouting!”
The art of their conflict management is pretty simple, though: “Show up at work. If we are writing, it’s 10 am. No muse is gonna come. If nothing is happening, we just do other things, watch movies, just chat, gossip… Also, you should never be afraid of scrapping what you’ve done, and starting all over again,” Zoya says.
With Reema, it’s even simpler: “If you’re stuck with an idea, and neither is able to resolve it, let it stay—move on to other things. Later, you return to those ideas, and the better argument, once it stays with you, eventually wins. It works well, if you have the story first.” They’re sure of the story’s end, beforehand; working themselves backwards.
In terms of agreeing to disagree, between them, the one who’s directing the film, gets the final say: “Otherwise, we will never stop arguing.”
For instance, in the Netflix original, The Archies (2023), Reema wasn’t convinced about the placement of a song that would break the narrative: “But once I saw the way Zoya had outdone herself with the visualization, I knew she was right. It is my favourite song.”
In terms of success stories among screenwriting pairs, none beat Salim-Javed in Bollywood still. As in, script starring Salim Khan and Javed Akhtar, in the opening credits. The latter, of course, being Zoya’s father.
Only lately has Javed begun to decode how the partnership worked, having kept mum, since it broke up at the turn of the ’70s decade.
It’s clear now that Salim was the scenarist and the plot-guy, while Javed was the man of words. For instance, as Javed has mentioned before, the greatest twist in Chandra Barot’s Don (1978)—the fake don reveals, inside the jail, that he’s not the real one.
Wherein, the cops don’t believe him still. But his consiglieres, for inmates, instantly do. The dilemma worsening for the protagonist—he’s stuck between both lots, who’re gonna kill him, regardless. Now, that was Salim’s idea!
But, say, the Don’s line, “Mujhe do tarah ki ladkiyan pasand nahi aati. Ek woh, jo mere pass aane mein bahut der lagayein. Aur ek woh jo bahut jaldi aa jayein. (I don’t like women who take too long or too little time to attract).” Now, that’s decidedly Javed!
It’d be great to hear Zoya-Reema similarly break down their own scripts. Firstly, Zoya exclaims, “This comparison is freaking me out. Nothing of the sort [of Salim-Javed] had happened before, or will happen again. They were 22 blockbusters down. Let’s not put us in the same sentence!”
“[That said], our strengths are very different. We talk, talk, talk. We align on themes, characters, story, and what the film is about. Then, Reema is very strong and succinct with structure and screenplay. She gets to the point. I tend to soak.”
Reema couldn’t agree more, “The editing! You give Zoya a 100-page script, she’ll send you back 120 pages. I’m, like—what have you edited, you’ve added! But she’s better at nuances, layering, characters. And dialogues, of course.”
“Zoya feels all my characters sound like me! But she can be lazy. Zoya will refuse to write the first draft of the screenplay, once the events have been fleshed out. So, on the dialogues, I just make everyone sound like me. Because I know she will fix it!”
Zoya adds, “I get lazy, yes, but once Reema does the barebones, I take it, and juice it. I write the dialogues in English. If you want to shoot the film in English, the screenplay is completely ready.”
“Then, it goes to one of my family members—brother, Farhan (ZNMD, Dil Dhadakne Do, The Archies); father, Javed (Luck By Chance), or Vijay Mourya (Gully Boy)… They know what I want, putting it into the syntax that works best in Hindi.”
The Archies, in that sense, for the way the audiences would have watched it globally, is closest to the original screenplay with English dialogues then? “The person subtitling might approach it differently, but the English draft is the template for it,” Reema says.
While writing, per se, is a solitary job—it’s in the parleys between each other, bringing out personal experiences and influences—that the Zoya-Reema script essentially comes together.
I ask Zoya to quote examples, where there’s fully Reema in a script, that she’s directed. She points to Alia Bhatt’s part in Gully Boy (2019): “Safeena was the character, from Dharavi, in a script, that Reema had written for her movie. That film didn’t happen. But I fell in love with her. I asked her if I can just take Safeena. Yeah, why not! We supplanted and then adapted her to fit into the world of Gully Boy.”
For something more specific, in terms of moments, Zoya cites, “The scene in ZNMD, with Laila (Katrina Kaif) chasing Arjun (Hrithik Roshan) down on the bike, and kissing him! The point of the film was to follow your dreams; live in the now. Reema said Laila needed to do something [to capture that essence]. She can’t just say it. Let’s have her kissing him outside, and let her leave!”
This ready-to-film screenplay cooked between partners is also how Salim-Javed operated, staying within the realm of screenwriting still—a reason some ’70s directors fell off the crevice, once Salim-Javed were unable to send them bound scripts any longer.
