This year has been nothing short of a victory lap for Akshay Kumar. After back to back hits with Bhooth Bangla and Welcome To the Jungle , the actor, far from resting on his laurels, is diving into uncharted territory in Priyadarshan’s next, Haiwaan. In a chat with HT City, Akshay talks about his transformation for the role, reuniting with Saif Ali Khan and why taking risks is the only way he knows how to operate. Excerpts:

To be honest it was a huge relief, I find playing villains so fascinating, I always have. I feel they get to play way more interesting characters than Heroes do. Heroes most of the time have to be perfect, they can only be good, do good & come across as influential role models. Me, I like to be challenged, easy is nice but it’s also boring (sometimes,) shooting with Priyadarshan for the last 2 years has given me so much new found love for my work, he is like medicine for the working side of my soul.

Saif and I have shared the screen quite a few times over the years, and I think we’ve been fortunate that audiences have enjoyed us together whether it was Main Khiladi Tu Anari, Yeh Dillagi, Keemat etc. There has always been a certain familiarity between us, we were often on the same side, playing off each other’s energy, humour and camaraderie. But Haiwaan is definitely a role reversal for us. This time, we’re on opposite sides, and that changes the dynamic completely. Saif is the hero, I’m the villain, so instead of trying to help each other get out of trouble, we’re trying to create as much trouble for each other as possible! We know each other well enough to push each other in a scene, and Priyan sir has used that familiarity in a very different way this time. I think audiences who have enjoyed our earlier films will have fun seeing us together in this completely new equation.

NEVER... I find Priyadarshan a film making genius, he is a very rare director who can wear more than one hat, he has a talent in the dark side of the lens too, we are all witness to that in the original Bhool Bhulaiyaa. Which is why I felt this was a perfect combo between me, Saif and Priyan Sir, I personally couldn’t wait to jump on his idea. Rather than throwing fans off, it gives them a chance to enjoy us back to back in the same year without anything being repetitive.

This isn’t the first time this has happened. For instance, Toilet: Ek Prem Katha’s script was circulating for a couple of years and had been rejected by many actors before it came to me. I don’t really look at a role and think about who has said no to it. For me, the more interesting question is whether the character takes me out of my comfort zone as an actor, because that usually means there is something worth exploring.

In fact, Haiwaan came to me more by chance than by choice. I was shooting with Priyan sir for Bhooth Bangla when we happened to discuss what he was making next. I was the one who coaxed him into telling me more about the story, and that conversation eventually led to me being part of the film. What drew me to the character was the idea of making the audience uncomfortable with me. They’ve spent so many years watching me as the good guy, so this time, hopefully, they’ll find themselves wondering what I’m going to do next.

Honestly, my fan clubs have a lot more imagination than I give them credit for! Maybe they know something… or maybe they just don’t trust me to stay negative for two and a half hours! I think they’re so used to seeing me save the day that old habits die hard. But this time, with Haiwaan, Priyan sir has given me the opportunity to surprise people and explore a completely different side of myself. All I can say is that Haiwaan has been designed to keep the audience guessing. Saif is the hero and I’m playing the villain, but with Priyan sir, you should never assume you know where the story is going. You’ll get your answer on 11th September.

I love making multi-starrers, always have, there is no need to have insecurities, the more the merrier. Unless one wants to be a stand up comedian of course. I feel sharing space with fellow Heroes and Character Artists is what makes a scene complete. I don’t enjoy being funny on my own as much, it’s why I love a Garam Masala, a Housefull, a Welcome movie, it takes a village to make an audience laugh. Regarding Haiwaan, for me, I get to work every day with my dear old friend Saif, I would choose that opportunity over a solo hero film any day.

In December 2018, two GST slabs were announced for films – 18% for tickets above Rs. 100, and 12% for tickets below Rs. 100. This tax is divided between the state and central government (State GST and Central GST). When a state declares a film ‘tax-free’, it exempts half of the entertainment tax, which would be either 9% or 6%, as per the ticket price. For the multiplex audience, since there are hardly any tickets available below Rs. 100, the default exemption would be 9%.

Cinema hall owners say that declaring a film tax-free had a bigger impact in the pre-GST years, when every state had different entertainment tax and the state governments could exempt the whole amount. Now, with GST in play, a moviegoer still needs to pay Central GST even for tax-exempted films.

Rajender Singh Jyala, Chief Programming Officer PVR INOX Limited, says, “Whether a film will perform better after tax exemption largely depends upon its content. For a moviegoer, tax-exempted tickets used to be cheaper in the pre-GST era. Now, when a film is declared tax-free (it is more about that) it creates awareness about the film among the audience. Hence, even if the film is declared tax-free in only one or two states, the film performs well in other states too.”

Producer Girish Johar, several of whose films were declared tax-free in pre-GST years, says, “There are three reasons why producers want their films to be declared tax-free. First, it lures moviegoers to watch a film, second, it works as a publicity and marketing tool because a state government is endorsing your film; and third, the film gets longevity and instead of four weeks, it may end up getting eight weeks in the cinema hall.”

