1:30 pm on May 2, 2003. The moment is seared into Alagu Sundaram's memory. He was 22, back in Dharavi after a summer trip to Tirunelveli, when word reached him that the man whose face adorned the walls of his kholi was in Mumbai for a couple of days. If he hurried, he might still catch him at the airport.

Sundaram didn't hesitate. He grabbed a photo album documenting his local fan club's welfare work, a camera and four fellow fans, and sped to the terminal on his bike only to realise they were too late. Vijay aka Anna (elder brother) had already crossed into the boarding area. What followed has since become a part of Tamil fan folklore in his pin code.

"He requested the security guards for a good five minutes to let him meet us for a short while. The guard gave in," Sundaram recalls. "Anna then stepped out, asked us why we were late. We showed him the album, told him about the work we were doing, and took a picture."

Vijay stayed back for nearly ten minutes before heading in again. That was the first time Sundaram met ‘Thalapathy', the superstar whose films had shaped his adolescence through rented VCRs and communal TV screenings.

Among them, Poove Unakkaga held special meaning. Vijay's 1996 film about a young man quietly trying to reunite two families torn apart by an interfaith marriage still lingers in Sundaram's mind. "As the hero heals old wounds, it is revealed that he is actually helping another interfaith couple gain acceptance," he says, drawing a parallel with the kind of bridge-building he believes fan groups can do within communities.

Today, at 45, Sundaram is no longer the boy who chased first-day-first-shows. Clad in a crisp white veshti, the former head of a local Vijay fan club is now Maharashtra president of Tamilaga Vettri Kazhagam (TVK), the political party floated by Vijay in 2024.

"I was one of 131 people who joined to form the party," says the bachelor who draws his self-belief from a scene from 'Ghilli' (2004) that cut deep. In it, Vijay's character delivers after saving the heroine from the villain with a blade: "I wish I had placed the same faith in you as I had in this blade."

Born in Tirunelveli district, Sundaram moved to Mumbai in 1990. By the late 1990s, work was uncertain but cinema wasn't. "From when he started acting, I started watching all his films," he says, recalling how he devoured Deva, Rasigan and Vishnu through rented VCRs inside his Dharavi shanty. Since many Vijay films did not release in Mumbai then, summer trips to his village became opportunities to catch up.

In the 2000s, admiration evolved into organization. Sundaram and his friends formed Ilaya Thalapathy Vijay Makkal Iyyakkam, packing Matunga's Aurora and Sion's Moviemax for first-day-first-shows armed with banners, drums and giant cutouts. When single-screen theatres gave way to multiplexes, the rituals adapted too. For Varisu, they booked three 3 am shows at a Chembur multiplex.

But fandom, Sundaram insists, was never only about cinema. Every June 22, Vijay's birthday, the group distributed food at old-age homes near Mumbai Central, shelters in Mankhurd and cancer care institutions in Navi Mumbai. Blood donation camps became routine. Sewing machines, sarees and notebooks were handed out. "If someone asks for money for education, we give it immediately," Sundaram says. "We only give to the have-nots."

Over time, even the culture of celebration changed. Milk abhishekams (milk showers) on towering cutouts — once central to Tamil fan culture — were gradually discouraged. "Anna said instead of wasting milk on cutouts, give it to people who need it. So we did," he says. During the release of Beast, the group distributed sewing machines instead.

As Vijay's fan network spread across Maharashtra, Sundaram became an informal bridge between film crews and fans. During the 90-day Mumbai shoot of Thuppakki in 2012, crew members frequently called him when crowds became difficult to manage. "I was there on set for all 90 days. I even brought my parents to meet Anna one day," he says.

He still remembers one piece of advice Vijay gave him directly: "Don't borrow money. Look after your family first."

When Vijay launched TVK in February 2024, Sundaram says he was not surprised. "People were sceptical but our Anna remained calm."

Now wearing TVK's red, black and yellow shawl, Sundaram oversees party outreach across Maharashtra using methods honed over decades in as a fan club head. Crowd management, welfare work, mobilisation, loyalty--he was well-versed in all. "Even if we don't know the problems of the people, we can go and ask: Is the water coming properly? Is the cleaning going well?" he says.

Riding on welfare promises and a broader anti-establishment pitch, TVK's electoral breakthrough earlier this week triggered celebrations across Mumbai's Tamil neighbourhoods, from Dharavi and Chembur to Mulund and Malad.

Right now, Sundaram is in Tamil Nadu amid uncertainty around government formation. But the chaos does not seem to unsettle him much. "We have seen this kind of last-minute chaos many times around his film releases," he says. "This isn't new for us."