For Zoya-Reema, it’s merely the end of a process: “A big hurrah moment,” as Zoya puts it. The actual movie can’t film itself. How’re they different as directors from thereon, I ask Reema, who has, thus far, directed Honeymoon, Talaash, Gold (2018), two seasons of Made In Heaven, the series, Dahaad, and the feature, Supermen Of Malegaon, that’s on its way.
She says, “Zoya visually references a lot. I tend to arrive at the visual world, after recce-ing [locations].” Zoya agrees, “It is, after all, a visual medium. I like to find a visual tone, seeing the film from before, and start recce-ing it, accordingly; to lift it off the page.”
Zoya, evidently, has her clear list of dos and don’ts as well. For instance, she was certain before the filming of Gully Boy, set in the slums, that there will be none of Bombay’s tarpaulin-blue throughout the film: “I just don’t like the colour.”
Likewise, with The Archies, the setting would be dreamy, hence, visually, story-book like: “full framing, wide-lensing, classical shots, like 1950s-60s photography.” With Dil Dhadakne Do: “mainly mid-shots and long shots, because the picture is from the POV of Pluto, the family dog.”
Besides screenwriting and direction, there’s the graduating aspect to their creative careers, which is as producing partners. Gully Boy was the first film with Zoya-Reema’s film company, Tiger Baby.
The name, by the way comes from “the nickname that Anurag [Kashyap] and all” gave Zoya: “It’s my spirit animal!” Left to Reema, the company would’ve been called Balls of a Brass Monkey: “Zoya is like, don’t be ridiculous! Also, Tiger Baby is fierce and feminine. It has a nice ring to it.”
Even as producers, the two couldn’t be as complimentarily separate from each other. As Zoya deciphers, “I’m the one meeting with the actors, Reema doesn’t wanna go anywhere. She’s better with budgets, and numbers. But both of us are into mentoring scripts. She’s better at creative packaging and producing. I handle the Tiger Baby social media.” Reema sighs, “I can barely do mine.”
An upcoming production of Tiger Baby is a documentary on Salim-Javed.
If you were to strain yourself to find connecting dots, if not a larger link, between each of Zoya-Reema scripts, it might be the fact of alternating worlds, perhaps.
Say, in the OTT space, their two releases in 2023 were Made In Heaven S02, and Dahaad (both on Prime Video). One is set around the blingy world of posh, New Delhi weddings.
The other is a police-procedural in the rugged terrains of Rajasthan, following missing women, and a serial killer on the loose.
Likewise, with films, The Archies, on Netflix—with “idealism for its point”, in the near-perfect, imaginary world, mimicking the American comic book, in 1960s India—comes after Gully Boy, that went deep into Mumbai’s underclasses. Which, in turn, came after Dil Dhadakne Do, dealing with importantly familial, but First World issues.
Zoya-Reema obviously don’t see it this way: “We just follow the world our characters live in. It’s about being authentic to the world you’re trying to create,” Reema says.
Zoya adds, “We are avid readers and movie watchers, fans of various kinds of filmmakers, not fixated on a genre. For instance, I’m actively looking for something in the big crime/underworld space. It’s exciting to be scared [trying new things]. I’ll be bored waking up for work, otherwise.”
The ideas, of course, can come from anywhere, Reema argues: “Supermen Of Malegaon was a documentary. Gully Boy came from a music video. With ZNMD, it was road trips taken [by us]. We’d also gone on a Europe tour, with Zoya and a bunch of friends. Zoya just wanted to follow around three boys, no hair/make-up, for ZNMD. Of course, it didn’t end up that way.”
One of those inspiring trips was when Reema, a “broke AD”, was in Goa, having spent all her money, with none left for a bus-ticket back to Bombay. She hitched “a car-ride with the sister of a friend. Throughout, [the host was] cautious of a plastic bag in the backseat, because it had an expensive vase, or something. We named that bag, Priscilla.”
This is how Bagwati in ZNMD came into the scene. Only, Reema hadn’t even heard of a Birkin: “What’s that Berk, Berk, whatever. When Zoya told me about it—I’m like, why would someone pay lakhs for a bag? I wanted [the motif] to be something breakable in the film. Zoya’s the director. I had to go with her!”
With ZNMD, Zoya says she was looking at a low-budget, easy-peasy production, given she had just got off a huge ensemble cast debut, Luck by Chance.
Which was about an actor getting a shoe-in to showbiz. The Archies, in that sense, is her coming full circle, since the film launched seven debutants. If she was to make Luck by Chance, how different would it be, a decade-and-half later, give how much entertainment as an industry itself has changed since?
“If I have to revisit, rewrite, I don’t know what [Luck By Chance] will be. But, thematically, it’ll still be about success, and failure. That’s what the film is about—how do you define success, and failure? Is your self-worth determining both? The rest is backdrop.”
