Showing posts with label Vijay Raaz. Show all posts
Showing posts with label Vijay Raaz. Show all posts
Insufficient evidence or lack of investigation? Vijay Raaz acquitted in sexual harassment case
3:31 PM
HINDUSTAN TIMES (May 17, 2025)
A Maharashtra court on Thursday acquitted actor Vijay Raaz in a sexual harassment case filed by a female colleague in 2020. Additional Chief Judicial Magistrate Mahendra Sorte ruled that the “prosecution failed to present sufficient evidence against him”, PTI reported.
A crew member had accused the 61-year-old actor of sexually harassing her during the shoot of the 2021 movie Sherni. As per the complaint, the alleged offence was committed in late October 2020. On November 4, the same year, Vijay was arrested in Balaghat (Madhya Pradesh), where the film crew was staying. He was released on bail the same day.
The complainant stated that the incident took place in a hotel, but the investigating officer did not visit the spot, the court said. The judge also said that the complainant mentioned the names of a few hotel employees, but their statements were not recorded.
“The investigating officer did not conduct any further investigation. Therefore, the evidence presented by the prosecution appears weak and insufficient,” the court said.
Meanwhile, Vijay’s lawyer, Saveena Bedi Sachar, said that the actor not only had to leave Sherni midway, but also lost work thereafter because of the allegations.
Replacing Vijay Raaz in Son Of Sardaar 2 wasn’t easy-Sanjay Mishra
8:24 AM
HINDUSTAN TIMES (October 23, 2024)
Sanjay Mishra recently joined the cast of actor Ajay Devgn’s upcoming project Son Of Sardaar 2. The actor was offered the role as a replacement for actor Vijay Raaz, who faced an ugly exit from the film, with both him and the producers narrating different versions behind this decision.
When asked about stepping into Raaz’s shoes, Mishra told India Today, “I am done filming for Son Of Sardaar 2. All of this is a part of the business, to be very honest. I did the film because I got a call from Ajay Devgn. One call from him and that’s all it takes for me to say yes to him. He’s a close friend and has been there for me in tough times. Not just that, replacing Vijay wasn’t easy.”
Speaking about Raaz, Mishra added, “He’s a phenomenal actor, as we all know. At the back of my mind, it was surely playing that I needed to perform and deliver my best, especially because I replaced a fine actor like Vijay. We are also friends and will remain. I’m a fan of his work, and he’s amazing at what he does. This instead motivated me to better my performance, so I don’t disappoint my audience and Ajay, who always shows faith in me.”
Producer Kumar Mangat Pathak had earlier said that Raaz was ousted due to his ”behaviour” on set. Raaz had responded saying, “The only misconduct from my end is I didn’t greet Mr Ajay Devgn.”
I don’t think society will last if one doesn’t know how to act-Vijay Raaz
8:19 AM
Claiming that he has no process to acting, Vijay Raaz on playing a realistic cop in Murder in Mahim
Letty Mariam Abraham (MID-DAY; May 14, 2024)
He is a man of few words and someone who doesn’t enjoy media scrutiny or their questions. After much persuasion, Vijay Raaz agreed to sit down and talk about his choices, acting as a profession, and his recently released series, Murder In Mahim.
Based on Jerry Pinto’s book of the same name, the eight-episode series sees the actor playing a cop trying to investigate a string of LGBTQiA+ murders at Mahim station. The Jio Cinema series, also starring Ashutosh Rana, Shivani Raghuvanshi, and Shivaji Satam, is directed by Raj Acharya.
It was not the character graph or the script that drew Raaz to the role of Inspector Shivajirao Jende, but the people associated with the show. “If I like the people, irrespective of the story, I would give my nod,” he says. He adds that his only aim has always been to portray reality rather than fake his way through the role.
“I have been working in the industry for 26 years now; there’s no role I haven’t done. When a character comes my way, I always try to keep it real. I had a lot of fun playing Jende. It doesn’t feel like acting because the character is as human as anyone else,” says the actor, who believes that every human being is born as an actor. It’s just that professional actors are paid.
