Ashutosh Gowariker on his plans to explore the story of Prince Siddhartha’s journey to becoming Buddha, where he erred with Mohenjo Daro and why he felt the need to go to battle with Panipat
Roshmila Bhattacharya (MUMBAI MIRROR; November 19, 2019)

Just three weeks before he unveils his next period extravaganza, Panipat , Ashutosh Gowariker looks amazingly calm and not battle weary as you’d imagine. The voice is soft as he takes you into the war zone. Excerpts:

You choose subjects that challenge you as a filmmaker, from Lagaan and Jodhaa Akbar to Mohenjo Daro and now Panipat. What makes you want to create big screen spectacles?
I love history, and within that, the theme is important, be it religious tolerance (Jodhaa Akbar) or the concept of unity (Lagaan). I also love to create different worlds and learn what were the smallest sparks that fired these big events.

And just how difficult is it creating these worlds?
It’s very difficult and is all in the prep, which is why I make one film in three years. The research doesn’t end with the script, but blossoms through different departments—from art to action, from costumes to hair and make-up. And since every department needs time, the key is patience and singular focus. In this, I’m not alone. Along with my crew of like-minded people, I need committed actors who’ll shave their head and stay in that look for six-eight months. Building that commitment is like building an army in itself.

We’ve read about the battle of Panipat in history books but in modern times, how do you plan to whip up interest and bring people to the theatres?
Yes, we have read about the battle but how many know that there were three battles of Panipat, and the third, which we are bringing to the screen, was the most inspiring? For the first time in history, anywhere in the world, an army travelled 1,000 kilometres to stop an invader. Since film is an audio-visual medium, it’ll take you beyond textbooks. And while I like to be authentic in my depiction, I also like to tell a story in an entertaining way. I can’t think of making a film without songs; elements like music keep the audience engaged.

You’ve always cast against type but what made you opt for Sanjay Dutt, Arjun Kapoor and Kriti Sanon who had never done a historical film before Panipat?
According to descriptions, Sadashiv Rao Bhau was a large man, a warrior with brute strength. Arjun fitted the bill. Also, he was free then to give me the commitment I wanted. And having seen his Ishaqzaade, 2 States and Finding Fanny, I knew him as a natural, understated performer. Kriti is beautiful, and having played the girl-next-door in all films, I thought it would be nice to see her in regality as Parvati Bai.

Sanjay and I go back a long way, having been co-actors on Naam. When I asked him why he’d never done a historical before, he said simply that no one had asked him. So, I did. He’s my Afghan invader, Ahmad Shah Abdali. All three were my first choices. Along with them, I have an interesting ensemble cast in Mohnish Bahl (Nana Saheb Peshwa), Padmini Kolhapure (Gopika Bai) and Zeenat Aman ji (Sakina Begum).

In India we’re quick to compare, pass judgements. So, as soon as your trailer came out, similarities between Arjun’s Sadashiv Rao Bhau and Ranveer’s Bajirao and Sanjay’s Abdali and Ranveer’s Khilji from Padmaavat were noted.
That’s understandable because the last film that comes out, stays in our recent memory. So, Jodhaa Akbar was immediately compared to Mughal-E-Azam, Bajirao Mastani to Jodhaa Akbar and Padmaavat to Baahubali. That’s nothing to be worried about.

Also, we are still in the era of the Peshwas in Panipat, which revolves around Bajirao’s next generation—his son, Nana Saheb Peshwa, his brother Chimaji Appa’s son Sadashiv Rao Bhau and his second son with Mastani, Shamsher Bahadur. So, the costumes and their palace, remain the same but the story is very different.

You give three years to a film like Mohenjo Daro (below), then, it’s torn apart. Where do you get the strength to enter another battlefield?
The norm of this business is that failure is singularly yours while success is to be shared. So, I never blame anyone. I analyse what went wrong, make mental notes and try not to repeat the mistakes in the next film.

What mistakes did you make with Mohenjo Daro? Was it the special effects?
Mohenjo Daro was pre-history, there were no references, so we wrote a story and built a world around it, from scratch, hoping the audience would identify with it. They didn’t, despite all our Herculean efforts. I’ve noted that the audience forgives bad performances and VFX if the script connects with them. That did not happen in this case. Maybe I could have done it a little differently in terms of emotions.

During Mohenjo Daro you were also dragged to court on plagiarism charges.
I’d never copy anyone’s script, in fact, I’d never take anything from anyone that doesn’t belong to me. I am very straight so when such court cases happen, I feel sad, but I have to still fight them.

Would you want to revisit Mohenjo Daro?
Not at the moment, and even if I did, I’d want to go to Harappa this time, as it became a bigger trading centre after Mohenjo Daro. A civilisation was named after it. But after Mohenjo Daro, Jodhaa Akbar and Lagaan, I’m done with pre-history, medieval, Mughal India and the British era. I haven’t explored Ancient India yet. I’d want to make a film on Buddha, on how Prince Siddhartha became Buddha. What happened to bring the change, the answers he found…

Do you see any changes in you from when you were an actor?
As a person, my knowledge about our country and its neighbours since our histories are connected, has been enriched by my own films. But as a maker, I start on a zero when I start a new project. The challenges are so different each time that I’m scared on the first day of shoot, and for every day after that, worried if I’m doing the scene right.

Lagaan was the turning point for both Aamir Khan and you. What do you recall of the film?
When I moved to direction, the attempt was to do something new and different. That’s what led to Pehla Nasha with Deepak Tijori, followed by Baazi, which was an attempt to change Aamir’s image from a chocolate hero to an action hero. Lagaan was a step further, on a bigger scale.

