By locking people up in their houses, the ongoing pandemic, caused by a rogue virus on the loose, has provided the perfect backdrop for every superhero film. While the world tries to contain the outspread by wearing masks, Bollywood filmmakers had the foresight to conjure up an army of masked men even before calamity struck. And now, as theatres across the country open up, and Gal Gadot’s Wonder Woman: 1984 turns Santa for a cash-strapped business on Christmas, Bollywood’s heroes also gear up to rescue an entertainment-starved audience of its misery. Take a look at these caped crusaders you can expect to meet on screen…

After displaying strength, valour, and perpetually high josh as an army officer, Vicky Kaushal is being promoted to a mythological superhero blessed with immortality in the modern world by his Uri: The Surgical Strike director Aditya Dhar. Wonder who he will be warring with this time around in The Immortal Ashwatthama

Solar-powered Jaadu’s blessings have brought Rohit’s superhero son Krrish a long way, and he is set to return with the fourth instalment of the franchise. A source, who may or may not be an alien, reports that the script has been finalised and the father-son duo of Hrithik and Rakesh Roshan are currently working on pre-production with an international studio to ensure a visual effects extravaganza

Katrina Kaif is suiting up to claim her position as Bollywood’s first superwoman in Super Soldier. Ali Abbas Zafar has locked the script and hopes to shoot across the UAE, Poland, and Georgia, apart from Himachal Pradesh and Uttarakhand, where he will be filming the story of her origins

After facing the wrath of the ladies in films like Pyaar Ka Punchnama, Pati, Patni Aur Woh, and Sonu Ke Titu Ki Sweety, Kartik Aaryan has finally found his calling. The actor has come on board Vasan Bala’s adaptation of the comic book character Phantom. The wonderful people of Bangalla, the fictional country from where the Ghost Who Walks operates, are in for some inspirational monologues and lots of action

Sanjay Gupta is adapting the novel Rakshak—that has a vigilante fighting injustice at a time when the world is coming to an endwith the promise of spinning it into a franchise. Buzz is, he has John Abraham on his wishlist and the actor wishes it too

He’s played a larger-than-life hero so many times on screen that Ajay Devgn’s super villain turn is much-awaited in debutant director Shiv Rawail’s next, which will also serve as Ahan Panday’s launch vehicle. After Shivaay and Tanhaji: The Unsung Warrior, the film, which is being planned as a trilogy, is sure to be a VFX delight

After turning Kat into a superheroine, Ali will move on to Mr India. The filmmaker, who is looking at Ranveer Singh for the titular role, has already clarified that his film is neither a remake nor a sequel to the 1987 cult movie, but rather a fresh script that’s a blend of superpowers and sci-fi

Scientists may have discovered the God particle but they’re yet to unravel the mystery that is Shiva’s light-emitting hands. In their defense, they are yet to be presented with evidence in the form of Ayan Mukerji’s Brahmastra, which was announced in 2014, and features Ranbir Kapoor, Alia Bhatt, Amitabh Bachchan, Mouni Roy, and Nagarjuna. Ranbir finds his match in baddie Mouni who emits black-fire, as they battle it out. 

Ronnie Screwvala, who has 12 films in pipeline, predicts cinema halls won’t run to full capacity till there’s a vaccine; says industry looking at tough 18 months ahead
Himesh Mankad (MUMBAI MIRROR; June 19, 2020)

Do you think the appetite for films will change in the post-Coronavirus era, with a clear demarcation between the big screen and small screen cinema?
I think it’s all about the storytelling and not screen size. At the moment, we’re battling the virus and 18 months away from the post-Covid era. For the next year or year-and-a-half, people will be wary of risking their health for a cinematic experience. But films will not go away and neither will theatres. It’s a strong window, but things will change and we will have to work 10 times harder on the creative content, storytelling and scale to bring the audience into the cinema halls again.

Does that mean smaller films will find it difficult to get screens?
No, if you have a gem of a story, it’s a big film already. People go to theatres because they don’t want to wait eight weeks. It has never been cinema v/s OTT as each one augments a market and grows.