A widely shared clip online, from Luck By Chance, is superstar Shah Rukh Khan’s (SRK) cameo in it, where he gives life’s lessons to the lead character (Farhan Akhtar). Given The Archies marked the acting debut of SRK’s daughter, Suhana, I wonder if Zoya ever got SRK over to the set, for a Chak De India type pep-talk, to a full team of debutants? “No. That is supposed to be my job!”
That pep-talk in Luck By Chance was essentially about never leaving behind those who’ve known you from before success/stardom—when it appears that you’ve probably moved ahead. Zoya says, “Shah Rukh, as a person, typifies that.” In terms of rallying the OG troops around her, so does she.
Zoya sorta admits, “I do like working with the same crew. Because they’re great at their job. There is trust, and a sync of aesthetics. Which is not to say I won’t work with someone new.
“Suzanne [Caplan Merwanji] was the set-decorator, when I was a production assistant, on Kama Sutra. [Editor] Anand Subaya and I went to school together; [costume designer] Arjun Bhasin, [hair stylist] Avan Contractor… So many around me have been friends since teens and tweens.”
“There’s Ritesh [Sidhwani], Farhan… Also, then, I enjoy going to work. I work a lot. I don’t want life passing me by, while I’m isolated, working 13-14 hours, a day. The friends are there.”
Friendships also being a recurring theme in Zoya-Reema scripts, if you casually glean through them. They could claim a friend-verse of their own. Starting out, Zoya-Reema worked as ADs on Farhan’s Dil Chahta Hai (DCH, 2001). Both believe Farhan, their former boss, to be the more methodical director, sharp with his final edits, even while on set.
Together, with DCH, and ZNMD, Netflix placed three hoardings in Mumbai, before the film Kho Gaye Hum Kahan (KGHK) dropped on the platform—terming them movies that defined friendship for their respective decades. I kinda agree.
Tiger Baby’s KGHK, directed by debutant Arjun Varain Singh, is probably the only Zoya-Reema script that neither has filmed. It peeks into the life of GenZ, through three buddies (Ananya Panday, Adarsh Gourav, Siddhant Chaturvedi), who also somewhat embark on a professional partnership together.
This is not a love triangle. It’s about friends, who are also family. They are not seeking healthy romance, but fulfilling companionship.
You sense that mental intimacy with the male-female leads over two seasons of Made In Heaven as well. I reckon, that’s the future of relationships. Zoya-Reema get that. Better than others.
Casting Varun Dhawan now would mean that we are desperate to put a star in Ikkis-Sriram Raghavan
8:15 AM
Ikkis director Raghavan says original choice Dhawan wouldn’t be the best fit to play 21-year-old; believes Khetarpal biopic will show new dimension of Agastya
Mohar Basu (MID-DAY; January 18, 2024)
Many of us are still caught up in the world of Merry Christmas, revisiting the hints and movie references that Sriram Raghavan dropped along the way as he told the romantic thriller. But the filmmaker has moved on to the second schedule of Ikkis, which will be shot in Mumbai next month. Starring Dharmendra and Agastya Nanda, the film is based on the late Arun Khetarpal, who, at 21, became the youngest recipient of the Param Vir Chakra for the valour he showed during the 1971 India-Pakistan war.
While the director is looking forward to working with new blood Nanda, he believes Dharmendra is the most special part of Ikkis. “We shot a major chunk with Dharam sir last year. He told me, ‘I am getting old, you should do this quickly.’ He doesn’t have the physical tenacity of a young man, but emotionally, he beats everyone in terms of bringing that energy on set. I have finished his portions. He has only a song left, which we will shoot in this schedule,” shares Raghavan.
Ikkis was to mark Nanda’s debut, but its extensive prep demanded time, and The Archies (2023) ended up becoming his maiden film. “I quite enjoyed watching him in The Archies, but Ikkis explores a different dimension of him. I am confident of Agastya in this film. He has been training hard for the past six months. He trained with officers in the NDA [National Defence Academy]. Training is integral to this film.” The director adds that the crucial war sequences will be shot in the upcoming leg.
The biopic was originally announced in 2019 with Varun Dhawan, marking his reunion with the director after Badlapur (2015). What led to the change in casting?
“Varun and I had a chat four years ago. We had to cast three [more] characters. The film didn’t happen then. Now, Varun is in his 30s. The film is called Ikkis, and the age is integral to the story. Casting Varun now would mean that we are desperate to put a star in the film. Then, it no longer stays the story of that innocent boy who became a man in the course of the war.”
I am single. I am also aware of the speculations-Vedang Raina
8:11 AM
Rishabh Suri (HINDUSTAN TIMES; January 3, 2024)
Having taken his first steps in showbiz, Vedang Raina is basking in the love he is getting for his debut project, The Archies (2023). The actor says, “I was a mess before the release. At the screening, I was looking at everyone’s reactions. I watched the film, by myself, at home (laughs).”