Back then, no one believed a cricket film, revolving around villagers who spoke in Avadhi, set in British India, would work. But both of us were excited about entering this world. Lagaan was a period drama and a sports film, it made a social statement, had songs and was a love story. Even I have not made a multi-genre film like this since. It went to the Oscars, the Olympics of cinema. We made it to the last five, after which it’s unfair to choose. But a choice had to be made, that doesn’t devalue the rest. We lost the cherry, but we ate the cake.

It was a brave step for Aamir too, not just to act in it but to also produce the film.
Oh yes, it was. But Aamir was always trying to do different things while remaining mainstream. Even when he had started, Raakh came on the heels of Qayamat Se Qayamat Tak and Lagaan with Dil Chahta Hai. But yes, Lagaan gave us the confidence and the eyeballs to take more leaps. I went on to make the nationalistic Swades, followed by Jodhaa Akbar. And along with the audience, the trade was interested in my next.

After Mohenjo Daro, it couldn’t have been easy finding backers for Panipat?
For a project to be greenlit, you need actors willing to work with you and funders who’ll back you. I was fortunate to get both. Also, I have a pillar in Sunita. She’d also come out of Mohenjo Daro and had she told me not to make Panipat, I wouldn’t have. My wife has a natural business acumen, she understands numbers and finds solutions to problems which are huge. We also found a collaborative partner in Rohit Shelatkar, who has been harvesting this dream for a while.

Panipat will be followed by Tanhaji: The Unsung Warrior. Our audience seems to be more amiable to this genre...
Jodhaa Akbar changed things.

So, would you say our audience has evolved?
I don’t think the audience has changed. I, too, grew up watching Amar Akbar Anthony and Rajnigandha, Don, Gol Maal with films of Mrinal Sen and Satyajit Ray, as also Hollywood flicks. What has changed is access. Earlier, Rajnigandha would play in three theatres, today, it would play in multiplexes, do Rs 100 crore business. What has evolved is the distribution and exhibition, which is the bridge between filmmakers and the audience.

We have digital platforms...
Yes, but web writing is difficult as you have to engage an audience and get them to binge through 10 episodes of an hour each. I don’t have that skill, I’ve to perfect cinema first.

Are you open to more acting roles after Ventilator (left)?
Acting is a difficult job, but it was calming and liberating for me to stand in front of a camera and not have to worry about the colour of the curtains behind me. I’d love to do roles which interest me. But right now, I’m in the battlefield.

And yet you seem so calm…
Oh no, I’m very nervous. Soon I will have no nails left.

Rajkumar Santoshi, Ramesh Sippy, Ananth Mahadevan and Rajesh Mapuskar remember actor Viju Khote, who passed away on Monday
Avinash.Lohana and Akash.Bhatnagar (MUMBAI MIRROR; October 1, 2019)

Viju Khote who rose to fame as Kaalia in Ramesh Sippy’s Sholay, going on to top it with the bumbling Robert and his “galti se mistake ho gaya” punchline in Andaz Apna Apna, passed away at 6.55 am on Monday, peacefully in his sleep at home. “He had multiple organ failure and had been unwell for quite some time,” the 77-year-old actor’s niece, Bhavana Balsavar, was quoted as saying.

Sippy informed that he had met Viju through his actress-sister Shubha Khote who’d requested that the filmmaker meet him. “We called him in, he fit the role of Kaalia and became popular after Sholay’s release, receiving loud applause whenever he delivered the dialogue (“Sardar, maine aapka namak khaya hai”) on stage,” he reminisces, adding that he had met the late actor a few days ago at a play. “As always, he came forward, touched my feet and said, ‘Sir, you made my life.’ He was a humble and wonderful person.”

Rajkumar Santoshi, who had directed Viju in Ghayal before Andaz Apna Apna, went on to cast him in subsequent directorials like Ghatak, China-Gate, Ajab Prem Ki Ghazab Kahani and Phata Poster Nikhla Hero. “He was a fantastic actor with very good timing. No one could’ve played Robert like he did. He would drop by whenever he was in Juhu. I’m currently writing the second part of Andaz Apna Apna and had a role for him in mind. He didn’t get the roles he deserved,” sighs Santoshi.

Ananth Mahadevan, whose association with the late actor dates back over 25 years, worked with him in several plays. The duo also went on to partner in the hit TV show, Zabaan Sambhal Ke. Viju also had a cameo in his actor-filmmaker friend’s 2015 directorial, Gour Hari Dastaan. “It’s sad that he’s gone, but he was ailing... I was fortunate to work with him on all the three platforms—films, theatre, TV—and had wanted to cast him in a lead role in one of my films but that never materialised,” he informs.

Ananth goes on to recount an incident that showcased Viju’s acting prowess. “We arrived in Kolkata to perform the play Yours, Mine and Ours and discovered that there was a bandh in the city. Worried that few people would turn up for our show, en route to the hotel, we wrote a skit titled Bandh-o-bust with Viju selling bandhs and I as the buyer. It was a huge success and everyone was amazed that we had pulled it off in just two hours. Only a theatre artiste could do that,” the actor-filmmaker reminisces.

Rajesh Mapuskar, who directed him in the 2016 Marathi comedy drama, Ventilator, was among the visitors at the Chandanwadi crematorium in Marine Lines for the last rites.