When do you expect cinema halls to open and a constant flow of big releases?
Mumbai and Delhi, which account for 65 per cent of the box-office, are the worst-hit cities right now. Until they open up, nobody will want a release in only Pune, Nagpur and Kanpur. Makers of big films will wait to see if people are coming back to the cinemas. I don’t see some of them arriving this year. I don’t see theatres opening till October and even when they do, they won’t run to full capacity until the vaccine arrives. Entertainment will be the last priority for people. Next year, one will feel the pinch because there will be a drought of releases as few new films will roll for the next six-seven months, so there won’t be any more fights for the weekends. There aren’t too many films in the waiting, and you will see the gap over the next 18 months.

Do you think this is the right time to renegotiate on ticket rates, VPF (Virtual Print Fee) and other issues with theatre owners?
I have strong views on this, that’s why I got into the Competition Commission. Unfortunately, there is no unanimity.

You have backed films like Rang De Basanti, Khosla Ka Ghosla, A Wednesday and Aamir which were way ahead of their time. What gave you the courage and conviction?
Rang De Basanti was one of the first films we made, it could have been before its time, but it was not. Jodhaa Akbar was an expensive film, but again it broke the mould. People thought Aamir, A Wednesday and Khosla Ka Ghosla were small, but they worked big time. Anurag Basu narrated just 40 lines of the Barfi! script to me, look how the film turned out to be. Of all our films, only Swades was before its time, but it was a gem of a film.

Next up: The Immortal Ashwatthama with Vicky Kaushal, a fantasy trilogy based on the Mahabharata. Tell us about that…
The way forward for the millennial audience is not in retelling history, but in the way it is told. You need to romanticise history, let imagination take flight and put it in the context of the future. Our problem is that we don’t think big. I am sick and tired of everyone saying this film earned Rs 100-Rs 200 crore over the last 10 years. They should now cross Rs 500 crore, otherwise there’s no reason to make films. Baahubali showed us the potential of our market. It was a scaled-up film, but at heart, it had a strong story.

The Immortal Ashwatthama will reunite you with Uri: The Surgical Strike director Aditya Dhar and lead Vicky Kaushal. Any pressure?
We will have a blast. Aditya has such clarity of vision and Vicky is a stupendous, versatile actor. And I have the ability to look at things three years from now. The film is in prep now and will roll next year.

You also team up with Kangana Ranaut on Tejas, set against the backdrop of the Indian Air Force.
We wanted to make a film on the army so Uri happened. Tejas is not a sequel to Uri, because that was a true story and this isn’t. But it is on the same lines and on the same scale.

Will Taapsee Pannu’s sports drama, Rashmi Rocket, lose money due to the delay in production?
Prep cost is never a waste, we will be more ready when we start. Safety is the priority now.

Abhishek Chaubey is writing the biopic on hockey legend Dhyan Chand…
(Cuts in) We have 12 films in planning right now, we’ll discuss them at the right time.

Any change in your outlook as a producer in the post-Covid era?
I will be more aggressive now.

Vicky Kaushal, who turns 32 on May 16, would’ve been shooting for Karan Johar’s next on his birthday
Himesh Mankad (MUMBAI MIRROR; May 15, 2020)

Vicky Kaushal is home, and waiting for life to return to normal, as he brings in his 32nd birthday on Saturday, May 16. “I never thought that we’d be in a situation where things literally come to a standstill. Leave alone a birthday in lockdown, I never even imagined a lockdown before,” says the actor, who will bring in the day quietly with family.

Growing up, he threw those must-have birthday parties at home. “There were no cell phones to take selfies and record the event, nor peer pressure to post them. It was just about having a good time with friends. Those simple days from my childhood are special,” he says.

Now, Vicky believes that working birthdays are a good omen as they bring more work. If he wasn’t locked in, the actor would have started shooting for Karan Johar’s period-drama Takht this Saturday. Now, given the current scenario, the shoot stands indefinitely pushed. But there are no complaints. Being safe at home is a luxury today, the birthday boy points out. “Look at what people, who are away from home or don’t have a home, are going through, including the frontline workers of the pandemic. By staying home, we can help flatten the curve,” says Vicky, who with actor-brother, Sunny, is cooking meals and doing chores. “I can, at best, whip up an omelette or a bhurji. But Sunny is a good cook, so I assist him,” he chuckles.

The actor agrees that there’d be changes in the industry because films are not on the top of the food chain right now. This would mean changes in protocols and working modules. With a direct-to-digital film, Love Per Square Foot, already in his repertoire, Vicky is open to working in both, films made for theatres and OTTs, in the post-Coronavirus era. “It’s the subject and character that matter the most.”