The 28-year-old has also been swamped with attention from female fans that he says “feels nice”. There have also been rumours of his dating life, which he “isn’t used to”. “I find it interesting that people are talking about my personal life. But I know it comes with the territory,” he says. While he is rumoured to be dating his The Archies co-star Khushi Kapoor, he clears the air about his relationship status, he tells us, “I am single. I am also aware of the speculations.”
Another aspect of his life that’s making buzz online is his striking resemblance to actor Ranveer Singh. A “huge fan”, Raina has “seen the edits online”: “I can’t avoid it. I’m curious to know what people are saying. I used to get these comments before. I think the comparison has to do with the visual resemblance.”
Christmas special: My playground was a movie set in some ways-Khushi Kapoor
8:41 AM
In an exclusive chat, Khushi Kapoor talks about her love for acting, spending time on the sets with mum Sridevi and her debut release, The Archies
Rishabh Suri (HINDUSTAN TIMES; December 25, 2023)
With her recent acting debut, Khushi Kapoor is the talk of the town. As we reach her Mumbai home for an exclusive Christmas shoot, the actor welcomes us warmly. Dressed immaculately, the 23-year-old manages to take time out in-between the shots to play with her pets, Panda and Mochi. Excerpts from the chat:
Santa came early this year for you, with your debut The Archies. What memories do you have of the day?
I link Christmas to a lot of food! And then spending time with my family and friends. We are putting up a tree for the first time in many years.
Usually, people go on a holiday at this time of the year...
When we were kids, we would do that. Right now, everyone is busy — me, Janhvi (Kapoor; sister), Anshula (Kapoor; sister), we are all working. It is hard to coordinate everyone’s dates for a vacation.
If you were to make a wish, what would you ask Santa for?
I hope to keep working, which is my main goal right now. I am content with how things are going. I just want to keep working and growing. That’s my wish for 2024.
Do you have a Christmas ritual?
A lunch or dinner with friends. This time too, that’s my plan for the day — baking some cookies at home and being in fun Christmas pyjamas, as I am a homebody.
This time of the year must feel extra festive, given your recent film debut...
I am feeling good. I am glad it is finally out for people to watch. I have worked on it for a very long time, and put in efforts. I don’t seek out reviews, I saw a few of them. I try not to get into reading every single thing, because there are a lot of people ready to hate on it for various other reasons. For my own sanity, I wanted to stay away from that.
Did you always want to follow in your mum Sridevi (late actor) and sister Janhvi’s (Kapoor; actor) footsteps?
Since childhood, it (acting) is all I knew. My playground was a movie set in some ways. I knew this was what I was going to do. Not for any other reason, but because I was interested in it from the word go. I was very fascinated by the camera, lights, being able to tell a story for a living.
Which movie sets did you visit?
When we were growing up, mom had taken a back seat from acting. I vaguely remember her doing a show called Malini Iyer (2004). I would visit the set very often. Of course, dad (producer Boney Kapoor) had his own movie sets. I remember going to the sets of Wanted (2009). The most vivid one for me was English Vinglish (2012). I was around 12, old enough to be a part of the whole process. That was mom’s comeback film. We went to New York and I was there throughout the schedule. It’s one of my favourite films.
You auditioned for The Archies, while the perception would be that as a star kid, you’d have a launchpad waiting for you. What prompted you to tread the path?
A lot of people from different backgrounds came together for this one. They all went through a rigorous audition process. I don’t think anyone was offered a part. A lot of thinking went into who played what. I didn’t go into this expecting to be handed anything. I feel blessed I was able to do a film with so many amazing people. Zoya (Akhtar, director) and our entire production team, we became a family, because we were always together.
Hailing from a film family, you grew up in the public eye. But now, you’re facing the world as a celeb in your own right. How’s the switch been?
It’s a bit strange. I wouldn’t say I am famous... it’s definitely weird. I would always accompany my parents and sister for certain events and outings. Now, I am stepping out on my own. People are talking to me and appreciating me for something I’ve done. So, it does take some getting used to. During promotions, we went to colleges. I felt people would not notice me as much. But, I was surprised to see so many people sending so much love. Meeting people and being appreciated in real life is like a reality check. You keep your head down and keep working. There will be people who will appreciate you and some won’t, which is fine.
On wearing Sridevi’s gown from 2013 at The Archies premiere
I didn’t plan it. My stylist sent me options of different gowns I could have worn, new modern clothes. But, for the premiere, I didn’t want to make any fashion statement. It was an extremely big day for me. I was nervous and I wanted to wear something of hers, a piece of jewellery or a dress. I felt I needed some extra support that day. I wanted her to be with me in some way. So I went through some of her clothes and chose the gown.