“Even if he didn’t have any scenes or rehearsals, he would be in my office. It worried me because he had to travel all the way from Girgaon but he insisted he didn’t like to sit at home,” the filmmaker shares, adding that another time, rehearsals for a scene with actor Jitendra Joshi, left the veteran actor in tears. “‘There was a time when I could remember the entire play, ab memory ki wajah se ek line nahin yaad aa rahi’, he had said. It moved me to tears too,” Rajesh concludes.

Mohar Basu (MID-DAY; April 21, 2018)

"Gujarat ni bahu' Juhi Chawla is set to make her debut in the language with an adaptation of Priyanka Chopra’s award-winning Marathi production, Ventilator (2016). The casting implies that Chawla will feature alongside Jackie Shroff, who had hopped aboard the Gujarati film earlier this year. “It is wonderful to be working with Jaggu dada. He is the most chilled out co-star ever,” Chawla tells mid-day, ahead of the film’s Ahmedabad schedule that kicks off tomorrow. She steps into the role of Dr Shroff, a character that was played by Boman Irani in the original.

Talking about her co-star, Chawla says, “[Jackie] is someone who is everyone’s friend. It’s been a long time since we worked together.” That she was being considered for the part by the producers was a news that Shroff broke to her. “I was thrilled because it’s my dream to work on at least one film in every Indian language. I have worked in Kannada, Telugu, Tamil, Malayalam, Bengali and Punjabi films. Since I am married into a Gujarati family [wife to Jay Mehta], everyone calls me ‘Gujarat ni bahu’,” she smiles.

Rajesh Mapuskar, who helmed the original, will provide creative direction and guidance. The adaptation will be directed by Umang Vyas.

Avinash Lohana (MUMBAI MIRROR; March 27, 2018)

Mirror (January 31) had earlier reported that after bagging three National Awards — best director, best editing and best sound mixing — Rajesh Mapuskar’s Marathi comedy-drama Ventilator is being adapted in Gujarati by Falguni Patel and Lawrence D’Souza with Jackie Shroff in the lead. We have now learnt that Mapuskar, who is the creative director on the remake, will also make a special appearance in the Gujarati version.

Confirming the news, the director says, “In the original, Priyanka Chopra (producer) made a special appearance as an actress, while Ashutosh (Gowariker) who played a director, gets a call informing him that his uncle has been hospitalised. This time we have tweaked the script a bit and instead of a director Jaggu dada who’s stepped into Ashutosh’s shoes plays an actor. When his relative calls with the news of his uncle’s hospitalisation, he is busy with a shot and doesn’t answer the phone. The relative then reaches out to the director played by yours truly. Ventilator is my baby and when the makers suggested I come on screen this time, I happily agreed.”

Mapuskar filmed his scene last Friday in Film City in Mumbai with Umang Vyas calling the shots. He shyly admits that this isn’t his first brush with acting. “I had acted in a commercial years ago during which I met Rajkumar Hirani who was the editor. We have been friends ever since. I also keep doing plays, the most recent with Makarand Deshpande,” he says, adding that he has also been getting offers to act in Marathi films and might just bite the bait if something interesting comes up. “Fortunately, I didn’t need to speak Gujarati in this film. The dialogues were in Hindi and English.”

Avinash Lohana (MUMBAI MIRROR; January 31, 2018)

Mirror (October 7) was the first to report that after bagging three National Awards — best direction, best editing and best sound mixing — Rajesh Mapuskar’s Marathi comedy-drama Ventilator, is set to be adapted into Gujarati by filmmakers Falguni Patel and Lawrence D’Souza. We have now learnt that the makers have roped in Jackie Shroff to portray the lead, which was played by Ashutosh Gowariker in the original. “Finally, I have been cast in a film in my mother tongue. I hope I will live up to it,” Jackie, who loved the Marathi film, exulted.

Director Umang Vyas, who has begun prep for the film, added that the team had been looking for an actor to step into Gowariker’s shoes for a while. “We wanted someone who would understand the language and the culture. When we zeroed in on Jaggu, there was no looking further. He is a brilliant actor and immediately came on-board when we narrated the story idea to him. He is really fluent in Gujarati and will be playing a Hindi film actor in this one,” Umang informed.

The adaptation is being penned by acclaimed scriptwriter Niren Bhatt, who has previously written the National Award-winning thriller-drama Wrong Side Raju, Umesh Shukla’s Rishi Kapoor and Abhishek Bachchan starrer All Is Well as well as the Salman Khan-produced Loveratri, that marks his brother-in-law Aayush Sharma’s Bollywood debut. “Niren is currently writing the script and we will retain the original’s satirical tone. It will be set in Gujarat and will roll in March,” Umang revealed.

Meanwhile, producer Falguni is looking forward to collaborate with “Gujarati Bhidu Jackie Shroff”. “In this interesting phase of changing cinema, we are simultaneously working on scripts that are high on content and will cater to a wider range of audience,” she promised.

Ventilator director Mapuskar will also be involved as a creative director on the film.

Avinash Lohana (MUMBAI MIRROR; October 7, 2017)

After bagging three National Awards, including best direction, best editing and best sound mixing, Mirror has learnt that the Marathi comedy-drama Ventilator, produced by Priyanka Chopra and directed by Rajesh Mapuskar, will now be remade in Gujarati by Falguni Patel and Lawrence D’Souza. A Gujarati play is also in the works. The play will be produced by actor Sharman Joshi and Kamlesh Oza and directed by Rajesh Joshi.

