Showing posts with label Umesh Bist. Show all posts
Showing posts with label Umesh Bist. Show all posts
I loved Mohit Suri’s Saiyaara, but that is also an adaptation of the Korean movie-Karanvir Sharma
9:32 AM
The Trial 2 Karanvir Sharma reflects on his journey, saying he has never got a bad review, and despite the critical acclaim, he has not been able to get out of the struggle
Letty Mariam Abraham (MID-DAY; September 23, 2025)
There’s a lot an actor has to train in before appearing on the screen. For Karanvir Sharma, besides learning how to write stories and assist directors, the bigger challenge was to overcome his speech impediment. He had a lisp. After working with speech therapists and dialogue coaches, today, he is often told to lend his voice as a voiceover artiste. It was the first thing that hooked us to this conversation with the actor. In a chat with mid-day, Sharma talks about The Trial season two, why adaptations have become an easy fix, and why he feels he is yet to get his due. Excerpts from the interview.
Did you see The Good Wife before you signed up for The Trial?
I had seen The Good Wife when it was released earlier. It had been quite a gap. My directors [Umesh Bist and Suparn Varma] specifically told me not to watch it; it was the first brief he gave me. He said he didn’t want me to get limited with what the character was doing there. However, I still caught a few glimpses of it.
Did you compare yourself to Michael Ealy’s character Derrick Bond?
Absolutely, because of the memory I had of the character. It is very similar. Whoever has seen The Good Wife will see the exact arc, but it is more consolidated. The international show had about 23 episodes, but in the Indian version, we have only taken the highlights and made six episodes from it.
Don’t you think six episodes is enough to explore your character?
I may lose out [on fleshing out the] character, but crisp storytelling is the trend. People have started exploring content vertically because maybe the attention span is less these days. I think six episodes of 45 minutes each is good enough to tell a story. However, I also felt some more of my scenes could be added.
Is it a good or bad thing for people to compare the two shows?
It could be both. Some time back, I did a show called 24 — one of the initial shows to be adapted from an international series. I feel nakal ke liye akal lagti hai. Somewhere they hit the right chord for the first season, so the second season of it would be highly anticipated, because when the season two of The Good Wife came out, it was the highlight of the series too. I feel Umesh Bist will fill up the gap. His last series Gyaarah Gyaarah [2024] was a Korean adaptation, and he did a good job with it. The rest is up to the audience.
Why is the industry veering so much into adaptations? Are we running out of original ideas?
Adaptations have been going on for ages, it’s just that we are noticing it now because it’s at the forefront. Even Hindi TV shows are adapting from regional shows. I was part of Shaurya Aur Anokhi Ki Kahaani, which was the adaptation of the Bengali show, Mohor. It doesn’t mean every adaptation is going to be successful. I loved Mohit Suri’s Saiyaara, but that is also an adaptation of the Korean movie, [A Moment to Remember]. It’s in the hands of the director to make it connect with the Indian audience. It’s not that we are running out of ideas. It’s so difficult for original scripts to get a pass these days. You have to be a salesman more than a creative in this industry now. I wish we had more originals because we have a rich culture.
How do you see yourself as an actor?
I always criticize myself. I feel if you get too comfortable with yourself, it will be your downfall. I feel that sentiment is unanimous among actors. I had done a scene which was mediocre in The Trial. It is a regret. I broke down and cried in front of the director. My mother was hospitalized and my uncle had undergone a surgery. [I had] too many things going on. As an actor you have to keep your personal emotions on the side, but it is not always possible. The next day, it was the climax scene of my character with the whole cast. It had a lot of give and take, and you cannot miss the beat, expressions, and movements. So, I had to switch off, I couldn’t repeat the mistake. I was nervous about it, but it happened, and my director loved it.
Do you think you’ve got your due in the industry?
Not at all. This was one of the reasons why I picked up The Trial. It was to show people that I can be part of all the mediums and I am a good actor. I will be very disappointed if people don’t appreciate what I have done. This is like a big comeback for me. For so many years, despite getting critical acclaim, I am not able to get out of the struggle. It’s been a decade or so since I have been acting, but I’ve never got a bad review. It has to account for something.
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Did you know?
Karanvir Sharma approached Rajkumar Santoshi to assist in direction, but was instead cast as an actor. However, the film never took flight.
The minute something does well, it will become a template-Sheeba Chadha
8:46 AM
The Trial 2 actor Sheeba Chadha opens up about female rivalry on set while questioning OTT’s growing obsession with templates
Priyanka Sharma (MID-DAY; September 9, 2025)
The Trial’s second season has brought several reunions for Sheeba Chadha, including with former collaborator Umesh Bist, who took over the directing duties for this instalment of the JioHotstar show. The two had previously worked together on the Sanya Malhotra-starrer Pagglait (2021), a world drastically different from that of the legal drama. But what remained constant, Chadha says, was Bist’s sensitive approach.