Suhana, Khushi and Dot were initially tripping, but eventually they got the expressions, steps and skating together-Ganesh Hegde
8:29 AM
Choreographer Hegde breaks down how Suhana and Khushi trained for two months to pull off The Archies’ song that marries dancing and skating
Mohar Basu (MID-DAY; December 12, 2023)
Pulling off a dance routine entirely on roller skates sounds like a challenge. But to choreographer Ganesh Hegde, it sounded like his long-time dream come true. When The Archies director Zoya Akhtar told him how she envisioned the song, Dhishoom Dhishoom, he knew it was his one chance to marry dancing and skating together.
“For this song, I had a specific reference. In Xanadu [1980], Gene Kelly did a brilliant skate routine. There aren’t many actors who are also dancers and can skate. Kelly did that with flair. Our films didn’t have the space for it until Zoya wrote the sequence,” he begins.
Hegde says the prep began two months before the song was shot with Suhana Khan, Khushi Kapoor and Aditi Saigal aka Dot, among others. For starters, the actors had to learn to skate. “I choreographed it two months in advance. We got a [skating] expert to learn [the moves], and she would train them every evening for two hours for a month. That was followed by a 10-day session with the cast, crew and the professional dancers I had got from Los Angeles.” He heaps praise on the actors for picking it up quickly.
“Suhana, Khushi and Dot were initially tripping, but eventually they got the expressions, steps and skating together. Skating is an art form acquired over years. Here, they did it in two months.”
Having young, raw actors was an advantage, he believes, as they were more malleable. “[With them], I changed how I work. I couldn’t be dominating because then they’d be in a shell. I had to be sweeter, gentler, more patient, and had to make them comfortable.”
(Crisp) Movie Review: THE ARCHIES by FENIL SETA
3:33 PM
The setting of The Archies is fascinating yet looks believable. One gets sucked into the world of Riverdale in no time and even understands the various spots of the town. The seven characters are established nicely and their interaction with each other and elders keeps the interest going. The conflict is introduced at the very start and it's quite intriguing. The makers deserve kudos for smartly infusing a political angle into the narrative. The film, however, suffers due to limited humour and touching scenes, which is a must in a Zoya Akhtar film. The songs are novel (watch out for 'Everything Is Politics') but there are too many of them. Lastly, the performances of the debutants are good but not out of the world. Agastya Nanda, Suhana Khan and Khushi Kapoor try their best and it shows. But they need improvement and if that happens, there's nothing stopping them. Vedang Raina (Reggie) is okay while Mihir Ahuja (Jughead Jones) raises the maximum laughs. Aditi Saigal aka Dot (Ethel) suffers from limited screen time. Yuvraj Menda (Dilton) is lovely. From the supporting cast, Alyy Khan (Mr Lodge), Satyajit Sharma (Hal), Vinay Pathak (Dawson), Suhaas Ahuja (Fred), James Alter (Mike Gomes; council member) and Puja Sarup (Mrs Otters; council member) leave a huge mark. All in all, The Archies is a decent entertainer.
My rating - *** out of 5!
My rating - *** out of 5!
We’ve been told people skipped Bandish Bandits's talkie portions to hear the music - Shankar-Ehsaan-Loy
8:34 AM
While agreeing that a song’s visual appeal keeps a web-film watcher from hitting the forward button, The Archies composers Shankar-Ehsaan-Loy say its sonic quality keeps them coming back on audio streaming platforms
Sonia Lulla (MID-DAY; December 4, 2023)
Having created six of the 17 songs that form the backbone of The Archies musical, Shankar-Ehsaan-Loy say they felt they could “smell sponge cake in the room”, when they watched the final edit. “It’s such a sweet film,” they promise, as they discuss recording with Suhana Khan, and working with Javed Akhtar.
Edited excerpts of the interview.
There’s always something special about the music you’ll make for a Zoya Akhtar-film. Why is that so?
Ehsaan: [We are given] the freedom to create. She never blocks an idea and says, ‘No, let’s try something else.’ Her attitude is respectful to the creative person.
Shankar: There are certain directors whose presence in the studio [enables] the music to flow easily. There may be parts of the music that we use or don’t use, or mould at a later stage. For example, the song Va Va Vroom came out to be as it is because he [Ehsaan] randomly played one line, and we decided to record it. Only later did we recall we had this recording. It was a founder’s ball, and we realized this would fit the scene because it has an element of rock. So, when music flows easily, it feels fresh to the listener.
Many cast members, like Dot, are also singers. Suhana has also lent her voice to a song. Did you’ll sit with them to discuss the music?
Shankar: For Suhana’s part, we wanted someone who had the required voice, age, and innocence. The singers we recorded sounded too professional. When she sang it, we said, this is it. She was nervous but practiced a lot.