Life changed for him last year, following the blockbuster Uri: The Surgical Strike, and a National Award for Best Actor. This led to him signing several big budget films, including The Immortal Ashwatthama, which reunites him with his Uri director, Aditya Dhar, and producer Ronnie Screwvala. “Uri was a physically and emotionally draining film, so it feels good to see the way it resonated with the audience. The National Award was the cherry on top. I hope to keep working hard and connect with the audience,” he promises, admitting that now there is the burden of responsibility and expectations, but it’s important not to feel the pressure. “Give your best and leave the rest to destiny. Honesty is all that’s needed.”

In Ashwatthama, Vicky plays the titular role of Guru Dronacharya’s son, who fought for the Kauravas in the Mahabharat. The film is set in contemporary times. “We take it on the floors next year. Aditya and Ronnie are attempting something that has not been made in Bollywood before. It’s ambitious and huge, I’m raring to start the journey,” says the actor, who recently wrapped up Shoojit Sircar’s Sardar Udham Singh, which is set against the backdrop of the Jallianwala Bagh massacre. For Vicky, it was an enriching experience to work with the filmmaker and he admits he learnt something new on the set every day. “I always wanted to work with Shoojit da and Udham has been a memorable journey. It’s in post-production now,” he informs.

On KJo’s Takht, also featuring Anil Kapoor, Kareena Kapoor, Ranveer Singh, Alia Bhatt, Bhumi Pednekar and Janhvi Kapoor, the actor is reticent, unwilling to divulge much. In the film, as Aurangzeb, he has a lot of confrontation scenes with Ranveer’s Dara Shikoh. “It was a dream to be a part of this period-drama. I’ve admired the work of all the artistes who are a part of this film,” he says shortly.

Most of his new releases see him in real-life roles. How does he handle the challenge? “I switch from one character to another organically, through workshops, reading sessions and interactions with the team. Half of the work is done by them; I just have to concentrate on a character at a time, then move to the next,” he reasons.

Vicky acknowledges that definition of stardom has changed, content is in the foreground and that there is no demarcation between stars and actors. “It’s all merging and I want to be a part of this beautiful process,” he signs off.

Itching to reunite with Vicky Kaushal after Uri, director Aditya reveals his ambitious plans for a modern-day superhero film, The Immortal Ashwatthama
Uma Ramasubramanian (MID-DAY; March 12, 2020)

With his directorial debut Uri: The Surgical Strike (2019), Aditya Dhar showed that he had the gumption to mount a film on a grand scale. For his second venture, he has turned to a more ambitious subject — he hopes to tell the story of the mythological character Ashwatthama with The Immortal Ashwatthama. The director, who is currently developing the script, reveals that the Vicky Kaushal-fronted drama will be made as a trilogy.

"We are planning to make it in three parts. For now, we are concentrating on the first part because [making] that is such a huge task. If we perfect that, the second and third [editions] will be made," explains Dhar, who turns 37 today.

The film, which is expected to go on floors by end of 2020, has been envisioned as a modern-day adaptation of the epic. While the Mahabharat has offered several revered heroes, Dhar says his fascination for Ashwatthama — the son of Dronacharya who was given the boon of immortality — stems from the character's "imperfections". "As a character, Ashwatthama was flawed. He was arrogant, egoistic and temperamental. That made him more human than every other character [in the epic]," he analyses, adding that the project will be mounted on a lavish budget. "We don't want to compromise on the scale. We want to make a superhero film and hopefully, achieve what Marvel is doing globally."

His last collaboration with Kaushal had both of them walking away with National Awards. The director believes that their next will not only test their talent, but also their commitment to the craft. "Vicky will need to gain weight, he has to weigh close to 115 kilos for the part. Besides his physical transformation, he will have to pick up various martial arts, sword fighting, and archery. Luckily, he is learning horse-riding for Takht, so that will come handy in our film."