The alleged online leak of Jana Nayagan, the much-anticipated political thriller starring Tamil superstar-turned-politician Vijay, has sparked outrage across the film industry, with Rajinikanth and Suriya leading calls for accountability and stricter anti-piracy measures.

Directed by H Vinoth, the film is widely seen as Vijay’s final cinematic outing before his full-time entry into politics. It was reportedly leaked online on Friday, triggering strong reactions across the fraternity.

Rajinikanth took to social media to express anguish over the breach. Writing in Tamil, he called the leak “a cause for shock and pain” and urged film bodies to raise their voice, while asking the government to identify those responsible and impose strict punishment. “Such crimes must not be allowed to continue,” he said.

Suriya termed the incident “heartbreaking and unfair”, making an emotional appeal to audiences. “An entire team’s passion reduced to this. Please don’t watch, share, or discuss the film here. Respect their work,” he said, adding that he stands with the film’s team and condemns the act.

Several others in the industry, including Chiranjeevi, have also extended support, urging audiences to watch the film legally in theatres. Production sources said civil and criminal proceedings are being initiated against those responsible for the leak.

The actor offered a sharper critique, linking the leak to delays in the certification process. The film has reportedly been caught in a prolonged legal tussle with the Central Board of Film Certification. “The leak of Jana Nayagan is not an accident, it is the result of systemic failure,” he said, adding that delays create fertile ground for piracy. Haasan stressed that piracy goes beyond politics and directly harms the creative ecosystem. “It endangers the work of hundreds of artists and technicians, and the investments of honest, tax-paying producers, exhibitors and theatre owners,” he said, calling for accountability, timely certification and real-time takedowns.

Being part of Lokesh Kanagaraj’s Cinematic Universe (LCU) is a big deal for any actor. But when Samyuktha was offered Benz, the fourth instalment in LCU, she reacted to the film not as an actor, but as a fan. “I thought that if I took the narration, I would be the first person to know what happens next,” she laughed.

The actor is currently shooting the Tamil action drama that stars Raghava Lawrence and Nivin Pauly. An LCU offering is known as much for its star presence as for its action, and Benz is no different. If anything, it may only up the ante in terms of the star presence.

Samyuktha teased that popular characters from LCU’s previous films — Karthi’s Kaithi (2019), Kamal Haasan’s Vikram (2022), and Vijay’s Leo (2023) — will make appearances in Benz.

She shared, “The makers developed [new] characters around the other popular characters of previous films. You will get excited about [how they are all] connected. The makers have brought the popular characters from the previous films here, and not as cameos. I don’t want to name names and say what exactly is happening. Similarly, the characters introduced in Benz will be seen in the next parts.”

The actor also described Benz as a story that the audience won’t be “expecting”. “It’s a rooted and stylish universe. It’s our very own Avengers, and fans are seeing all their favourite actors in one place.”

Amid the ongoing legal issue with the release of his final film Jana Nayagan, actor-turned-politician Vijay has finally broken silence on the matter.

Talking about the delay in the film’s release due to certification issue, Vijay told NDTV, “I feel bad for my producer as Jana Nayagan is suffering because of my political entry. I was mentally prepared for this and was aware that my film would be affected due to my political entry.”

The film was slated for an initial release on January 9, but it didn’t get clearance from the Central Board of Film Certification (CBFC) in time.

In the latest development in the case, the CBFC filed a caveat in the Supreme Court, as per Bar and Bench, saying that no orders shall be passed in the case until CBFC is heard.

This comes ahead of the anticipation of the producer, KVN Productions, moving the Supreme Court over the Madras High Court Division Bench order, as per Live Law.

On January 27, a Division Bench of the Madras HC allowed the CBFC’s appeal and set aside the Single Judge’s direction to grant a UA certificate to the film. The bench observed that CBFC should’ve been given time to present its case in the single-judge hearing that favoured the film.

The producer claimed in court that CBFC’s examining committee watched the film in December and informed that it would be given UA 16+ certificate after 14 cuts. They complied to it but did not hear back from CBFC till January 5, that’s when they approached the Madras HC. CBFC had claimed that the stall in certification was due to a complaint saying that the film might ‘hurt religious sentiments’ and certain scenes needed board’s clearance.

Actor-turned politician Vijay’s farewell film, Jana Nayagan, originally scheduled for a January 9 theatrical release, remains stuck in a legal dispute with the Central Board of Film Certification (CBFC). With the Madras High Court reserving orders in the ongoing case, the film has officially missed the lucrative Republic Day, January 26, window too.