“I had a very good working experience with him in Pagglait. What is amazing is that the zone of The Trial is diametrically opposite from that of Pagglait. But he brings sensitivity and gentleness to the show. I think there’s enough fire and spice in the script. But the landing of it with a gentle hand, an eye that sees a little bit more than what’s on the page, and then to encourage the actors to look at it and to bring that into play, that’s what Umesh always brings to anything he does. It’s his eye for emotional detail. He will always make the script flower more,” the actor shares.
Chadha also enjoyed returning to the set alongside the show’s other talented women, including Kajol and Kubbra Sait. While the sexist notion that women don’t get along is often attached to projects featuring several female actors, Chadha believes this idea is outdated.
“That’s a very old school [of thought] that if there are two or three women together [it’s difficult]. Nobody wants to indulge that. Of course, this kind of feeling [of insecurity] any actor can have towards any actor. But it’s outdated to pander to that narrative. Sisterhood is just wonderful, there’s no doubt about it. You just have to allow it. It’s really solid and brings you so much.”
The Trial will mark her fifth release in 2025 alone — three shows and two films, both on OTT and the big screen. The streaming space has given her rich opportunities to showcase her versatility, through projects like Bandish Bandits, Mirzapur, and Taj Mahal 1989. But there are murmurs in the industry that stories on OTT are beginning to follow a template, with unconventional ideas struggling to take off. Chadha admits she has been hearing about “recession in the industry”.
“Right now, I’m hearing this, ‘Oh! the industry is going through a recession.’ And, ‘People want to see everyday stories, relatable stories.’ So what seems to be working right now are the smaller town stories. Now that’s a template, right? Panchayat [Prime Video series] is a template. Gullak [SonyLIV series] is a template. I’ve just done a show called Bakaiti, which probably falls in the same template. Can there be more expansive content? I think that goes without saying, always, because the minute something does well, it will become a template. It takes a lot to break that [mould] and come up with stuff that is not driven by commerce. Having said that, I am hugely grateful for the vast canvas of stuff that I’ve gotten to perform on OTT — Bandish Bandits is very different from The Trial, which in turn is very different from other stuff that I have done.”
Guneet Monga and director Umesh Bist join hands once again for a comedy drama
8:22 AM
Hiren Kotwani (MID-DAY; February 12, 2023)
Guneet Monga has a sharp eye for offbeat stories. In 2021, her production Pagglait—a heart-warming story of a young widow discovering herself in the aftermath of her husband’s demise—received much love from audiences. Now, Monga is reuniting with Pagglait director Umesh Bist for another comedy drama.
The yet-untitled project will be officially announced in April, after the producer returns from Los Angeles, where she is currently promoting The Elephant Whisperers, which has bagged a Best Documentary Short Film nomination at the 95th Academy Awards.
We hear that the script of Monga’s next with Bist is ready. A source reveals, “Like Pagglait, their second collaboration will also be a touching comedy. The narrative will revolve around two female characters. The cast will be finalised after Guneet returns from Los Angeles.”
If things go as planned, the film will roll in August and will be shot extensively in Delhi. Monga is excited about their second collaboration, and heaps praise on Bist. “Umesh is a prolific storyteller who has a deep understanding of human emotions. That’s why the moving story of Pagglait touched the hearts of so many people. I’m happy to team up with him again for another interesting story that is bound to resonate with audiences,” she says.
I Googled random men, and found a random guy who I thought Astik in Pagglait would look like-Sanya Malhotra
8:21 AM
Sanya, nominated in Best Actor: Film category at mid-day and Radio City Hitlist OTT Awards for Pagglait, on how she developed a back-story to play a young widow with conviction
Mohar Basu (MID-DAY; February 26, 2022)
Given the kind of love Pagglait received on its release, we wonder whether the producers have considered making a sequel. Leading lady Sanya Malhotra is rooting for the idea. “We haven’t [thought of it] yet, but I hope we have a sequel some day. I’d love to be Sandhya again,” says Malhotra, whose performance has earned her a nomination in the Best Actor (Female): Film category at the mid-day and Radio City Hitlist OTT Awards. The charming Netflix film sees protagonist Sandhya on a journey of self-discovery after the untimely demise of her husband Astik.
Since the movie shows us next to nothing about the husband, Malhotra constructed a back-story of the man, believing it would enhance her act. “I Googled random men, and found a random guy who I thought Astik would look like. I kept the picture with me, and imagined him in the back-story. Astik wasn’t unkind; he was indifferent. When you don’t communicate at all, it is harsh. Sandhya is curious and talkative, and Astik must have been a non-listener. They were two unhappy people in a marriage.”