There’s no fixed criteria for a film to claim exemption. Usually, socially relevant films or inspiring stories are made tax-free. From films on issues, such as Toilet: Ek Prem Katha, Chhapaak and Hindi Medium, to biopics like Mary Kom and historical films like Tanhaji: The Unsung Warrior have been declared tax-free over the years.

Sometimes states also declare films tax-free to show solidarity with its theme and in some cases producers apply for a tax-free status. In their film policy, some states have the provision of declaring a film tax-free when a certain portion of a film is shot in the state. Overall the decision resides with the state government.

After opening the year with Badhaai Do, it’s time for Bhumi Pednekar to reunite with Akshay Kumar for Raksha Bandhan. Coincidentally, the family drama shares the release date with the duo’s Toilet: Ek Prem Katha (2017) that hit the screens five years ago. “It’s such a lovely coincidence that on the fifth anniversary of Toilet: Ek Prem Katha, my second movie with Akshay sir is releasing. He has been a huge part of my career,” says the actor, who also fronted Kumar’s production Durgamati (2020). 

Having closely worked with the superstar, Pednekar says she has learnt the value of success and hard work from him. Their shared love for family dramas, with a strong message at the core, also binds them. “We have a unique tuning to deliver some meaningful films. Both movies are the kind that you can watch with your family, and they deliver a message that you can take home.”

Director Aanand L Rai’s film sees Kumar’s character refusing to tie the knot with his childhood sweetheart, until he marries off his four sisters. After featuring in Rai’s production Shubh Mangal Saavdhan (2017), Pednekar says it’s a joy to be directed by him.

“Aanand sir has been instrumental in making me the actor I am today. He has always pushed me to deliver more.”

Be it creating awareness about following the lockdown guidelines or the need to mask up during the pandemic, the Mumbai Police’s social media handle has often retorted to wit and humour to highlight various social issues. On many occasions, Bollywood movie dialogues, posters and pictures have been tactfully weaved in to deliver the message in a filmi fashion, along with a sense of humour. Recently, the Mumbai Police social media handles put out a bunch of dialogues from various Bollywood movies, which was aimed at putting the spotlight on the misogyny and casual sexism that exists in our society and in cinema.

The post read — “Cinema is a reflection of our society — Here are (just) a few (of many) dialogues both our society & cinema need to reflect upon. Choose your words & actions with care — unless you want the law to intervene! #LetsNotNormaliseMisogyny #MindYourLanguage #WomenSafety (sic).” It was accompanied by snapshots of the dialogues from movies like Hum Tumhare Hai Sanam (2002), Maalamaal (1988), Dabangg (2010) and Kabir Singh (2019), among others.

While a dialogue from Dil Dhadakne Do, too, is among the ones listed here, the writers of the film — Zoya Akhtar and Reema Kagti — have used this situation in the movie to specifically highlight the sexist attitude that’s prevalent in society. In Dil Dhadakne Do, following Rahul Bose’s statement about allowing his wife to pursue her career, Farhan Akhtar points out the inherent sexism in his views.

There have been various debates and discussions over the past few years about how women have been portrayed in cinema and the need for change. We spoke to contemporary Bollywood writers for a perspective on the subject and the debate around misogyny, sexism and feminism.

Hussain Dalal, who is known for his dialogues of films like Yeh Jawaani Hai Deewani, 2 States and Kalank, among several others, asserts, “I’m grateful that the Mumbai Police called it out, I love what they do with swag. As for misogynistic characters in our films, I think it’s an insecure male who treats a woman badly. There’s no concept of an alpha male. Either he’s a well-brought-up, happy, secure person or there’s something in him that needs immediate attention. Misogyny in my understanding is as deep-rooted as any mental health issue and cinema in no way should be promoting the idea. Yes, sometimes, we need to create a character to depict the contrasting ideologies. That’s not promoting misogyny, in fact, it is underlining the issue for people to understand.”

Talking about the way he approaches his characters, Hussain says, “I have never disrespected women while writing some strong male characters or dialogues, and vice versa. If we become over-woke, we can’t have humour in our films. Also, a person getting offended is not always right. The thing is, dialogues in films have a context in which they are presented, and they have to be seen with it.”

Films, especially in the ’80s and ’90s, often romanticised and normalised a man pursuing a woman by following her or not taking no for an answer. Piyush Gupta, who has co-written films like Dangal, Chhichhore and Bhoothnath Returns, shares, “I think any pop culture, especially cinema has had a deep imprint on our minds. People who grew up in the ’80s and ’90s were exposed to a chhed-chhad song in the movies. The boy-chasing-the-girl number was an accepted thing and it did have its social impact.”

However, he points out that things are changing today. “Cinema needs to have some sort of conscience while saying something,” he says, adding, “It’s a powerful tool and it must take some responsibility and have a moral compass attached while creating a piece of work. Also, I believe that having a misogynistic character in the film is not about idolising them. The filter we use is the point of view of our film. Everything is a building block to create that view. The main mudda should be clear. For that, if you have to create an opposing viewpoint, you must. But that in no way should be assumed as the promotion of something like misogyny.”