On Tuesday, the Madras High Court heard arguments from both the CBFC and the makers, eventually reserving its order without specifying a date for the verdict. Many, including the producers, had anticipated an early pronouncement this week, hoping to capitalise on the Republic Day holiday.

With the case not listed at the Madras High Court for tomorrow, all eyes are now on the next possible hearing date, which is January 27. The delay has left the makers in limbo. During the hearing, KVN Productions highlighted the massive financial risk, citing an investment of Rs 500 crore. They further revealed that Amazon Prime Video had threatened legal action on December 31, 2025 due to the continued uncertainty surrounding the film’s release date.

Now that a Republic Day release is off the table, the makers are eyeing February 6 or 13, a window with no major releases scheduled. However, with the Tamil Nadu Assembly Elections likely to be announced in the third week of February, the film faces urgency. Once the Model Code of Conduct comes into force, Jana Nayagan could face scrutiny due to Vijay’s political involvement, making an early February release crucial.

Chennai: Merely because film producers have announced the release date of a film, they cannot insist that the authorities issue censor certificates expeditiously, Union govt told Madras High Court on Tuesday.

Additional solicitor general A R L Sundaresan made the submission when a petition filed by the producer of Vijay-starrer ‘Jana Nayagan’ came up for admission before Justice P T Asha. The producers have sought directions to CBFC to issue a certificate for the theatre release of the movie—touted as Vijay’s final film ahead of a full-time career in politics — on January 9.

“So far, the board has not taken a final decision on issuance of a certificate to the film and, therefore, the chairperson of the board was empowered to refer the movie to the revising committee,” Sundaresan said, adding it was sent to the committee as a complaint had been received against the film.

Satish Parasaran, counsel for KVN Production LLP, said the producer applied for certification of the film on December 18, 2025. On December 22, CBFC communicated that the examining committee recommended grant of a “UA 16+” certificate, subject to compliance with certain modifications. He said it was communicated that the “UA 16+” certificate was granted since the film contained a brief portrayal of religious sentiments and frequent and sustained fight sequences.

On Dec 24, recommended modifications were complied with, and the film was resubmitted. On December 29, the producer was informed by the board that the film would be granted a “UA 16+” certificate. However, on January 5, the board told the producer that the film was referred to the revising committee in view of a complaint. “Issuance of certification cannot be delayed, and reopening of certification cannot be done on a vague, undisclosed complaint,” Parasaran said.

Recording the submissions, the court directed the ASG to produce a copy of the complaint and adjourned the hearing to Wednesday.

-----------------------------------

Actress Pooja Hegde is all set to reignite her much-loved on-screen pairing with Tamil superstar Vijay, in what is expected to be his final film before retiring. With a career spanning 12 years across multiple industries Pooja sits down to discuss her journey.

Talking about her reunion with Vijay for his final film, she says, "I’m very excited because of course it’s a Jodi that's kind of been a hit with Arabic Kuthu and Beast. And it’s great working with him. He’s just so professional and such a nice person. So, it’s great to work with him because he just makes it very easy," Pooja says, brimming with enthusiasm.

While she acknowledges the bittersweet nature of Vijay’s retirement, Pooja is keen on celebrating the journey. "Of course, a part of me is sad that it’s his last film because we love to watch his films, and I mean, I love his films. And more than anything, it should just be treated as a celebration,” she adds.

Pooja, who has been a part of multiple blockbusters and also a few duds in the recent pasts, reflects on how her definition of success has evolved over the years. "My definition of success has changed over the years," she admits, before adding that this phase of her career is particularly significant.

"I feel like my lineup this year, the kind of films I take now, will define what kind of actor I am for the rest of my thing. Coming from a non-filmy family, you really have to hustle very hard to get your projects. I've managed to establish myself to one level and now I want to move to the next level,” she explains.

Pooja’s ambitions are clear – she seeks to work with good filmmakers, take on roles that push her as an actor, and earn critical acclaim, all while balancing the mass-appeal films that her fans adore. She adds, “That's my goal right now. I want to work with good filmmakers. I want to do the right kind of films which pushes me as an actor for critical acclaim as well. Yes, I've had blockbuster successes. I’ve had six blockbusters back-to-back. However, I think you’re only a success until you perform the act and then you have to do it again. I don't take successes to heart because when failure happens, you have to take that also to your heart. But I want to push myself to do better work, to do good films, to do good roles and leave a memorable filmography behind. So that's where I'm at. Also, I am an entertainer. So, I do want to continue doing the big blockbuster, Mass Masala films because there's also that audience, which are my fans. So, I think it's a mix of both where I want to work with good filmmakers and have commercial success.”