Umesh Bist’s directorial venture is filled with moments of honesty and clarity. For a story that centred on Malhotra, which was her most challenging scene? “The one where she wears Astik’s shirt and looks in the mirror. In that moment, she knows he never liked her. For the first time, Sandhya tells herself that she was not happy in the marriage,” she says, adding that the movie helped her grow as an artiste. “I never thought I could shoulder a film. I am glad Umesh sir and Guneet [Monga] pushed me.”
Did you know?
Pagglait marks the debut of Arijit Singh as a music composer. It is also television actor Shruti Sharma’s first Bollywood venture
Cast your vote for the Hitlist OTT Awards
Sanya Malhotra has been nominated in the Best Actor (Female): Film category for Pagglait. The other nominees are:
- Kiara Advani (Shershaah)
- Konkona Sen Sharma (Geeli Pucchi, Ajeeb Daastaans)
- Mrunal Thakur (Toofaan)
- Taapsee Pannu (Rashmi Rocket)
- Vidya Balan (Sherni)
Log on to www.radiocity.in/hitlistawards to cast your vote.
You can also vote via SMS. Send HITLIST <space> category name <space> your choice (a/b/c as on the website) to 57575.
Voting lines close on March 18.
Pagglait director Umesh Bist bags three-film deal with producers Ekta Kapoor, Guneet Monga
8:13 AM
Ekta Kapoor. Pic/AFP; Umesh Bist and Guneet Monga
Mohar Basu (MID-DAY; June 23, 2021)
Earlier this year, Umesh Bist gave us the delightful Pagglait, whose strengths lay as much in its reliable lead Sanya Malhotra as in its charming storytelling. After the success of the black comedy, the director has bagged a three-film deal with producers Ekta Kapoor and Guneet Monga.
Bist, who had first met Monga in 2018, says that their shared creative sensibilities laid the roots for a deep friendship. The development of Pagglait got a further boost when Kapoor came on board. “As a filmmaker, all you want is a collaborative eco-system where the team puts its might in doing the best for the movie. I am glad I found this in Sikhya Entertainment and Balaji Telefilms. The trust they put in a director is rare. As partners, they add to each other’s strengths,” says the director, excited about taking the journey ahead with them.
Monga believes that Bist’s vision is “unmatched” adding, "I still remember the day I met Umesh sir. His vision for his stories is unmatched and it is inspiring to see his faith and commitment to a project."
Ruchikaa Kapoor Sheikh, creative producer and executive vice president, Balaji Telefilms, says that the filmmaker has a knack for stories that are honest and deeply resonate with viewers. “Pagglait resonated with Indian audiences in unimaginable ways. Everyone found a connection with the story and that is Umesh’s biggest strength. Furthermore, the film established an equity between Balaji and Sikhya and we’re thrilled to come together to tell stories that are both emotional and entertaining, stories that find their way to the hearts of the audience.”
It is heard that the first project is currently in pre-production and will be announced in the coming weeks.
Goodbye, tragic martyr in white saree. Hello, merry widow
7:59 AM
In Lipstick Under My Burkha, the 55-year-old widow played by Ratna Pathak Shah is an avid reader of erotic novels
Widowed women change their colours on screen as filmmakers finally focus on their individuality
Sonam Joshi (THE TIMES OF INDIA; April 19, 2021)
Many films like Pagglait are now stepping away from the traditional stereotypes of the widow as a tragic, melodramatic and motherly figure. Widowhood becomes a trigger for women to rediscover themselves, and find out what it means to live life on their own terms.
Pagglait’s lead character was inspired by the women in his family, says director Umesh Bist, especially an aunt who took up a job in her late husband’s company despite not having studied much. “After my father’s death, I remember telling my mother I wanted to see her as my mother, and not a widow, that she could continue to wear bangles or coloured saris and enjoy the food she used to rather than give it up,” he says. “I didn’t want to see widowhood as a defining character trait but just one of the circumstances in life.”
If Pagglait’s Sandhya discovers her agency only by the end of the film, the young widow Ratna in the film Is Love Enough - Sir exercises hers at every step of the story. After her husband’s death, Ratna leaves her village to work in Mumbai as a domestic help, trains herself in tailoring and dreams of a better life for herself and her younger sister. Though the film addresses the class divide through a love story between Ratna and her employer, it also follows her journey. “She turns extreme adversity into an opportunity for herself, telling her boss: ‘life khatam nahin hoti’,” director Rohena Gera says.
Something similar happens in the film Once Again in which a financially independent middle-aged widow who runs a restaurant in Mumbai starts a telephonic romance with an ageing actor. “We as a society are far ahead of our storytelling — so many women live like this and we are not being told these stories,” says director Kanwal Sethi. “It was important that the woman wins on all fronts, as a lover and as a mother…She can finally feel the sensuality of her person and focus on her needs,” he says.