“I had seen Rajesh’s play, Code Mantra, and had loved it. So, when this offer came along, I was like ‘Oh he is the same guy!’ I’m fascinated to know how will they come up with a stage version but I am sure it can be done as the film is set in a single location and is about a man who you don’t see but everyone’s talking about him. I am really looking forward to this,” beams Mapuskar, who won’t be involved with the play but is the creative director on the film remake.

The 49-year-old filmmaker started working on Ventilator in February 2015 and admits he had never thought that it would become so popular and nor imagined it would make him travel so much. “Today, I am flying off to Poland with it for a festival and after that I will be going to Italy, South Korea and several other countries,” he exults.

Rajesh adds that there were offers to remake the film in Bengali, Gujarati and also down South even before they bagged all those National Awards. “This subject can be explored in any language and can be set in culture even if the dynamics of the relationships change,” says Rajesh.

Wouldn’t he want to direct the Gujarati version of the film? “No, I want somebody who understands that culture and its nuances to bring it into the film. Otherwise I would be copying my own film which I wouldn’t enjoy,” he reasons.

And will Priyanka be a part of it in any capacity? “I don’t think so as it’s not the exact copy. Everything will depend on the script,” he says, adding it would interesting to make the film in English as well.

Manishaa R (DNA; September 26, 2017)

The film industry has unanimously hailed the Film Federation of India for choosing political satire Newton as India’s official entry in the foreign language category for the 90th Academy Awards. But the announcement has come as a huge disappointment for Priyanka Chopra and her mother, Madhu Chopra, who were hoping that their award-winning film, Ventilator, which had received a standing ovation at the New York Film Festival, and was among the 26 entries in the race to the Oscars, would be chosen.

Hopes dashed
Both Priyanka and her mother were confident and hopeful that the film would make it to the final list. In fact, the actress had also chalked an action plan for the pre-Oscar selection drive, to rally for the film in the US. According to director Rajesh Mapuskar, the entire team was eagerly waiting for the verdict on September 22. He recalled Madhu’s excitement when she called him up the night before the verdict was announced, “I told her not to worry, assuring her that only the best film would make it. We were a bit disappointed when we learnt about the verdict, the next day.”

PC had a lot riding on it
He added that Priyanka was determined to leave no stone unturned to push her film, had it been selected. Although he hadn’t spoken to the actress Mapuskar said, “I guess, Priyanka must be even more disappointed because she was always ambitious about the film. Had it been selected, she would have ensured that it was the most-talked-about film in the run to the Oscars, especially since she is already an established name there. Ventilator was always the favourite baby of their banner.” He added that he was eager to watch Newton, “I have heard good things about it and am looking forward to seeing it.”

Why Newton won...
Ventilator, which wooed audiences at a record number of film festivals over the world, had also bagged three National awards in April this year, including Best Director award for Rajesh Mapuskar. It is not known whether Ventilator featured in the final list of the three films selected by the 14-member jury but sources reveal that a good number of jury members voted in favour of Ventilator. When contacted Mr Supran Sen said, “It was a unanimous decision. There were titles like Dangal and Mukti Bhavan which were part of the list.”

Sonil Dedhia (MID-DAY; September 5, 2017)

After impressing Marathi film audience and bagging three National Awards, Priyanka Chopra’s production, Ventilator (2016) is set to find a wider audience. The Rajesh Mapuskar-directed comedy-drama is being adapted into a Gujarati play.

Confirming the news to mid-day, the actor’s mother Madhu Chopra, who heads their production house, says, “It’s a rare occasion where a film is being adapted into a play. The film made us proud on the national level and I hope people shower the same love towards it when it comes on stage.” The play will be helmed by acclaimed theatre director Rajesh Joshi, the man behind Code Mantra — one of the costliest productions on Gujarati stage.

Chopra adds that Joshi is an apt choice as he shares similar sensibilities. “We’re glad that he is making it because he knows what he wants. Joshi is not making any changes to the script, he’s simply adapting it to suit the sensibilities of the Gujarati audience. I have read a few scenes and they have been written well.”

She also reveals that Mapuskar is collaborating on the play as a creative consultant. “With him on board, Priyanka and I know that it is in safe hands,” she smiles.

The play is tentatively scheduled to open early November.

Avinash Lohana (MUMBAI MIRROR; May 3, 2017)

The actress is celebrating “homecoming week”
Sanyukta Iyer (MUMBAI MIRROR; April 25, 2017)

Priyanka Chopra, who successfully crossed over to Hollywood in 2015 with the primetime TV show, Quantico, has been routinely returning home during work breaks. She’s now down in Mumbai for three weeks before she jets back to promote her big screen debut, Baywatch. Ever since the 34-year-old actress touched down on Saturday, there have been speculations aplenty of her signing multiple films, including Sanjay Leela Bhansali’s next production, the Sahir Ludhianvi biopic, and the Kalpana Chawla biopic to be helmed by debutante director Priya Mishra. However, the actress’s spokesperson insists the actress has only been catching up with family and friends, determined to celebrate her “homecoming week”, and will only start fi alising projects in the coming week.

On Saturday, she was at a house party by producer-friend Ritesh Sidhwani and his wife, Dolly. Other guests included Ranveer Singh, Farhan Akhtar, his sister Zoya and their filmmaker friend Nitya Mehra, directors Karan Kapadia, Homi Adajania with stylist wife, Anaita Shroff, and photographer Abheet Gidwani. Ranveer shared an elevator selfie with his two faves, Zoya and PeeCee, and captioned it – ‘Mama Zo and Madame Mercurial’.