Ehsaan: The song that she sang has a conversational quality. Another song has been sung by Kelly Dlima. These young singers are all unheard of. They’ve been singing in the studio, but now they’ll get this excellent break.
Shankar: There is one song that is completely picturized on skates. The kids had to learn skating for it.
Ehsaan: There’s another that has been rendered by Arijit [Singh]. People will be surprised when they hear it. It’s unlike anything you’ve heard from Arijit. He was also thrilled with it.
When creating music for the web, where it’s easier for someone to hit fast-forward when a song plays, do you believe the emphasis on the visuals of the song has increased in a bid to lure the viewer to watch it?
Shankar: I would agree that that it is valid. But, 80 per cent of the music that is consumed in the country is non-visual. It is consumed on streaming platforms, where you aren’t seeing it. So, the perception that Bollywood is the only thing [that matters in the music industry] is not true. Bollywood is a small part of the whole game. Monetarily it’s a big part. But there’s a lot happening otherwise. We did a web series called Bandish Bandits. [We’ve been told that] people skipped the talkie portions to hear the music.
Loy: Our job is to write a great song. What is done with the visuals is on the director. But, we have to create a song that sounds amazing even without the visuals.
Shankar: You know, Senorita [Zindagi Na Milegi Dobara] was not supposed to be a song. It was a situation in which they were meant to jam with some Spanish musicians, and leave. When we created that [motif] we realized it was an amazing song. So, visuals were created for it, thereafter. That was also the case with Havan Kund in Bhaag Milkha Bhaag. It was supposed to be a scene in the hostel. But Prasoon [Joshi] ji wrote a big paragraph, and that led to the making of a full song.
Since the songs are conversational, did you’ll spend more time with Javed Akhtar?
Shankar: We always do. I remember, when we were sitting with Javed saab for this film, he would tell us, ‘I have to [not consider] 80 per cent of the words in my vocabulary, because these kids are Anglo-Indians.’ Sometimes, Farhan [Akhtar] and I would playfully argue about some lyrics, and he’d say, ‘With your vocabulary, all I can do is send a telegram’. The kids in the film have limited vocabulary. So, he couldn’t write intricate poetry. He had to write simple words that still conveyed the message—whether that message was about politics or [love]. It had to be musical and the rhymes needed to fit the tune. Only he could have done this.
Shah Rukh Khan, Suhana Khan’s thriller will go on floors by January 2024 in Mumbai
8:50 AM
Mohar Basu (MID-DAY; November 20, 2023)
It will be a busy December at the Khan household as Shah Rukh Khan gears up for Dunki’s release, his daughter Suhana Khan makes her acting debut with The Archies, and son Aryan Khan takes his maiden directorial venture to its last leg. The new year will certainly begin on a special note for the superstar and his actor-daughter as they face the camera together.
Earlier, the duo were to kick off the shoot of their yet-untitled next, to be helmed by Sujoy Ghosh, in October. But now, mid-day has learnt that the Siddharth Anand-backed spy thriller will go on floors by January-end or February 2024.
What exactly caused the change? Several factors, we hear. A source reveals, “Initially, Sujoy’s plan was to take the film on floors right after the late September release of Jaane Jaan. But the script required some more finishing touches, with the writing team perfecting every beat. They are aware of the high expectations around the movie, since it sees the superstar share screen space with his daughter for the first time. Shah Rukh and Suhana too have been tied up with promotions of their respective films. By December-end, the two will start the table reads, and the film will roll latest by February.”
The first leg will be shot in Mumbai.
When your teen is moody or mean, it is then that he needs you the most-Tara Sharma
11:08 PM
Tara Sharma Saluja is an actor, TV host and entrepreneur. But her favourite role is being mommy to her boys, Zen and Kai. Now, the 45-year-old is playing a mom in reel life too — she will be seen as mother of Archie Andrews (Agastya Nanda) in Zoya Akhtar’s desi remake of the famous comic. A London School of Economics graduate, Sharma had given up a cushy job as a financial consultant to dabble in modelling. In 2011, she started a video blog as a new parent and later launched a talk show, ‘The Tara Sharma Show’, where she interviews celebrities about family and parenting. Sharma spoke to Sneha Bhura about being a soccer mom, dealing with teen tantrums and mompreneurship
Sneha Bhura (THE TIMES OF INDIA; November 5, 2023)
When and how did the transition from Bollywood to motherhood and entrepreneurship happen?
When I was pregnant with our older son who is now 14 (the younger one is 12), I stopped getting acting offers. It came to a point where I started wondering what I would do because I have always enjoyed working. My father said: ‘Don't sit and wait for the phone to ring. If you want to do something, create it’. I started thinking about the things I am passionate about. I wanted to be on screen. I enjoyed business. And I am passionate about being with my family and my kids. So, I thought why not combine these to create a show about the incredible journey of being a mom. The show was never intended to be patronizing, giving tips or tricks. It was more about just sharing and learning from each other — literally from cleaning babies' potty to giving them a bath to taking them on a long flight. It was a process of discovery with the audience. It's kind of like what Insta Stories now is except that this was on television.
