The last four years have seen celebrity restaurateur Vikas Khanna face his biggest loss and most meaningful gain, all between Vrindavan and Varanasi. How did a Michelan star chef make a film that's made it to the 2019 Best Film Oscars nomination list
Aastha Atray Banan (MID-DAY; January 19, 2020)

It was in 2011 when chef Vikas Khanna was in Vrindavan to celebrate Holi when he first encountered the widows who live there, cast away by families. He was there to shoot for a show. Just as he was being rushed out from the backdoor exit of Bankebhai temple to avoid the rush of onlookers who had gathered, he walked into a street lined by hundreds of widows lining both sides, watching the Holi festivities from afar. "Until then, I hadn't thought about them. When I was growing up, there was an aunt who was always at home, beautiful, not allowed into any family function. We [Indians] consider it normal. A boy walking behind me was trying to explain, 'Inko mat dekhna, apshagun hai [don't look at them; it's inauspicious]'."

Khanna remembers making eye contact with a 90-year-old. "I smiled at her, organically. And she looked happy for that, that someone had acknowledged her," Khanna narrates over an early 8 am breakfast interview at an Andheri five-star.

The chef and restaurateur says that smile broke his heart. He put pen to paper on the flight back to Delhi, and began writing a short story about his experience. His first line, which he wrote in Punjabi, was: the country which is famous for its colours, has daughters who are colourless".

It as in that moment that Khanna had turned into a filmmaker, and the seed for his debut movie, The Last Color, was sown. Unveiled last year at the Palm Springs International Film Festival, it travelled to Cannes where it won Best Film. But the recognition everyone is talking about is about making it to Best Film final list of Oscar 2019 nominations.

The journey, Khanna calls, life changing. He mailed the story he wrote on the flight to magazines that he thought might be interested in publishing it, "The New Yorker". There was no reply. Khanna went back to his life and his Michelin star New York restaurant. "I had money riding on me, I couldn't be following crazy dreams," says Khanna, who hails from Amritsar. Junoon, the restaurant that has been bagging a Michelin star every year since 2011, is among many responsibilities, including authoring cookbooks, and anchoring Masterchef India and UTSAV - A Culinary Epic of Indian Festivals.

But, when he came across an NPR story on Vrindavan's widows titled, 'For India's Widows - a riot of color, an act of liberation', he returned to his short story and decided to hire an agent, who told him that the story needed a narrator. But the universe, the wily ways of which Khanna believes in, had another plan, and it started with a tragedy. In 2015, his father, Davinder Khanna, passed away. "I couldn't believe the news. I told my sister-in-law, 'you are joking!' Dad handled everything for me, my contracts, paper work. I am terrible at handling money. I went into hiding."

After putting all projects he had on hand on hold, he found himself in Varanasi, cut off from the world except for contact with his mother, Bindu. He would spend his days ambling in the streets, and nights, sleeping on a boat on the Ganga. It was here that he met a girl, who walked the tightrope, a drama commonly played out on India's streets. She told him that with the money she made, she would go to school, and become a police woman. She wanted to escape the trouble she got into with the police. Khanna had found his narrator. "My boatman told me that I had to tell the story of the girl. She was the daughter of Ganga, and I might have an old debt to pay the holy river. The universe had led me here," Khanna says, overwhelmed.

The story of The Last Color is about the uncommon friendship between a widow, played by Neena Gupta, and a little girl, who vows to colour her on Holi. She can't fulfill her promise, but leads a movement that promises to reform their lives. Khanna has directed and written the film, composed the music and designed the costume for the film that has been four years in the making. "I don't know where it all came from!" he laughs, "I would type, 'qualifications required to be a music director' and search Google. I didn't know anything!"

And that's ironical because those who watch it and give it a standing ovation, including at a recent screening at the UN, don't believe it is made by a first timer whose real talent lies in the kitchen.