After partying through Saturday, Priyanka had a slumber party of sorts at her Andheri home with one of her oldest besties, Tamanna Sharma Dutt. Today, she is hosting a bash with producer mom, Madhu Chopra, at a popular Khar watering hole to celebrate the success of her Marathi production, Ventilator, which bagged three National Awards for Best Director, Best Editing and Best Sound Mixing. The guest list includes Ventilator director Rajesh Mapuskar and the cast, including Ashutosh Gowariker and Boman Irani. Teams of their three productions, Bam Bam Bol Raha Hai Kashi, Sarvann and Pahuna, will also attend.

The director tells us how a chilli chicken lunch set him for a career in advertising, and how an entire village contributed to his multiple National Award-winning Marathi film, Ventilator
Kunal Guha (MUMBAI MIRROR; April 16, 2017)

When we meet filmmaker Rajesh Mapuskar at Shivaji Park, his wide smile mirrors his mood. That his debut Marathi black comedy Ventilator has just won three National Awards, including a Best Director for him, isn’t the only reason for his cheerful demeanour.

“I would hang out here to check out girls when I was at Kirti College,” says Mapuskar, who was first introduced to cinema while at school. He’d spend his afternoons at his family-owned theatre in Shrivardhan, a beach town in Raigad. “I was the usher, sweeper, projection operator and would sometimes also man the ticket counter,” says Mapuskar, adding, “I remember when certain films were overbooked, I’d sprint back home to collect chairs to accommodate everyone.”

Ventilator is about a large joint family that collects at a hospital when a senior member is put on life support. The film leans on eccentric characters and slippery situations and has 116 speaking characters. “I grew up in a joint family comprising 68 members and I’m used to parallel sub-plots. Since I also shot in Shrivardhan, my neighbours, uncles, aunts and the entire village was part of the film in some way.”

The movie also delves into the unspoken resentment that can fragment the relationship shared by fathers and sons, something Mapuskar borrowed from his relationship with his own father. “He is my khazana of inspiration and he loved the film too.”

Mapuskar had little interest in academics in school, he moved to Mumbai after his 10th standard exams, in 1983, ostensibly to pursue a commercial arts course at Sir JJ School of Art. “But my dad didn’t approve, he thought I’d end up painting shop boards.” He then took up Commerce on his father’s insistence. “But then he saw my B.Com. marks and told me to return to the village and join the family business.” But Mapuskar had other plans. After a string of odd jobs, including that of a sales representative, the 44-year-old signed up for a six-month diploma in business management. A friend got him space to study at a doctor’s clinic in Mahim, which remained vacant through the day. This turned out to be his first break.

“This doctor also happened to produce TV serials and his clinic doubled up as a space for story sessions,” remembers Mapuskar, whose occasional plot contributions landed him a job as an assistant director for princely salary of Rs 700. Then, someone suggested he get into modeling. “I had more hair on my head then so I was convinced,” laughs Mapuskar.

Four years later, he bagged a TVC in which he played a shopkeeper interacting with a salesman played by Rajkumar Hirani, who was a freelance editor at the time. The two bonded instantly. Apart from getting paid Rs 2,500 for a day’s shoot, Mapuskar was fascinated by the fact that he was served chilli chicken for lunch. “Raju told me this was a regular affair at ad shoots and even introduced me to the director Dilip Ghosh, who hired me as a production assistant.”

Five years on, he was on the verge of moving to Bangkok to work with a boutique production outfit, when Hirani called to ask him to join his debut feature that was being produced by Vinod Chopra Films. “He [Hirani] said after the film, I could move to Bangkok.”

Mapuskar ended up as chief assistant to Hirani on Munnabhai MBBS, Lage Rago Munnabhai and 3 Idiots, and also made his directorial debut with Ferrari Ki Sawaari. “The film didn’t do Rs 100 crore, but it did decent business. Till date, when people meet me, they speak fondly of it,” he says of the comedy starring Boman Irani and Sharman Joshi.

The idea for Ventilator, a black comedy, struck him when he was halfway through writing his second Hindi film — a musical. “Many of my friends discouraged me and asked me to not venture into Marathi films as there’s no money in it.” But Mapuskar was determined to make it “whether it was a success or a failure”.

It was at this stage that his accountant told him about Priyanka Chopra’s interest in producing regional films. “I reached out to Priyanka and her mother, Dr Madhu Chopra, and within five minutes they were sure about backing it. We never thought of monetary gains from the film.”

Mapuskar’s next step is to complete writing his Hindi musical that he abandoned to make Ventilator. While he feels winning a national honour for his work is “humbling”, he doesn’t feel any additional pressure to follow it up. “My approach to cinema will remain the same. It’s just difficult to imagine that my name has been included among the greats like Satyajit Ray and Mrinal Sen who have won this award in the past.”

Manishaa R (DNA; April 11, 2017)

Filmmaker Rajesh Mapuskar, who bagged the National Award for Best Director for Marathi film, Ventilator, is all set to collaborate with Priyanka Chopra for another Marathi film. However, it has nothing to do with the National Award, insists the director. “Even during the making of Ventilator, Priyanka and her mother kept talking about doing more projects. We will work on another Marathi film, after I wrap up my next Hindi film,” he revealed.

The director can’t get over his excitement about the award, “It is the ultimate recognition,” he said adding, “The film has taught me a lesson to always trust my instinct and work with like-minded producers who instill that confidence in you.”