Actor will learn Jujutsu, Krav Maga, sword and spear-fighting, archery for Aditya Dhar’s next, which kicks off by the year-end
Avinash Lohana (MUMBAI MIRROR; February 6, 2020)

After wrapping up Karan Johar’s historical-drama, Takht, which rolls mid-March, Vicky Kaushal will reunite with his Uri: The Surgical Strike director Aditya Dhar and producer Ronnie Screwvala for The Immortal Ashwatthama. The action-based superhero film is set in the modern times with the 31-year-old actor in the titular role. Now, Mirror has learnt that he will undergo prep for four months before the film rolls by the year-end. According to a source close to the development, Vicky has some high-octane action sequences in the film and the makers want to ensure he is prepared before the film rolls. “Vicky will train in various Mixed Martial Arts, with focus on Krav Maga and Jujutsu. The horse-riding training for Takht will come in handy here too, while lessons in sword and spearfighting and archery are also on the agenda,” informs the source. For his part as Major Vihaan Singh Shergill in Uri, Vicky had also undergone paramilitary training, learning how to use ammunition, artillery and military sign language.

Vicky will also beef up for the part. “He has a muscular look in this film. For Uri, he had gone up to 90-95 kg. This time, it will go up to 105-110 kg. Aditya is currently looking for action directors from around the world to collaborate with,” adds the source.

While speaking to Mirror (November 20) earlier, Aditya had revealed that the film will be shot in a start-to-finish schedule. Greenland, Tokyo, New Zealand and Namibia have been shortlisted as locations, while the post-production, including VFX, will be done in the US. The source also informs that the hunt for a leading lady is still on, while the director is putting final touches to the script. “The female lead also has a lot of action scenes in the film.”

Aditya had narrated the story of The Immortal Ashwatthama to Vicky and Ronnie a day before the release of Uri and had immediately got their go-ahead. Five days later, he started work on the script. “Ashwatthama is one of the most powerful and mysterious characters from the Mahabharata. In comparison to other warriors like Arjuna and Karna, not much is written about him in various versions of the epic,” the writer-director had said, adding that he found that intriguing about Ashwatthama.

Rachana Dubey (BOMBAY TIMES; January 11, 2020)

Last year, Uri: The Surgical Strike released in the theatres on January 11. The film bagged many popular awards and also won four National Awards. Celebrating the first anniversary of its release, and marking the start of their next project, Ashwatthama, the film’s team — producer Ronnie Screwvala, director Aditya Dhar and actors Vicky Kaushal and Yami Gautam chat with BT about how the film impacted their lives and their plans ahead. Excerpts:

Today, a year after the release of Uri: The Surgical Strike, how’s the josh?
Aditya: Very high! (laughs with the rest of the team!)
Yami: We had our first screening on January 9, 2019. After the Delhi promotions, we landed in Mumbai for it. We had booked five screens and were surprised to see that they were all packed, and more people were waiting. So, we had to book two more shows. Also, the film changed so much for me. Uri gave me that chance to display the depth that I can bring to a character.
Ronnie: I had the highest level of confidence among all of us because I sort of knew where we were headed with this, and a year later, the josh is even higher. The response to this film was tremendous, and war films have a different definition now. Uri impacted people and inspired many youngsters to join the Armed Forces. That is where a movie gets out of the skin of being a mere film.
Vicky: I had seen the film during the edit, but I didn’t know if I liked it because I was in it, or because it had those sentiments. I always asked Aditya, ‘Yaar, log dekhne toh aayenge na?’ I hoped they would come, the rest depended on destiny. We were not prepared for the overwhelming response that Uri got. People just took the film home.

Aditya, you had mentioned that the film faced hurdles, including budget issues. Today, it has bagged many awards, including four National Awards. Have all the struggles been worth it?
Ronnie: That was just to keep everyone on their toes. With our next, Ashwatthama, they will have to dig their heels in and no puns intended here. Yes, Uri was an ambitious project and the team came around incredibly well. Passion overtook everything else.
Aditya: The pressure from Ronnie made us think of ingenious things that we would not have thought about otherwise. It taught me to make things look grand in a tight budget. We prepared a book with pictures of how a scene would look, and we made extensive and detailed storyboards. That knowledge will come in handy now, when we start working on Ashwatthama.

While Aditya was making his debut as a director with the film, Ronnie, you were returning to the film business after a seven-year hiatus. Would you say the risk paid off?
Aditya: I don’t think anyone can ask for a better debut than this. The response to the film made me understand that I have immense responsibility on my shoulders. Uri has given me the confidence to attempt a challenging project like Ashwatthama.
Ronnie: I had stepped out of media for seven years and this was a comeback of sorts. If you stick to your convictions, you will get around fine. It was life-changing to get the reaffirmation from the public we cater to. Uri was a precursor to something bigger that we have been planning.