Khanna can sense he has won us over with his genuine positivity. He is no stranger to adulation, especially from women. But he accept attention gracefully and says modestly, "I am grateful for the love I get from women of all ages. I feel it's about taking food to the next level, and they all gravitate towards that. I try and share my story with them."

As he waits for the film to hit streaming sites, he has begun work on his next feature, but he won't tell much. "It's fun to work in secret."


Neena Gupta in The Last Color


Aqsa Siddiqui in The Last Colour 

Neena Gupta on how writing in Bollywood is changing, getting roles that stand out and experimenting with her style game
Shaheen Parkar (MID-DAY; May 12, 2019)

She doesn't want to call it her comeback. "I was always there, I never went anywhere," says Neena Gupta. "What should I term it?" she wonders. Neena Gupta 2.0, you tell her. "Bas, ek thappa sa lag gaya. Every actor looks for that breakthrough role. Mujhe abhi mil gaya," she laughs. Gupta can refer to her life as post-Badhaai Ho (2018) and before it. The quirky comedy, about a middle-aged couple whose life turns topsy-turvy when they realise the stork is going to visit them, put her on top of the heap.

"Javed Akhtar called and told me that I am not surprised, but happy for you. No one can stop you now," recollects Gupta, who is currently shooting at Mehboob Studios for Rohit Shetty's Akshay Kumar and Katrina Kaif-starrer Sooryavanshi. When we catch up with her, it is the second day of shoot with the filmmaker and the Khiladi, who are known for creating box office history. Gupta now finds herself part of one such big-ticket project. She plays Kumar's mother, who is unlike the typical gajar ka halwa-feeding screen moms. There is a new dimension to her character.

"Now, I have hired a manager, the makers got in touch and things happened fast, within days I found myself shooting for Sooryavanshi," she says. There are other offers too, both in films as well as on the web, on which Gupta has to yet take a call. "Badhaai Ho opened up new avenues for me. It has given me better roles. Usually, I would have got some chhote roles here and there, but with recognition and accolades come the significant parts. I was destined to get it. They could have approached anyone else to play my character in Badhaai Ho, but it was meant for me."

Gupta attributes her success to the new writing in Bollywood. "I guess my timing was perfect. Films are being made on a lot of new subjects, which were not delved upon earlier. There are interesting parts now for senior actors as well. The audience has also evolved thanks to the digital exposure. There is Netflix and social media. The audience, especially the youngsters want novel subjects and quality content."

Apart from movies, Gupta has also done television and theatre, since she began acting in the early '80s. "I am open to anything now again, but it should challenge me. An actor has to adapt to all types of work. I am doing web shows as well as audio shows."

She recently wrapped up Jaspal Singh Sandhu and Rajeev Barnwal's Gwalior (below) with Sanjay Mishra as co-star. He was junior to her at the National School of Drama. "I always ask Sanjay why does he look so buddha, when in reality, he is much younger than me. He tells me, 'I have always looked like this. Main buddha hi paida hua tha'," she says. About her character in Gwalior, she says, "I play an uneducated woman, who rises to the occasion, during a cash crunch." Gupta now wants to balance the different worlds of shooting for Gwalior with that of Sooryavanshi. "The working style is distinct on both sets. Every film treads a different path, an actor should know how to strike a balance."

She will also be seen in chef-turned-filmmaker Vikas Khanna's The Last Color. "It has been doing the festival rounds, but because of my shoot schedules, I can't travel to the various festivals." Now that she has arrived, Gupta has also been doing what the stars do — donning red carpet and airport looks. "I don't have a PR machinery in place to tip off the paparazzi, so I have been sharing my looks on Instagram while travelling. It's fun, I started doing it as a joke."

She has also been making sartorial statements ditching the saree for the chic look. Has designer daughter Masaba influenced her? "I wear a lot of her creations, sometimes we discuss what I should wear, but basically I love shopping for clothes. I keep buying, I can't resist the urge. Often, I don't know where to wear them.''