The director, who had earlier helmed the Hindi movie, Ferrari Ki Sewari, recalled how he was at one stage contemplating of dropping the project altogether, before Priyanka decided to produce it, “I was advised by people in the industry that I was taking the wrong step by venturing into Marathi filmmaking. My close friends asked me why I was attempting a Marathi film when I had successfully proved myself in the Hindi domain. They also warned me that it would create a misleading perception of me as a filmmaker who was searching for work.” However, he decided to follow his instinct on the thought-provoking subject about strong family ties amidst conflicting relationships. “I also saw the reactions of people to whom I narrated the subject. They laughed, cried and I felt that this story needed to be told.”

It was his meeting with Priyanka through a common friend that reinforced his conviction, “She followed my instinct and connected instantly to the story within five minutes of the narration, this despite the fact that she is such a busy star. We were both on the same page about the extraordinary subject, after which she put complete faith in me. It was as if she was convinced that I would take the film to a level she wanted. When somebody puts that kind of faith and confidence in you, you know that you are going in a right direction. It was this confidence that was also reflected in the way the film eventually shaped up,” he said.

Renuka Vyavahare (BOMBAY TIMES; April 10, 2017)

Priyanka on a roll as first-time Marathi producer, bags three gongs
Shilpi Sampad (MID-DAY; April 8, 2017)

When the National Awards were announced last afternoon, Priyanka Chopra was fast asleep. Naturally; it was 2.30 am in the US. Her mother, Madhu Chopra, who is currently with her, couldn’t resist waking her up. And in Chopra Sr’s words, Priyanka “jumped out of the bed and hugged me” on hearing the news.

“I always end up being woken up with news of National Awards in the middle of the night. And invariably, I am in America. I was here shooting for Anjaana Anjaani when I received a call about Fashion (2008, her first National Award). I don’t know how many actor-producers have won one before, but I am excited to be part of the privileged league. I am really excited about Ventilator bagging three honours because it is a movie I wanted to make for my father (late Ashok Chopra),” says Priyanka, speaking to us from the US.

The actor-producer recalls how director Rajesh Mapuskar was finding the filmmaking process difficult with 75 actors in the cast. “But the story resonated with me, and reminded me of the time my dad was in the hospital and all that my family went through. When I spoke to Rajesh sir yesterday after the awards were announced, he told me my father would have been very proud. This wouldn’t have been possible without my mom; everyone at Purple Pebble Pictures (her banner) put in their heart and soul into the film.”

PeeCee is planning a grand bash to celebrate the triple win — in Mumbai. “I am coming back in 10 days to Mumbai to have a party with my cast, crew and friends who have always been supportive. It has been difficult being a hands-on producer while I am in America working on my career as an actor. My mom is my backbone; she has been doing all the hard work there while I take the creative decisions here. We make a great team,” she says.

Ask her if she feels like being in a beautiful dream with awards landing in her lap every other day and she says, “No, I work very hard. I don’t sleep or stay with my family. I work round the clock. My dream was to be an achiever, but I have known from a very young age that nothing can replace hard work. I am grateful that everything has worked out well for me. And I can tell you it was sheer hard work.”

While Ventilator hogged the limelight apart from another Marathi film Kaasav (Best Feature Film), a surprise miss from the winners’ list was Nagraj Manjule’s Sairat, which was not only critically acclaimed but also proved to be a huge commercial success. We tried reaching Manjule for a comment, but he remained unavailable for comment.

The actress returns to Mumbai for a fortnight or so, but it's all for work
Sarita A Tanwar (DNA; December 9, 2016)

Her oeuvre of work in Bollywood is something Priyanka Chopra displays and promotes proudly, even in the West. It’s apparent in every interview, every appearance she makes. The question is forever asked of her, but she doesn’t tire of setting the record straight. And that’s the desi girl sticking to her roots, accent allegations, notwithstanding. A popular TV show, a highly anticipated Hollywood movie, a hit Marathi movie as producer, and a for-now uncertain, but definitely exciting future in Bollywood ahead of her, we sit PC down and talk about everything from movies to marriage and everything in between. Read on...

Billboards, magazine covers, red carpets of awards, you have done it all here and now you are doing it all there in the West. How is it different?
When I started off in India, I did not know why I was getting what I was getting into. Or why that was happening in my life. I was very young at that time. Now I am coming from the experience of... you know, 12-13 years in the movies and being part of one of the most prolific movie businesses in the world. So, now, I know my job. I have learnt from the best directors, best producers, directors and co-actors. I can walk onto a set in between ‘action’ and ‘cut’ and I know what I am doing. I am coming from a certain level of confidence. That’s the big difference, I guess.

Did you feel like a newcomer or did you have that whole been there-done that thing when you were doing it all over again?
A little bit of both. I used to have the whole newcomer thing. Like when you go to a different country culturally, you don’t understand a lot of things. So, sometimes I wouldn’t understand the jokes or I wouldn’t understand phrasing of culture references. But I wasn’t afraid to ask what it meant. There were times I didn’t know what was going on. But when it came to what I was doing on the set, I came from a place I know.

Did you enjoy it more then, because it was new or now that it is happening again on an international scale?
The newness of it was a little scary. I believe that the one thing that every artiste wants to do is grow and I have always wanted to evolve. And you know, every step of the evolution is different and this is extremely gratifying in its own way.