Among the dialogues highlighted by the Mumbai Police were lines like ‘Woh meri bandi hai’, written by Siddharth-Garima for Kabir Singh. The duo has also contributed to films like Ram-Leela and Toilet: Ek Prem Katha, among others. Siddharth Singh of Siddharth-Garima says, “I just wish that they had also picked up the strong lines that we have written, empowering the woman in a film. Like we had some strong dialogues for Bhumi Pednekar in Toilet: Ek Prem Katha. We have to approach a character for what it is. When Rahul Bose’s character in Dil Dhadakne Do says that ‘I allowed her to run her business’, the rest of the film actually goes all out to highlight that he’s so wrong in thinking like that. A society is made of all kinds of people and that needs proper depiction. Unless you depict the harmful thoughts prevalent, how will you depict the solution for it? With no conflict, how will anyone write a strong film? Kabir Singh’s character was not meant to be idolised. He is not someone you are supposed to look up to. And if someone looked up to him, then he needs to look within.”

Garima Wahal of the duo sums up, saying, “Citing dialogues in isolation is not fair because everything is written keeping a situation and the character in mind. In popular culture, there are extremely misogynistic songs and films which actually need to be picked on, and they are the kind of things that we as creators need to avoid today. If I see the other side of the coin, misogyny and feminism are also abused terms. There is change and there needs to be more change, inside out. Siddharth and I had a tough time casting for a film about a woman making some very bold choices in her life — and by that, we don’t mean that she’s a drunkard or a scamster or some kind of a loose wagon. No mainstream heroine wanted to do it without a strong male opposite her. Dialogues have to be seen in perspective and are interpreted differently by different people. Creators are doing their bit, but the viewers have to do their bit as well.” 

Bhumi Pednekar is vocal about many issues including the environment, gender disparity and women’s rights. And the same spirit reflects not just in her life but through her performances, too.

Having given impactful portrayals in her films including Dum Laga Ke Haisha (DLKH; 2015), Toilet: Ek Prem Katha (TEPK; 2017), Sonchiriya (2019), and Saand Ki Aankh (2019), she says, “As a person, most of my communication is about empowering my gender and I am ruthless about it. So, as an actor, when I have the means to reach out to so many people, I will use it. I consciously choose women who are here to prove a point and have an opinion, as sometimes, strong women might not have an opinion. I play women who will inspire other women to get a better life.”

Recently, Pednekar completed six years of DLKH and revisited her journey through many posts on social media. She is aware of the impact the role had on so many men and women after the film released, including herself. “There are days when I feel under confident. Then, I remember Sandhya’s journey and it gives me a boost of confidence and positivity. Sandhya, the kind of journey she had, that of battling body shaming issues, put out a message about body positivity for everyone. Or, If they think of Jaya in TEPK and her journey as the milieu she belonged to, the kind of step she took, leaving her husband which is a taboo, to fight for her basic right, is inspiring,” she says, adding she was glad to learn that many women followed in Jaya’s path and approached panchayats, who then decided on ‘no toilet, no bride’, which is the “kind of impact cinema” can have on people.

The actor has been shooting for Badhaai Do, co-starring Rajkummar Rao and reveals that the year is completely packed. “I feel I am in this for the right reasons and I am truly here as all I ever wanted to do was act. My happiest place in the world is in front of a camera. I think there’s a girl next door quality (in me) that people connect with and I try playing women whom you can relate with. Maybe that’s something that works for me. I find pride in celebrating the Indian woman in her entirety and maybe that works for me. I am doing some interesting films. The last six years, my trajectory has been a mixed bag of great characters, films that have done commercially well as well, so I have tried to maintain the same. I am all about experimenting and I have not let go of that. And this year will see a lot of that,” she concludes.

"Can you believe I will finish my second film tomorrow amid the Coronavirus pandemic," asks Akshay Kumar, who hasn't let the unusual circumstances come in the way of his work. Having shot for Bellbottom in the UK, the actor is currently wrapping up the period drama, Prithviraj.

The excitement in his voice, however, has to do with his latest release, Laxmii. While the Raghava Lawrence-directed venture may have been slammed by a section of the audience, Disney+ Hotstar announced that it broke the viewership record previously held by Dil Bechara to register the highest opening on the platform, on Monday. "I feel great. I know a lot of critics don't like my films, and I understand it. But my focus is on my audience. I am told it's the biggest opening of my career. The film achieves something pivotal. Having a transgender protagonist normalises and reinforces the rights of the LGBTQ community. Be it with Pad Man [2018] or Toilet: Ek Prem Katha [2017] or Mission Mangal [2019], the idea is to do more than just entertain or deliver a box-office success. I want to make a difference," states the actor.

The film's team hosted a screening in Delhi with transgender activist Laxmi Narayan Tripathi, who has lent support to the horror-comedy. "Her words of appreciation mattered to me. She lauded me for playing the character. There were 100 transgender women. They all stood up and clapped at the end of the film. The ostracization of the community has been horrific, and it's time we collectively stood up and promoted equality."