In 2017, Gupta had shocked many by sharing a post on social media that "she was a good actor looking for work" when she realised that she was not getting the roles she wanted. The actor had no qualms asking for work on a public platform even after being an actor for decades. It was unheard of. Priyanka Chopra's reply to her post was "inspiring". Two years later, Gupta finds herself not asking for, but getting work. She now wants to savour every moment of it.

Neena Gupta is still basking in the glory, even though things were not the same last year. She recalls, "After I got married in 2008, I came across many people who thought I had moved to Delhi and given up working
Prutha Bhosle (MID-DAY; December 30, 2018)

There was a time when Bollywood didn't talk about sex. Instead, films were infamous for visuals such as a female lead in a rain-drenched saree or mating birds and blooming flowers that suggested sexual intercourse. Things have changed now, yet being sexy remains the domain of young people. Which is why the hit Badhaai Ho offered a refreshing perspective. Just when you thought Ayushmann Khurrana would walk away with the accolades, Neena Gupta's portrayal of a middle-aged woman romancing her husband and conceiving a baby stole everyone's hearts.

It's the coming of age of an unconventional artiste, whose life has been laced with struggle and passion. The 59-year-old National award-winner says, "When I read the script, I jumped at the opportunity. In earlier days, mothers and daughters would get pregnant together. This is because people would get married at a very young age. But, even at that time, pregnancy was a hush-hush thing. It was never connected to sex. Interestingly, when I was young, I never saw my parents sleeping in a separate room. My brother and I would always sleep with them. So, you see, sex has always been a taboo. I watched Badhaai Ho again recently and, trust me, there is nothing sexual in it. It talks about how, at a certain age, people need companionship more than anything. When you are young, you are busy raising your kids and earning for them. But as they grow up and go their own ways, you need your partner. Why not romance at this age then?"

Gupta is still basking in the glory, even though things were not the same last year. She recalls, "After I got married in 2008, I came across many people who thought I had moved to Delhi and given up working. About one-and-a-half years ago, I was heading to Zoya Akhtar's home and her colleague asked me when I would return to Mumbai. That killed me. I was not getting offers. That day I went home and put a post on Instagram asking for good roles. Back then I had 11,000 followers; today I have two lakh."

Her portrayal won Gupta the Best Actor Critics trophy at Star Screen Awards this month. She thinks this is telling of a huge change in the film industry. "The fact that the jury accepted my role and gave me the award is a big step for actors my age. This proves that to win a best actor award, you don't need to be young. While older men still get such significant awards, women don't. And the problem is in social perception." Gupta says her co-actor Gajraj Rao and she were surprised to have been nominated along with Alia Bhatt, Deepika Padukone, Ranveer Singh and Ranbir Kapoor. "Giving both of us an award is a beginning of a big change."

Her next - The Last Color - will premiere at Palm Springs Film Festival. "I have always got things much later in life. But I am happy this was in my destiny," she smiles.

Nayandeep Rakshit (DNA; October 22, 2018)

Neena Gupta is seldom seen in movies. Quiz her about it and she smiles, “Hamare liye koi achcha role hi nahin likhta toh kya karein?” On that note, we talk at length about her recent release Badhaai Ho, which deals with late pregnancy, what helped her make this unique choice and her relationship with daughter Masaba Gupta. Excerpts...

What was it about Badhaai Ho that prompted you to give your nod to it?
It was the script that appealed to me. It’s unique and has all the navrasa (emotions) in it. It isn’t just a pure comedy — it’s a story of a family and how they handle an unexpected situation (late pregnancy). The makers have smartly put the whole plot together.