What’s the one thing you miss the most about being on a Bollywood film set?
Dancing. I was just telling that to one of my colleagues the other day. They were watching my song from Goliyon Ki Raasleela Ram-leela and then they were like, ‘this is so cool’ and I am like ‘Damn, I’m really missing this.’

You have been away for so long. On a scale of 1-10 how homesick are you?
Seven. But we are closing in for Christmas and New Year’s and I will be coming home in about 10 to 15 days.

You’ve always lived with your family except for a little while when you were studying. Was it easier back then?
It is never easier. We are used to always living with our family and living without them is really hard, for sure. But I have a lot of people with me. I have made a few friends for life. So it doesn’t feel as bad. In the beginning, it was bad and I used to get really homesick. I used to make my mom fly down each month...

What is the biggest misconception Hollywood has about our industry?
That we break into a song and dance for no reason. I feel terrible and it makes me very angry.

Which is true, right?
I don’t think so. I think our stories go forward.

Of course they do, but situations are created for song, even if there was no place for them...
(Cuts in) But it doesn’t matter. It is culturally who we are. Everything in India turns into a dance party whether it is World Cup, or you have a baby, everything is a dance party, that’s how we tell stories. Our cinema is in that presentation for the last 100 years. That is part of our industry. It is different.

Do you find yourself defending that to a lot to people?
I do. I don’t see it as a defence, I see it as an education. A lot of people — like my friends and colleagues — are very sweet when it comes to my films and my work and so many of them have watched it and have liked my films like Barfi! and have an understanding of what our industry and Hindi films are are about.

Have you faced any stereotype in the West?
I guess people who have been introduced to me by Quantico, kind of knew what I could do. When I walked in, I didn’t really face any stereotypes when I met my colleagues and people I worked with. But in everyday life, yes, I do face stereotypes, which are funny.

Like what?
Like you speak English so well. That’s a common one. On how I look Puerto Rican and not Indian and things like that. I think those are the common misconceptions which people here have within the industry. Other than that, I have been pleasantly surprised with the kind of love, affection and respect that I have got.

That “From India? But you speak English so well” has happened to me too!
I will tell you a funny statistic. We have 1.2 billion people in India and only 10 per cent of India speaks English. We have a huge population, we are more than most countries but not everyone speaks English. Which is fine. It is a choice. Our parents took this choice to educate us in English.

While you are in Hollywood, does the FOMO in Bollywood ever cross your mind?
All the time! Please. Hindi films are what I do. But I am an artiste, and I will go wherever my work takes me. The language doesn’t matter to me. English and Hindi are the same. What I miss really is the films and you know the luxury of filmmaking and language of filmmaking. I really enjoy that. Because in Hindi films there is such beauty and poetry to the way we tell stories. So yes of course I miss it.

Do you worry that Bollywood would not offer you roles that would otherwise come to you fearing that you will not come back?
If that happens, it would be unfortunate. It hasn’t happened yet. It is not something I worry about because I don’t see it happening. If it does, then like I said, evolution is the most natural part of being an artiste. Nothing speaks larger than the audience and till people want to watch me I am...(trails off).

Your Marathi film Ventilator was not a typical commercial fare. Yet it did really well. Do you feel you will be able to produce this kind of cinema in Hindi as well?
I am taking baby steps right now. I have to say I am very cautious as a filmmaker the same way I am cautious as an actor. I like to take risks, but I also want to be able to tell stories that I believe in, which I think will translate well into movies. I take care about what I attach my name to. I believe in box office. I have always believed in the business of filmmaking and entertainment, but box office is king. So, ideally, I would like to try and make movies which are successful at the box office and entertaining and yet at the same time have content that people want to watch.

Do you think that regional films give you more scope to experiment as far as subjects go?
(Smiles) Look at my career. It is a specimen to my experimentation. I don’t think so. Cinema is cinema. And me being who I am, or anyone who attaches himself to any film, the reach is so much by sheer curiosity, you know. So it doesn’t matter. It is not that we are catering to a specific audience.

This time when you are down, is it going to be work or relaxation?
Work. I am coming for such a short time. I am working every day. I have so many prior commitments that I have to finish. I am working, but I will take about two-three days off.

What is the longest break you have taken this year?
Three or four days, I think.

All year! That’s it?
Yes. I have been through life as though it is a vacation, I feel. I don’t have a situation in my life where like I feel compelled to take a break. I am not tired and I don’t feel the need to take a break. I am not the kind who has ever needed time to recharge.

What is the quality in Hollywood that you would want Bollywood to adopt and what is the one B-Town quality you wish they’d adopt?
The one thing I will hope Hollywood would adopt from Hindi films, like... add a song in their movies.

So Robert Downey Jr shifted all of his furniture to his temporary home in Atlanta while filming Civil War. Considering you are there most of the time, is there a comfort zone you have recreated at your place there?
Oh God, yes! If you see my house here, it is almost an exact replica of my house in Bombay. It is pretty much the same thing, it is funny same floors, and everything. I take my stuff, it goes with me, pictures of my friends and family, my shoes give me comfort, my gadgets give me comfort. And it’s all here.

So much is spoken about your accent. What is your take on it?
My accent on the show?

Yes.
I am playing an American girl, so I have to have an American accent. Just like I was portraying Kashibai and I had a Marathi accent. My job as an actor is to do that. It is my job that it needs to translate on camera and that’s what I do. Yes I do have an American accent on the show but I am playing an American girl. If I play a Spanish girl next, I will have a Spanish accent.