Pooja’s recent films, especially in the Hindi front such as Kisi Ka Bhai Kisi Ki Jaan, Cirkus, and Radhe Shyam were box office disasters. On the topic of failures and how she handles them, Pooja speaks with refreshing candor.

“I've been able to predict it. There are some films when you're making it, you feel it. Nothing has come as a big shock to me. But we are artists, we are actors, we have to be allowed to fail, because unless we aren't allowed to fail, we will not give you anything new. You cannot, expect every time you're gonna do the same thing and it's gonna work out. At the end of the day, I'm not at the edit table. I am not making the film. I am not writing the story,” she says thoughtfully.

For Pooja, it’s about giving her best to every project. "Did I do my best to that particular role? Yes. From the films that were offered to me, were these my best options? Yes," she asserts. “It will be a trial and error. It will be. It's a process. It's a roller coaster. Right. There'll be ups, there'll be downs, but as long as you're having fun while.”

She adds, "When I had my successes, I just thought, ‘Wow, this film did well. Let's move on to the next’. I don't think I even celebrated my successes that much, which sometimes I feel like I should have. Because when my films didn't do well, I didn't think too much of it either. I was like, okay, fine. I learned something from it. And I move on. I also think that if you have given your hundred percent to any film, there will be somebody who will watch your film and you will get something from it for sure."

Since Sandeep Reddy Vanga’s Animal (2023), Bobby Deol, who played the antagonist, has been in demand. After his last release, Kanguva, with south star Suriya, the actor has five more films in the pipeline. He has officially started shooting for the highly anticipated Tamil film, tentatively titled Thalapathy 69, led by Vijay.

The H Vinoth-directed film is being shot in Chennai. This marks Deol’s second Tamil film after Kanguva, and he joined the cast and crew on set this week. In Thalapathy 69, the actor plays the antagonist opposite Vijay’s protagonist, adding to the ensemble cast, which includes Pooja Hegde and Prakash Raj, among others.

An industry insider shares, “Bobby’s villainous roles have been well received. It’s fascinating to see him reinvent himself. And Thalapathy 69 offers him the scope to further explore this side of his craft.”

Another source informs that the action sequences are being carefully choreographed to highlight the dynamics between the hero and the villain. Set to release in October 2025, the multilingual project’s music is composed by Anirudh Ravichander, with cinematography by Sathya Sooriyan. According to the source, the current schedule is expected to last about three weeks.

“The schedule will focus on high-intensity action sequences and dramatic face-offs between Vijay and Bobby Deol. These include a mix of choreographed combat scenes and emotionally charged confrontations. The team is shooting on expansive custom-built sets, designed to bring a stylised and cinematic edge to the hero-villain dynamic,” informed the source, adding that Deol and Vijay have been rehearsing for the past seven days.

I’m chilled out, but I also give my 200 per cent to work,” shares Prabhudeva. The actor, who has several films in the pipeline, will next be seen playing a corpse in Jolly O Gymkhana. In a chat with us, he opens up about how his prep for dance sequences has changed over the years, and hints at his son’s entry into films...

Jolly O Gymkhana will be a different kind of film. I’m acting as a corpse, but I won’t be seen stiff all the time. There are scenes in which I had to wear roller skates. During the shoot, I fell down many times and got hurt, but it’s part of the job.

In the last one year, my son has developed an interest in films. He is a big boy now. I don’t give him any advice, but I told him it’s important to be hardworking, sincere, and disciplined to be successful not only in the film industry but in life as well.

People kept telling me, ‘Sir, you were the villain! We didn’t even imagine that.’ But there was no preparation for portraying the antagonist. The Greatest Of All Time was a full-on Vijay film. All three of us — Vijay, Prashanth and I — were happy to be working together. Prashant and I were in a holiday mood during the film’s shoot.

I will have to maintain my fitness or else it will get very difficult when I dance. Sleep is also important. So, I always exercise, even when I am travelling and shooting for films. I pay attention to what I eat, and I refrain from eating after 7 pm. If I’m doing a dance number, I start getting ready 15 days prior to keep up with the young dancers. I will also go through rehearsals for two to three hours every day. A lot of effort goes into making my dance look effortless.

I am giving 200 per cent for every film, but when a film doesn’t do well, I of course wonder why. That said, I can’t keep thinking about it, so I try harder next time. The entire team gives their all, but at the end of the day, the audience is the judge. We have to accept their decision and move ahead.

When we choreograph with 100 girls and 100 boys, we try to make it a safe workplace. Not just me, but everyone, including the director, the lightman, and the cameraman, make sure it’s a safe space for women. If there’s a problem, the team will take action. But bad instances have happened to women in some places, and this has to be corrected.