It's almost like you invented the word mompreneur…
It's not like that. I remember when Kajol was a guest on Season 3, she spoke beautifully about how actually for generations, women have been working and multi-tasking. But these are words that we now use to credit ourselves, saying we are mompreneurs, we are working and looking after kids at the same time! A lot of my work happens from home so I used to wonder: Am I really working? But I realized I bring in brands, it is an advertiser funded program, I am earning and I am doing what I love so I shouldn't play down this space that I have created for myself.'
Today’s parents are very hands-on and have a gentler approach towards parenting. It is sometimes considered a form of self-healing — perhaps overcompensating for something they didn't have while growing up because maybe their own parents were strict. What’s your take?
I don't believe in generalizing. My parents were extremely involved and encouraging. I'm half Indian and half English (her mom is British). I am mentioning this because I think everyone's parenting style is a little different. My parents were always quite sporty and loved the outdoors. We often went on rough and tough trekking-like trips. I find we as parents are quite like that. Our kids are really into sports. I agree there's a lot more talk about this ‘gentle’ kind of parenting. But I think that's also perhaps a perception that has been built on social media. So, I don't know if the style has changed because I know, stereotypically, one wants to think that earlier generations were stricter. But again, it's a function of each family. Perhaps situations have also arisen where more people work from home, there is a bit more flexibility. Covid-19 has changed so much of how we live.
Your father, Pratap Sharma, was a well-known novelist and thespian. In this digital age, how do you ensure that your children don't lose touch with the joy of reading?
The reality is that gadgets and technology have come into our lives in a bigger way than we had access to. I come from a family of books. My father was well-known for his voice, an author and a playwright, and my mom writes too. My grandfather was a publisher. But honestly, I am not a very good reader. My husband (Roopak Saluja) reads a lot more. We encourage the kids to read but they don't read much. Something their school principal said makes a lot of sense. He said we need not just think of reading as picking up a physical book or a physical play. All forms of reading, whether it's articles on the internet or even something on Instagram, adds to our knowledge. While we try to inculcate a love for literature and the classics, I find that even a lot of my news consumption comes from social media. So I think when we talk about kids reading, we also need to rethink and recalibrate.
What, according to you, is the right age to give a phone to a child?
We have all been told that preferably the later you give the phone, the better. But one sometimes feels compelled to give the phone early on. I think Covid-19 accelerated our moving to tech. It was a very difficult time but what kept us all sane was that our kids had great online schooling. Of course, tragically, many children did not have that. Before the pandemic, our kids hardly had any screen time and then suddenly all kinds of interaction, including schooling, playdates, even birthday parties were online. You have to question why you are giving the phone. For example, our younger son plays semi-professional football. He often goes far away to play and we need to be in touch so he needs a phone. More than the rules, it's also explaining the values to the kids on how to use the phone. That if you have access to the internet, how to ensure you're not watching the wrong stuff. These are the things that one has to have conversations about quite early on. It is better to give them freedom but with the responsibility of how to handle it.
We have all been told that preferably the later you give the phone, the better. But one sometimes feels compelled to give the phone early on. I think Covid-19 accelerated our moving to tech. It was a very difficult time but what kept us all sane was that our kids had great online schooling. Of course, tragically, many children did not have that. Before the pandemic, our kids hardly had any screen time and then suddenly all kinds of interaction, including schooling, playdates, even birthday parties were online. You have to question why you are giving the phone. For example, our younger son plays semi-professional football. He often goes far away to play and we need to be in touch so he needs a phone. More than the rules, it's also explaining the values to the kids on how to use the phone. That if you have access to the internet, how to ensure you're not watching the wrong stuff. These are the things that one has to have conversations about quite early on. It is better to give them freedom but with the responsibility of how to handle it.
You have a teenager and a pre-teen. How are you coping with the tantrums?
I believe every phase of parenting is incredible in its own way. But I will say parenting teens is a whole different ball game. You are often unsure and all you can do is be there, give them the values that you feel are the right ones. Roopak and I work as a team. He's very much part of their parenting. I am often unable to discipline them; he is better at it. You have to give them independence and space. I am grateful that both our kids are very independent. We don't have a culture of 'you have to show me your homework when it's done'. And I know every child is different. It's okay to have fights, perhaps even to scream and shout. I'm guilty as charged of doing that. I think it's important for people to know that it's so normal. I have yet to know of a family where there are teenagers and they don't have shouts and fights or eye-rolling situations. I have been doing my show for 15 years and a lot of parents have been with me on this journey. Many say this phase is the most confusing one. It's no longer just about changing a nappy or managing a tantrum. But one thing that has helped me a lot is to know that even if a teenager is being mean to you or saying they don't want you around or is upset with you, this is often the time they need you most. This is something I keep reminding myself. Even if you're being yelled at or even if you're not feeling good about yourself, they need you.