How do you switch off? When you return to India and talk to people do you find yourself slipping into the American accent?
No. The way I am talking to you right now, I can get into my Indian accent as soon as I am done from work. But during the day while I am acting I have my American accent on. Actually it was the same during Bajirao also. During the day, I used to keep such a Maharashtrian tone when I spoke because I had to stay within that, otherwise I have my normal accent which is something I will always have. I don’t know what it is, it might be global by now.

Does marriage pop up in your conversations with your mom?
Not with my mother. My mom is very chill like that. She is someone who got married late in her life, concentrated on her career and education. She said I’ll do it when time comes.

Your reaction to being constantly compared to Deepika Padukone? It is always like your hero is bigger or her hero is bigger, or your appearance at an event is better than hers, at every point you are being compared to each other. Do you feel it’s justified?
We are in the business so comparison will always happen. It keeps the press mills warm. Which is fine. I mean people have to do what they have to do. I think she and I both have individually mentioned that we both are different people and we both have different choices and we are doing our own thing. I think it is very demeaning when actresses are always reduced to just fights and catfights and not getting along. People think that all we always want to do is pull each other down. Not at all. Of course when it comes to the work, there is always competiveness and the same way boys have. Why is that always termed a Bromance and we are termed as cat-fighting? We are also professionals who know our jobs and take our careers very seriously. So I think we should be respected for that.

THE TIMES OF INDIA (November 20, 2016)

Newly released Marathi film 'Ventilator' has drawn criticism from doctors for “insensitivity“ towards organ donation and the concept of brain death.

Dr Sujata Patwardhan, head of the urology department of civic-run KEM Hospital in Parel, said, “The film has been widely appreciated, but it has wrongly portrayed brain death, organ donation and the doctor's role in such situations.'' Dr Patwardhan was until recently the head of the Zonal Transplants Coordination Centre, which coordinates sharing of donated organs between hospitals.

'Ventilator', which released on November 4, revolves around a joint family whose oldest member slips into coma a few days before Ganesh Chaturthi. Doctors are upset with a scene in which the son, who doesn't have an easy equation with his father, speaks to his now-on-ventilator-support father and “almost seems to be threatening him with organ donation''.

Dr Patwardhan said, “To donate is noble and not some punishment meted to brain dead patients.'' The film's director Rajesh Mapuskar didn't respond to calls or SMSes. Doctors who tried to contact him said he is out of the country .

Dr Sagar Mundada, a psychiatrist who saw the film, said while social workers broach the topic of organ donation with sensitivity to the affected families, the film had an office staff talking about it. “The main objection to the film is that it has linked negativity to the concept of organ donation,'' said Dr Mundada.

Ventilator, the Marathi film produced by Priyanka Chopra and directed by Ferrari Ki Sawaari director Rajesh Mapuskar, turns out to be a heart-warming tale about family and relationships. It is set in a hospital and is about a patient on ventilator (and hence the title of the film). The chaos that ensues as a result and also because of the upcoming Ganesh festival forms the crux of the film. It has some very emotional moments but at the same time, it balances with some light and funny sequences. Rajesh Mapuskar is in firm control as a writer and also as a director. The film has almost 30-40 actors and to give them prominence, make sure they stand out and contribute well to the storyline is a huge challenge but Rajesh comes out with flying colours in this regard. The humour is also nicely placed and it could have gone wrong. But thankfully it doesn’t and works very well. Talking of performances, Ashutosh Gowariker underplays his part beautifully and proves that he still can act very well. Jitendra Joshi leaves the maximum impact. Satish Alekar shines in a small role. Sulabha Arya and Deepak Shirke are decent. Priyanka Chopra herself features in a cameo and she is terrific. Boman Irani too makes a friendly appearance and it’s quite memorable. On the flipside, the film has too many actors and at times, there’s too much commotion happening in the film. Hence, one might miss out on a few dialogues at places. But overall, Ventilator is a great attempt and if it has released in your city, you should surely give it a chance!

My rating-**** out of 5!

Ventilator director Rajesh Mhapuskar says PC is a hands-on producer
Manishaa R (DNA; November 4, 2016)

Priyanka Chopra has sung for her Marathi production debut, Ventilator, which releases today.  According to the film’s writer-director, Rajesh Mapuskar, who last directed the Hindi film, Ferrari Ki Sawari, PC has been keenly following the release strategy and was actively involved in every stage of the film’s production, even though she is currently stationed in LA, “She is closely associated with the filmmaking process whether it means monitoring the progress, watching the trailer or coming up with creative suggestions,” he shares.

The director admits to having approached two other production houses with his script, until he learnt that PC was planning to make her debut in a Marathi production. He was thrilled with her reaction after the narration, “She was overwhelmed with emotion,” he says.

He clarifies that Priyanka’s decision to make her Marathi production debut has nothing to do with the success of Sairat, which swept the box-office, “Sairat had not released then. She took the decision much before that. Also, she wasn’t looking at the box-office when she made the decision. It was the way she connected with the story,” he added.

Mhapuskar avers that PC was more of a role model for the entire unit with her hard work, “She would call up in the middle of the night, after she had wrapped up her work to check the latest on the film. She works round the clock and the whole team was inspired by her dedication,” he adds.

Ventilator stars 116 actors including several veteran Marathi artistes and filmmaker Ashutosh Gowariker. It is a film about reconnecting with your family, “Ventilator is a medical term, but in this film it is used as a metaphor to project the reality of life, in a very entertaining manner. The film has its share of light moments but there is an underlying reality in it,” he reveals.

BOMBAY TIMES (November 3, 2016)