Do you think the audience is also evolving with the times and accepting such subjects?
There’s no question of evolution. The audience has never been given these kind of films and content before. This is what they identify with. Previously, they were only presented larger-than-life stories, which they accepted. Now that they are getting this, they are liking it more because it’s closer to who they are. Case in point are movies such as Sui Dhaaga: Made In India, Rajma Chawal, Pataakha and Newton. That’s also the novelty of our film — it’s a subject which nobody has ever picked up and that’s where we score.

But this was always considered a taboo subject...
This theme was considered a taboo earlier, but not anymore. People might have thought about making a movie on it, but they didn’t know how to go about it. It’s tough and that way, the hero of our film has to be the script.

Why don’t we see you in more films?
For an actor, especially in my age group, there’s a dearth of roles. There was a time when I had to take up any and every film because I needed the money. But now, I can afford to wait for a good role to come my way. Nothing else matters except that. As for men, there are lots of such characters being written forever. But it isn’t the same for women. There’s a slight transformation with the kind of films that are being made today. Movies are no longer hero or heroine-oriented, they have an ensemble cast that also gets their due respect.

Do you have any other projects lined up after Badhaai Ho?
I have another film coming up called The Last Color helmed by chef Vikas Khanna.

Any plans to direct again?
No. I’m enjoying acting at present and I don’t want to put a break to it.

How often do you discuss your films with Masaba?
I don’t consult Masaba about my films. It’s totally my decision. We don’t discuss too much of our work.

What kind of a bond do you share with each other?
Masaba is quite unlike me. She’s an introvert, who has her own mind and likes to take risks. We don’t share everything, but we talk a lot about various things.

Recently, Masaba and her husband Madhu Mantena announced their trial separation. What has been your advice to her?
They have still not taken a definite step. They are trying to figure a way out. It’s too early to talk about it, but whatever has to happen, will happen. When the time comes, we will discuss it.

Avinash Lohana (MUMBAI MIRROR; October 6, 2018)

In your upcoming film, Junglee Pictures’ Badhaai Ho you play the mother of two grown-up sons who suddenly discovers that a third child is on its way. That’s one quirky slice-of-life comedy…
(Laughs) Yes, the idea of an older woman getting pregnant, with me playing that part, really drew me to the script. It’s a topic of discussion today but was no big deal back when women were married off very early and could have a child till they were in their mid or late 40s, by which time the other children were much older. That’s still how it is in smaller towns. Shooting was great fun, we would all joke around and bonded like a family. When I returned to Mumbai, I texted all my co-actors saying I was missing them. Gajraj Rao ji’s very cute and nice, and even Ayushmann (Khurrana) never made me feel like I was working with a big star.

Did the role take you back to when you were carrying Masaba?
No, it didn’t bring any memories for me. My real pregnancy was very different, I was aloof and alone. It was nothing like this when the whole family, including the big boys, hover around my character. I didn’t flashback to my real pregnancy as that was a difficult time for me.

Last year, you made an appeal on Instagram for “good parts to play”. Since then, we’ve seen you in a significant role in Anubhav Sinha’s Mulk, Amit Sharma’s Badhaai Ho revolves around you. You will next be seen in chef- filmmaker Vikas Khanna’s The Last Color and will kick off Ashwiny Iyer Tiwari’s Panga next month. Enjoying this new phase?
I am loving it and taking good care of myself so that I can do as much work as possible. I exercise regularly, do yoga every morning and am regular with my daily walks. I’m also very particular about my diet. I don’t eat outside food at all and don’t go out much. All this is because if something interesting comes my way, I shouldn’t miss out on it because I am unwell.

This is the best period in my career. They used to call me the TV queen at one point but I never got anything substantial in films. The ones in which I had a bigger or a significant role were either never released or hardly seen. Nobody has watched Subhankar Ghosh’s Woh Chokri which bagged me a National Film Award for Best Supporting Actress. The Threshold featuring me and Rajit Kapoor never made it to the theatres. Badhaai Ho is an important film for me as it’s getting a big release and I have a good role in it.