I recently saw Meiyazhagan and really liked it. There was something new in that film. I liked the choreography of the song Aayi Nai (Stree 2). I also like the songs that are being made in Telugu because they are very elaborate.

Vijay has taken the decision, and it is his wish. My conversations with him have always been about simple matters. We have never spoken about his political entry.

The first time Chunky Panday shared screen space with Anupam Kher was in Tezaab (1988). He won his maiden acting nomination, but eventually lost the trophy to Kher. For their upcoming collaboration, Vijay 69, Kher has assured Panday that the latter will win an award. “That time, Kher saab had won for Vijay [1988], and this time, he believes I will win for Vijay 69,” smiles Panday.

The actor, who plays a Parsi character in the Netflix dramedy, credits Kher for guiding his performance. “When I play a character, I make it over the top and a caricature. He told me to control my performance as it’s not that kind of film.”

In the last few years, Panday has extensively worked in digital entertainment and he confesses that the varied stories on OTT have made him look at himself as a performer in a new light.

“When I entered the industry, I wanted to be a star; acting happened later. The hero, in our time, always had to be the good guy. Kher saab and others got to [play different characters]—good, bad and ugly. Now, I am enjoying playing all these characters.”

Going by his instinct, the senior actor also wanted his daughter Ananya Panday to focus on achieving stardom. But today as she receives acclaim for her performances, be it in CTRL or Call Me Bae, daddy dearest is happy to be proven wrong.

He says, “I used to have fights with her because I felt she should do [mainstream] cinema and she’d say, ‘Dad, I want to be an actor.’ I’d respond saying, ‘You be an actor later, first you become a star.’ Now, I’m realizing that perhaps she was right.”

Self-confidence is what makes a woman a superwoman, says Amy Jackson, who is now back in action in Indian cinema after almost four years. Talking to on the occasion of International Women’s Day that was celebrated yesterday, the actress, who has a three-year-old son, believes that even as a working mom, women can have it all if they are ready to work for it. Amy feels that confidence comes with age and experience and that a confident woman knows what she wants and deserves. Excerpts:

As a working mom, Amy says that all her decisions are made with son Andreas in mind. “My time is very precious, and I’m very selective about the projects I work on and the people I collaborate with. I’m very specific about where I put my time and my energy since my son is my priority,” says the star.

Speaking about why it’s important to teach children to communicate at an early stage, she says, “What I’ve learned is that the attitudes of men and women towards gender equality takes root at a young age. So, teaching empathy, compassion, and kindness is the number one rule for raising boys today. I talk about everything with my son, and I want him to be able to talk to me about anything. Communication is a must in a mother-son relationship,” she says.

Amy is working in a Hindi project with Vidyut Jammwal and a Tamil project with director Vijay, who had introduced her to the Tamil film industry with the period drama, Madrasapattinam. Talking about the latter, she says, “Just before the pandemic, I was supposed to shoot for a web series with Vijay sir. However, it was put on hold due to the pandemic. Once everything opened up, Vijay sir asked if I was on board for a film, and I was like, ‘Yes!’ It is an action movie, and I have a very different character,” says Amy. She says she was happy as her son was on the sets, watching her work.

Amy now wants to be part of movies that push her boundaries and excite her. “There are a few scripts that have come to me. One is a female-centric movie that will have horse-riding, horse racing and beautiful dialogues, so I’m really excited about it. I want to be passionate about the projects that I work in since my time is precious,” she says.

It began with Baahubali: The Beginning. A South movie that set cash registers jingling across India. ‘Pan-India’ became a mantra for many movie production houses in the South. The chatter is now about Mani Ratnam’s PS-1, set to hit theatres across India on September 30. Supposedly a pan-India film with a big star cast and a huge budget, it will be the latest to be put to test north of the Vindhyas.

Plenty have failed that test. Many pan-India South movies can’t survive the first weekend, as happened with The Legend, a ‘pan-India Tamil film’ produced by a retail chain owner, who also played the lead. It bombed pan-India. The point is, as Bollywood has had to learn, a pan-India hit is not a replicable formula. Content is the king. If the audience loves the content, then and only then do big budgets and grand scale make a difference.

For every big pan-India success from the South, at least three movies with similar ambitions sink. Telugu film Pushpa: The Rise - Part 01 did well, but several other attempts by Telugu producers didn’t. While Aamir Khan’s Laal Singh Chaddha flopped across language markets, a small budget Telugu film, Karthikeya 2, is making serious money from its dubbed Hindi release.