After Uri, the three of you (Vicky, Aditya and Ronnie) are collaborating on another ambitious project, Ashwatthama. Are you ready for the challenge?
Vicky: As an actor, if the script affects me, I plunge into it and give it my best. What a film can do for my career is not in my hands. Uri was a good film, and so people felt that I could shoulder a movie on my own. This happens when a film hits a home run. I’m very excited to start work on Ashwatthama. It’s a great script and it’s scaring me in a good way.
Aditya: We start the pre-production on our ambitious superhero film Ashwathtama today. We’ve taken an Indian story and are attempting to give it a global appeal, so that people around the world can enjoy it. It’s more than a straight-jacketed superhero outing. It takes a leaf out of Ashwatthama’s character from Mahabharat. We will start shooting in 2021.
Ronnie: Launching a satellite may seem possible by just pressing a button after the countdown. However, the real effort goes into creating the platform, rocket and mechanism, so that it can reach its destination. That takes time and a lot of meticulous planning. That’s how we see Ashwatthama shaping up and that’s the reason it will roll out only when the groundwork is completely done.

Aditya Dhar’s second directorial to be shot in Greenland, Tokyo, New Zealand and Namibia; all post-production, including the VFX, will be done in the US
Avinash Lohana (MUMBAI MIRROR; November 20, 2019)

Mirror (April 16) was the first to report that after this year’s sleeper hit, Uri: The Surgical Strike, Vicky Kaushal, director Aditya Dhar and producer Ronnie Screwvala will reunite for The Immortal Ashwatthama, an action-based superhero film set in modern times with the actor in the titular role. Since the release of his directorial debut in January this year, Aditya has spent five months in the US working on the script, meeting VFX studios and is now gearing to roll with his next in mid-2020.

“Soft prep began two months ago while formal prep will start in a fortnight. We will shoot the entire film in a start-to-finish schedule and have shortlisted Greenland, Tokyo, New Zealand and Namibia as locations. I will be collaborating with teams from all over the world on the action. The entire post-production, including the VFX, will be done in the US,” informs Aditya.

He narrated the story to Vicky and Ronnie a day before the release of Uri, immediately got their go-ahead and five days later, started developing the script. “Ashwatthama is one of the most powerful and mysterious characters from the Mahabharata. Being Drona’s son, he is a brilliant warrior but also arrogant and egoistic because he is immortal. In comparison to other warriors like Arjuna and Karna, not much is written about him in various versions of the Mahabharata,” the writer-director points out, adding that that’s what intrigued him about Ashwatthama. “He is not perfect but then none of us are, which is what I love the most about him.”

Ashwatthama was born to Dronacharya and Kripi as an answer to the former’s prayers for a son as valiant as Shiva. A chiranjivi (an immortal being who, according to Hindu mythology, will live as long as the Kalyug), he had a gem on his forehead which gave him power over all living beings lower than humans. It also protected him from hunger, thirst and fatigue.

He fought for the Kauravas against the Pandavas at Kurukshetra. Aditya has fleshed him out, adding elements from his own imagination while developing the screenplay. “Like Uri, Vicky has to gain an incredible amount of weight, but this time, he will also have to lose it all during the course of the filming. His look will come as a complete surprise to all,” he promises.

Aditya was supposed to debut as a director in 2009, then in 2011, 2012, 2014 and 2016. Most of the projects were greenlit, ready to roll, but for some reason, they just didn’t materialise. “In the decade before Uri, the only way I could keep my sanity was by writing stories and channelising my energies towards what I enjoy the most. I had several ideas and I just kept writing, knowing that one day I was going to make all of them, either as a director or a producer,” he shares, adding that The Immortal Ashwatthama was one of them, but he had never imagined that a project of this scale would happen as his second film. “Credit for that goes to Vicky, Ronnie and his team.”

Meanwhile, he is gearing up for the National Awards ceremony. He bagged the prestigious honour as a director for Uri. “It was my very first award in this industry and the fact that it’s a National Award, makes it all the more special. Twenty years from now, I will look at the National Award Certificate hanging on my living room wall and it will still bring a huge smile on my face,” he signs off.