And when is The Last Color whose first look was unveiled at the Cannes Film Festival this year, opening?
It has a week’s work left on the post production. I saw a rough cut recently with my husband Vivek Mehra and he was crying, which is rare because he is a strong guy. It affected us so much that after the screening, even though we had made plans to go somewhere, we were no longer in the mood.

Are there plans to get back your popular 1998 TV show Saans?
Along with a new set of writers I have penned a really emotional and an identifiable script which is something like Saans. I am looking for a platform for it now. My business partner has been going around with the plan. Let’s see what happens. These days, people are scared to try something new and this is very different from what is playing on TV currently. I am really looking forward to it.

Your designer-daughter Masaba and filmmaker son-in-law Madhu Mantena announced their trial separation in August. Have you tried to get them to reconcile?
I am with them in whatever they decide. They have told me to let them decide for themselves. They are grown-ups so it’s only right. Whatever a mother has to tell her daughter I have told Masaba. I have also had a word with Madhu who is frank and nice. I am giving them time, let them sort it out themselves.

Neena Gupta on her eye-catching Cannes debut and how a post on the social media last year has changed her life for the better
Avinash Lohana (MUMBAI MIRROR; May 14, 2018)

Last Friday, National Award-winning actress Neena Gupta made her first appearance at the Cannes Film Festival where the first look of her next film, The Last Color, directed by celebrity chef and author Vikas Khanna was unveiled. She wore designer-daughter Masaba Mantena’s creation — a crushed ivory saree teamed with a hot pink blouse in tribal vase print and Suhani Pittie jhumkas. Masaba mentioned that Neena’s brief to her was not to “overdo it” and the veteran actress is grateful to her daughter for doing a good job with her clothes.

“I am not as young as the other actresses and didn’t want to copy them. I have my own space and wanted to keep my dignity and integrity intact,” asserts Neena whose daughter advised her not to carry any woollies as the days are usually hotter there.

Reminiscing about her first day in the French Riviera, Neena says she didn’t have any makeup or hairdresser with her, so she trotted off to a small parlour near her hotel to get her makeup done. “But I was looking like someone else so the next day I stuck to just the basics — a touch of lipstick and rouge. I just wanted to be myself,” she laughs, adding that she went to all the meetings and went to some parties too.

Speaking about her film she admits that she’d known there are many widows in Vrindavan and Varanasi, but didn’t know they can’t play Holi, wear colour or mingle. “While listening to Vikas narrate his story, I had tears in my eyes. I had no role model for my character Noor so I decided to speak and walk slower. But then a day before I started filming, when I’d gone on the sets to meet everyone, they gave me my costume — a white saree and a blouse — every morning, the minute I put them on, I became Noor,” she says.

Last year, Neena had posted on Instagram, “I live in Mumbai and working am a good actor looking for good parts to play.” Soon after, Anubhav Sinha offered her a role in his social thriller Mulk. She’ll also be seen in Dibakar Banerjee’s next, Junglee Pictures’ Badhaai Ho with Ayushmann Khurrana and Sanya Malhotra and plays Sonam Kapoor’s mother in Veere Di Wedding. How does it feel to be working again? “It’s like a dream. I posted that because I was angry with people for thinking I’d moved to Delhi, but thanks to it my life changed completely,” she admits, adding that she’s impressed with the films being made today where even an actress of her age has a substantial role. “The young directors are so good that you cheat even a fraction of a second and you are caught instantly.”

On Mother’s Day, she posted a picture with Masaba and wrote, “I am her mother and she’s my daughter, and sometimes she’s my mother and I am her daughter, this is how it is when they grow up.”

Neena isn’t actively involved in Masaba’s business but her daughter always reaches out to her for feedback when she is working on something new. “We hardly meet these days as she is busy and so is her husband (filmmaker Madhu Mantena) but the connection is strong. I was telling someone that the only person I am scared of is Masaba,” she laughs, “We share a beautiful friendship.”