PS:1 was initially not planned as a pan-India film. “You do not make a pan-India film. In Hollywood, a Tom Cruise film is not made keeping in mind how it will be received in Japan or Chile. PS-1 is an Indian story and people across India will connect with the film,” says Siva Ananth, executive producer, Madras Talkies, which is producing the film in collaboration with Lyca Productions.

As is frequently not understood north of the Vindhyas, the South is not a homogenous entity. The same holds for the movie business. The Telugu movie industry plays the pan-India, big-budget game much better than its Tamil counterpart. The secret is economics.

Telugu stars take only 10-20% of their remuneration as advance and the rest when the film is ready for release. This helps producers pump in more money for content, resulting in a bigger and better product for sale – Bahubali 1 & 2, RRR, and Pushpa: The Rise - Part 01, to name the best-known examples.

“Generally, Telugu films follow the 50:50 rule, with one half going for the star cast and the other into film production. With richer production, Telugu films have created a huge overseas market, especially in the US, and it helps producers to remain in the safe zone,” says Murali Krishnam Raju, CEO, Sinivali Network LLP, a company that helps producers monetize their movies.

With most leading producers flush with their own funds, they limit their borrowings in the open market and opt for only low-interest financing.

It is just the opposite in Tamil films. “The stars here take a minimum of 50% advance and give dates after a year. Stars account for 60-75% of the project cost and very little goes into production. The production cost of even a big movie by Vijay, who has overtaken Rajinikanth in box office revenue, isn’t more than Rs 50 crore. If the producer claims he spent Rs 200 crore, then it means Rs 150 crore had gone to the star cast and lead technicians. Hence, when Vijay’s Beast or Rajinikanth’s Annaatthe flops, it hurts big time,” said a Tamil film industry veteran, who did not wish to be named.

Except for big production houses like Sun Pictures, AGS and Lyca, most Tamil movie producers depend on private financing for almost 90% of a movie’s cost. With OTT, satellite, overseas and Hindi markets, and other rights together fetching not more than 50% of the cost, the producer is at risk for the remaining 50% at the point of a movie’s release. And even if the movie does well, the producer gets to take home very little, as payment of high interest to private financiers eats away a major chunk of the profits.

Malayalam films are safer, with the production cost of most films featuring leading stars falling in the Rs 6-14 crore range, barring an odd Mohanlal film that could cost up to Rs 25-30 crore.

With OTT and satellite rights fetching up to 70% of the production cost, most producers recover their investment and sustain themselves in the long run.

KGF, however, helped rewrite the Kannada film industry’s economics. A typical Kannada film could be produced at about Rs 20-25 crore and sold for about Rs 25-30 crore, thereby making a reasonable profit. But KGF was different.

“Right from the beginning, we were confident not only about the script but also that the sequel would do better than the first part. Hence, we set aside a budget that was three times a normal Kannada movie’s production cost and spent more on the film’s marketing to take the first part to a larger audience. For the sequel, we spent tenfold to make it look grander. The results are there for everyone to see,” says Chaluve Gowda, partner, Hombale Films, which made KGF-1 and KGF-2. So, if a pan-India South movie succeeds it’s because of the story and the script – not because of the stars and the budget.

From winning the Times Fresh Face in 2014 to starring in films alongside Amitabh Bachchan, Ranbir Kapoor and Vijay – Pushpa: The Rise - Part 01 star Rashmika Mandanna has sure come a long way. The actress recently spoke to us about her cinematic journey, her upcoming films and her love for breaking barriers. Excerpts...

I had a packed schedule, but I absolutely couldn’t miss the wedding of a dear friend, as I have grown up with her and a few other friends.

It is happening with god’s grace. These are some of the biggest actors in the country and I cannot be more proud. It isn’t just the star power, but I am also getting amazing scripts with these people. It is perfect in terms of what I seek. I get to learn so many amazing things from all of them, which is mind-blowing. I couldn’t be happier, as with each film I feel that I am becoming a better actor, getting to know tricks and techniques of the industry. I am loving it!

Working with Mr Bachchan has been an extremely new experience. It is fascinating to see how he works. I love that I get to speak to him between shots about his experiences, films and way of thinking. There are so many things from his experience that we are learning as actors. It has been simply amazing.

Every set that I go to is different, but I just try to be myself. I know how important it is for the director, the leads of the film and the director of photography’s energies to blend for the filmmaking process to go on smoothly. With every film, I seek to make more memories. I look forward to having fun and if that’s not the case then you’re just working without any soul. Working with such versatile, wonderful, comfortable and hardworking actors makes it better. Everytime I see them, I tell myself, ‘They are already such big names, yet they work so hard even now.’ This makes me want to match them and strive to work harder. If they can do it, why can’t I?