One thing that I found very useful on my show through the seasons was having all kinds of inspirational persons from sports, among others, like Virat Kohli, Jasprit Bumrah, Sunil Chhetri and Rohit Sharma. Today, I listen to some of those chats and I use their advice. Chhetri told me his biggest competitor for football when he was a kid was his mother. I know how much we (Roopak and I) play football with the kids. While my younger son is playing intense football, the older one has taken to tennis. Each child is different, but a sport helps. We've always encouraged some music too; I grew up like that — some sports, music and academics. Both our kids play an instrument. And they love school, they have friends and we're learning as we go along.
Adolescents are quick to pick up on social media buzzwords and are often seen correcting their parents for not saying the right things or being out of sync with lingo and nomenclature.
Yes, our kids do sometimes think we're dinosaurs, as young as we may think we are! When it comes to "woke-ism" and being cool, of course as parents we're often told, "Oh God that's old fashioned" and "that's not right". And teenagers do have moods so sometimes those things are said in jest and sometimes, maybe not. But I think it's important to give them their space and much as we adore our kids it's important to have our own work and interests too. After a long time, I'm acting in a film — in Zoya Akhtar's 'The Archies'. It's only a small role. But my joke is that I am not Betty or Veronica but a mother!
All generations were very cool, but I think this generation of parents are exposed to so much more on social media and we are consuming and or have access to the same content as our children so we know some of their buzzwords and what's going on to an extent. Sometimes the kids tell me 'Mama, your YouTube channel is fine but if you really want viewership, you should get into gaming' (laughs). Kai is still okay with me attending his football matches, I am quite a soccer mom, but as a teen Zen is more inclined to say: 'Oh, you don't have to come, it's not necessary.'
How much is too much when it comes to ‘sharenting’ (sharing about kids) on social media?
When it comes to sharing, I think the safety of our kids is paramount. When I started my show, people asked: are you comfortable showing your babies on the screen? At that time, many parents would not. But for me, as a family, we had discussed it, and we were okay. The show started as a diary of a new mom. Authenticity and being real is intrinsic to it, so sharing was what made it real. But as the kids got older, we evolved the show into a platform where I chat with inspirational people who are bringing about positive change. We stopped having our kids in it as we didn't want to encroach on their privacy. So, I think it's a personal decision. As kids get older, their consent is important too.
When it comes to sharing, I think the safety of our kids is paramount. When I started my show, people asked: are you comfortable showing your babies on the screen? At that time, many parents would not. But for me, as a family, we had discussed it, and we were okay. The show started as a diary of a new mom. Authenticity and being real is intrinsic to it, so sharing was what made it real. But as the kids got older, we evolved the show into a platform where I chat with inspirational people who are bringing about positive change. We stopped having our kids in it as we didn't want to encroach on their privacy. So, I think it's a personal decision. As kids get older, their consent is important too.
Is there too much focus now on getting parenting right?
I don't think it's about getting it right. It's about doing the best we are able to do while living our own lives. Parenting is a part of our lives but it's not the only thing. I'm Tara, an actor, producer, entrepreneur, devoted mom, sports enthusiast — so many things. My kids are the centre of my life. But there's other stuff too. I don't think we're all in a race to parent right. We're all doing our best. All our parents tried to do the same. There's no generation that didn't try to be a good parent. I don't think it's unique to this generation.
I don't think it's about getting it right. It's about doing the best we are able to do while living our own lives. Parenting is a part of our lives but it's not the only thing. I'm Tara, an actor, producer, entrepreneur, devoted mom, sports enthusiast — so many things. My kids are the centre of my life. But there's other stuff too. I don't think we're all in a race to parent right. We're all doing our best. All our parents tried to do the same. There's no generation that didn't try to be a good parent. I don't think it's unique to this generation.
More and more moms are starting their own businesses from home. What advice would you like to give to mothers who are just starting out?
I would like to wish them luck. Mothers definitely are great multitaskers. I think that's something I definitely got better at once I became a mum. Also, I think it's also really important to define what success is for you. I always knew having a family, being healthy and happy is a priority. I have created work around my kids. I started my entrepreneurial venture out of what I value. If you are someone who's excellent at baking or designing clothes and you want to do it from home, that's great. You don't have to feel like 'Oh, I'm not as good as somebody who's got VC funding and become a huge millionaire'. It's really important to not constantly compare yourself to others. The best you can do is equip your kids with the right values and then let them captain their own ship. You are there to stand by, to support, to steer, but not to actually captain.
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