Other portrayals take a more subtle view of freedom. In the film Aise Hee, an elderly widow in Allahabad who we only know as Mrs Sharma suddenly gets the freedom to do little things, like eating ice-cream at the mall, getting a pedicure, learning embroidery and walking by the river. “Her husband’s death gives her the space to think that there are options which she never thought of earlier,” director Kislay says. “In real life, widowhood marks a break, where a lot of women change because they are forced to be more independent.” Mrs Sharma wants to preserve this new freedom, refusing to let her granddaughter move in because she likes being alone.
Kislay says that the film is a departure from the 1957 film Mother India, which in many ways is the epitome of the tragic, sacrificial widow in Hindi film. In one scene, the TV screen in Mrs Sharma’s house literally plays a scene of Nargis saving her children from floods. “Mrs Sharma could have been a Mother India, but what if the person doesn’t want to,” asks Kislay. The role has been essayed by septuagenarian Mumbai-based actor Mohini Sharma, who lives alone herself. There is a similar tone of independence in Tanuja Chandra’s documentary film Aunty Sudha, Aunty Radha, on her elderly widowed aunts who give each other companionship in their sunset years.
Gera, who got many messages from many women struggling with social judgement after their husband’s deaths, says it is important to depart from patriarchal norms. “We are still far from being an egalitarian society,” she says. “It’s great if filmmakers can show what we can aspire to: encouraging women to move on, rather than idealising a tragic figure who has given up on herself.”
I’m very confident that 2020 will be my year-Sanya Malhotra
7:41 AM
Titas Chowdhury (HINDUSTAN TIMES; January 13, 2020)
With three big films in her kitty, Sanya Malhotra’s looking forward to an exciting year. “Things will change, everything would be nice and fun,” she says. She gives us a glimpse into her projects and wishes that her biggest dream comes true this year. Excerpts:
With three releases this year, are you excited or under pressure?
I’m thrilled and really looking forward to 2020. Three of my special films are releasing this year — a biopic on a math wizard with Vidya Balan, Pagglait and Anurag Basu’s Ludo, all of which are releasing in a period of three months. I’m excited and confident that people will love all of them. So, there’s no pressure of any kind.
You’re going to shoulder Pagglait on your own. How confident and prepared do you feel?
I’m confident with the script and I’m sure people will connect with my character. I had a lot of fun shooting for it because it was an immensely enriching experience for me to work with a great team and with Umesh (Bist; director) sir.
What was your biggest takeaway after working with Vidya Balan?
It was a pleasure. She has the wittiest sense of humour and is such an amazing co-star to work with. It was a dream come true for me to get an opportunity to work with her for she’s one of my favourite actors. I remember, I couldn’t believe that I shot a film with her! I still can’t, but my biggest takeaway would be that one should believe in oneself and not let anything come in their way. This is exactly what my character — Anupama Banerjee, Shakuntala Devi’s daughter — stands by.
Initially, were you apprehensive about working in an ensemble film like Ludo?
There were no apprehensions of any kind. When I got to know that there is Rajkummar Rao and I’m working with Fatima (Sana Shaikh) again in this film, I was super-elated. Abhishek Bachchan, Aditya Roy Kapur and Pankaj Tripathi are amazing actors. I was really excited when I got to know that I’ll be working with such a talented bunch of actors.
You’re known for your dancing skills. Is a dance film on the pipeline?
How I wish! But, as I said that I’m very confident that 2020 will be my year. Things will change, everything would be nice and fun, and I’m also hoping that in 2020, I find my dance film because I’m eagerly waiting to dance in front of the camera and dance on-screen.
Is O Teri based on the CWG scam?
7:43 AM
Sunanya Suresh (BOMBAY TIMES; March 19, 2014)
Atul Agnihotri’s upcoming production, O Teri, is said to be inspired by real-life events, especially the 2010 Delhi Commonwealth Games (CWG) scam. The film has Pulkit Samrat and Bilal Amrohi playing intern journalists, who are in search of a big scam to get attention at work and prove themselves. They will go on to unearth a scam called the Asian Olympics.
After watching the trailer, insiders have drawn similarities between the film and the CWG scam — especially the scene of a bridge collapsing reminded many of how a foot overbridge had actually come down near the CWG stadium. A source even revealed that the character essayed by Anupam Kher has been inspired by Suresh Kalmadi, one of the accused in the scam.
Director Umesh Bist says, “The film is a comical satire and many instances have been picked from real-life events, which I would not like to reveal now. The audience will have to watch the film to find out.”
O Teri releases on March 28.
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