For me, there has never been such a thing as barriers; I have always loved breaking barriers. I want to do films everywhere and reach the hearts of people in every corner. I feel that now because of the kinds of the films that are releasing, people are celebrating actors from everywhere. It is the most amazing time to be in the film industry. I am enjoying the process and loving where we are all headed. I know that the love and adoration will not last forever, but till it does, I will have a blast.

I don’t think this interest is sudden. When I go to different states in North India, they tell me that they have watched a lot of South Indian films on television, but now they get to see them on the big screen. There are people who have known me from before, but Pushpa gave it a stamp, saying ‘we’re here’, for me at least. Films like Pushpa, RRR and KGF have won the hearts because we are staying true to ourselves and yet we are presenting ourselves it to others in their language. I wouldn’t say people elsewhere feel threatened - they are more welcoming towards the content.

There are so many more actors that I still want to work with, and it’s a long list. But for now, I am really happy with the work I am doing. I hope that I get to work with the others on the list. I am excited to see where my journey is headed and what will happen.

In 2020, things were slow on the professional front for Salman Khan for obvious reasons. But now that he is back in the saddle with Radhe: Your Most Wanted Bhai, the superstar is in no mood to take it easy. Come next month, he will announce two new projects that — along with Maneesh Sharma’s Tiger 3, Farhad Samji’s Kabhi Eid Kabhi Diwali, Sajid Nadiadwala’s Kick 2 and Sooraj Barjatya’s next — will make up his slate for 2021-22. Following weeks of rumours, the actor’s fans will be happy to know that one of the projects indeed is the Hindi remake of Thalapathy Vijay’s Master, which released earlier this year. The adaptation of the Tamil hit will be produced by Endemol Shine India and Murad Khetani, in association with Seven Screen Studios that co-produced and distributed the original actioner.

“The Lokesh Kanagaraj-directed venture was shown to Salman earlier this year before the junta curfew was imposed. It revolves around alcoholic professor JD, portrayed by Vijay, who takes up a teaching job at a juvenile home. Salman was excited about the movie and agreed to do it in principle. But things did not progress swiftly due to the lockdown. Now, the producers will meet him again to discuss the minor tweaks in the script, the possible dates for the shoot and the director,” reveals a trade source.

Khan is also in talks for another action thriller with a leading studio. With this, the superstar will shoulder six big-budget movies over the next 18 months. He is currently enjoying family time at his Panvel farmhouse, before work takes centre-stage. The source adds, “By the month-end, the Khandaan will head to Goa for a vacation. If all goes well, after returning from the holiday, he will announce his new releases. Meanwhile, the producers of the Master remake are scouting for an A-list star who can reprise Vijay Sethupathi’s role and stand shoulder-to-shoulder with Salman.”

Actor Malavika Mohanan is finally set to be seen in a Hindi masala potboiler, Yudhra opposite actor Sidhant Chaturvedi. After Majid Majidi’s Beyond The Clouds in 2017, she preferred to do two Tamil and one Malayalam film, instead of taking up just about any Bollywood film that came her way.

She tells us why, “In the last two years, I have got so many Hindi projects, even some big ones with A-listers. But they were characters I didn’t really see myself doing. For me, I have always picked my films intuitively. I see my contemporaries picking films just to keep the ball rolling. Their idea is to sign as many films, even if they are half decent, to keep having constant announcements. While that sounds good for other people, it’s never been something that I want to do.”

Which is why this 27-year-old decided to wait it out, and Yudhra happened. Having done films such as Petta opposite Rajinikanth and Master with Vijay, Mohanan feels that people still tend to overlook other industries.

“Bollywood is an amazing industry. I have grown up watching Hindi films, but unfortunately, I do see people putting Bollywood on a pedestal,” she says.

The actor adds, “For me, Hindi, Telugu, Malayalam, Tamil, all are on the same level. Obviously, Bollywood has a national reach. Master was a film which the whole of south India watched. Vijay sir has so many fans comprising almost half the country, but if it was a Bollywood film, the whole country would have watched it. For me, Tamil cinema is at par with Bollywood. Therefore, I personally find the difference annoying.”

The audience is back in the South with MASTER and KRACK and obviously the calls will be there now for major Hindi films to come back. The dynamics of the Hindi film industry are slightly different but SOORYAVANSHI on Holi can be a start as long as the Coronavirus pandemic does not see another wave.

The Hindi film industry still needs a little time as it would be catastrophe if a film releases in the next month or so but the public does not come in numbers. The big film in the South is being led by Vijay who is a bonafide superstar in Tamil Nadu. Now we have bigger superstars in Hindi cinema as our cinema has a reach across most of the country but our superstars do not have the level of superstardom that Vijay has in Tamil Nadu in any area.

Salman Khan has strongest following in Rajasthan and CI but its not at the level of Vijay in Tamil Nadu. Shah Rukh Khan is best in Kolkatta but again not at the level of Vijay in Tamil Nadu. Also these areas where there is a certain amount of blind following for a certain star are nowhere near as big as Tamil Nadu in terms of collections.
 
This is not just the case today but earlier also as Amitabh Bachchan is probably the biggest superstar that India has seen but the level of stardom in his strongest area of Mumbai city was not at the level of a Rajnikant in Tamil Nadu. 
 
In our industry, the dynamics are different with different regions and tastes differ where the superstar plays a part but other factors also come in. If a superstar had the pull Vijay has in Tamil Nadu across the Hindi markets from North to East to Maharashtra, you could release that film next week and it will be at allowed capacity houses across the board even in a pandemic. But this has never happened and probably never will as its much easier to hold that sort of stardom in one state but not across 10 or 12 states.

The films released in South including MASTER are being driven by the youth mass audience and with family audiences in much lower numbers compared to 2019. This is the case in multiplexes in Bengaluru, Hyderabad and Chennai which have seen good turnouts and our collections are heavily multiplex lopsided and a big film needs that neutral family audience to get big numbers. At the moment there is a reluctance for this audience to come out and the 50% cap does not help as it shows something is not quite right.

So despite MASTER, bringing back the audience in the South there will still be fear in the Hindi film industry as major studios will be aware of the dynamics but a start has to be made somewhere and Holi looks best bet. This gives a little time for things to improve and on top its a mass holiday and this audience will be more eager to return back to the theatres. Also there could be a change in the capacity rule by then which would be a huge help and Rajasthan and Jharkhand will be allowed to open cinemas. Obviously it has to be a mass film and SOORYAVANSHI is the one which is ready and waiting.

The Friday release could give jitters but then the film can release on Sunday 28th March which is a holiday and then next day is the Holi holiday with the week having mini holidays in many states which will no doubt aid collections. Also there are around 10-12 major films which have a chance of releasing in the rest of the year ('83, SATYAMEVA JAYATE 2, RADHE, SHAMSHERA, BELLBOTTOM, PRITHVIRAJ, ATRANGI RE, JERSEY, JAYESHBHAI JORDAAR, LAAL SINGH CHADDHA and BACHCHAN PANDEY) and these films can take care of business from May onward.

These film releases with a gap between them will keep the flow and cinemas occupied for most of the year. Then there is KGF 2 which is the white horse and is sure to do huge numbers in Mumbai circuit and if its huge satellite craze plays out in other circuits then its going to be a huge bonus for the Hindi markets. After all, it is the top 10 films amount for around 65-70% of the yearly business.

Obviously most of these films are a year late and the biggest of them SOORYAVANSHI had a trailer release last year and now has to start again which is not easy. It basically means no real event film but those will come next year with PATHAN, TIGER franchise and FIGHTER, maybe another one or two. The long in making and hugely budgeted BRAHMASTRA may also have to wait till next year although has outside chance of coming this year depending on when the film can get finished.

It is SOORYAVANSHI which will have to make the start and Holi would be the best bet at the moment and that is assuming there is not another Coronavirus wave. But its going to be a studio call and remains to be seen what happens.

It's not uncommon for South star Vijay's films to generate pre-release buzz. However, Master, ahead of its release on January 13, found itself in the eye of the storm when the Tamil Nadu government allowed 100 per cent occupancy for theatres last week, following the star's meeting with Chief Minister Edappadi K Palaniswami. Soon after, the Centre instructed the Tamil Nadu chief secretary to fall in line with its Coronavirus guidelines, leading the state government to revoke its order on January 8.

The controversy notwithstanding, director Lokesh Kanagaraj is only too happy that the film will have a theatrical release during Pongal. "The objective behind making this film was to release it in cinemas. A movie like this can only be celebrated on the big screen. We never thought of taking the OTT route, and were sure of waiting it out," he says.

The effort to secure 100 per cent occupancy had invited the wrath of different sections of society, who were aghast that a movie's commercial prospect was being given higher priority over public safety. Quiz him on this, and he instead emphasises the need to make cinemas safe by following necessary precautions. "If people come drunk to cinemas, the theatre authorities bar them from entering the premises. Likewise, if they see anyone not wearing a mask, they must adopt the same policy now. They have to be more vigilant. We have to take care of ourselves and follow all safety precautions. I will take my family to the theatre, and adhere to the safety norms. The pandemic has not ended completely, so we have to be [socially] conscious."