“If one cannot act, they cannot survive. I don’t think society will last if one doesn’t know how to act. We are all acting on this stage called life. The only difference is that professional actors get paid for it; others don’t. Hence, there is nothing to learn in acting; it is like living life. Everyone has emotions, and they play on them at different stages of life. When I read the script, I understand at what time, how the character has to [react]. When I am talking to my senior, I change the tone of my dialogues. As the story progresses, my character’s emotional graph keeps shifting. We are paid because we know what to do.”
In a world where recognition can be fleeting, Raaz remains unperturbed, attributing his success to the audience’s ever-changing affection. “Tomorrow they can love me; tomorrow they can hate me too. I don’t attach weight to these things.”
He shares that he never viewed acting as a means to climb the ladder or hobnob with the famous. “It was all about having fun. I only think of what role I have to play. Bollywood is an entity, and I work in it. I never thought as far as how one role could affect the others. The parties, the lobbying are also something beyond me. It was never part of my life, and I never had the inclination to find out about it either.”
Rajkummar Rao, Triptii Dimri to film two songs in Vicky Vidya Ka Woh Wala Video's mohalla set in Rishikesh
10:48 AM
Upala KBR (MID-DAY; February 15, 2024)
Last year, mid-day had reported that Rajkummar Rao and Triptii Dimri would kick off 2024 with the shoot of Vicky Vidya Ka Woh Wala Video (New year begins with a scandal, Nov 22). Sure enough, director Raaj Shaandilyaa’s social comedy rolled in Rishikesh on January 27 and is now in its last leg. We hear the team is gearing up to film two songs, after which it will be a wrap on the Ektaa R Kapoor production.
Set in the ’90s, Shaandilyaa’s film revolves around the pandemonium that happens in a small town when an intimate video of Vicky and Vidya, essayed by Rao and Dimri, goes missing. In keeping with the setting, production designer Rajat Poddar and his team built a set reflecting a mohalla of a north Indian town in Rishikesh.
A source reveals, “Everything, from the cars to the television sets, has been designed keeping the ’90s in mind. The director has been filming with the entire cast, including Mallika Sherawat, Rajat Kapoor and Vijay Raaz, in a start-to-finish schedule since January-end. He has allotted the next fortnight for the two songs. From Sunday, he will can a situational number that plays out against the backdrop of the mohalla and features the whole cast. The second is a romantic track featuring the lead pair.” If things go as planned, the project will reach the finish line by March 4.
Vicky Vidya Ka Woh Wala Video marks Rao’s first collaboration with director Shaandilyaa as well as leading lady Dimri.
Kartik Aaryan shoots 8-minute-long single-shot war scene for Chandu Champion
8:28 AM
BOMBAY TIMES (October 12, 2023)
Chandu Champion marks three giants of the industry, Kartik Aaryan, Kabir Khan and Sajid Nadiadwala, coming together for the true story of a man who refused to surrender. In the second schedule of this highly-anticipated sports drama directed by Kabir Khan, the team embarked on an ambitious endeavour – shooting a spectacular eight-minute-long single-shot war sequence at a breathtaking altitude of 9,000 feet above sea level. This scene promises to be a cinematic spectacle in the film headlined by Kartik Aaryan.
The highlight of this sequence in the movie was the filming of the 1965 battle at a scale, which is unprecedented for a single-shot action sequence. The location for this daring feat was the picturesque Aru Valley in Jammu and Kashmir, where a giant army camp set was built by the team.
The preparation for this epic war sequence involved five days of intensive rehearsals with Kartik, Vijay Raaz and Bhuvan Arora, ensuring that every detail was perfected. On the sixth day, the team executed the sequence flawlessly, capturing the essence of the dramatic wartime events.
Jointly produced by Sajid Nadiadwala and Kabir Khan, Chandu Champion is all set for a grand release on June 14, 2024.
We have the best exponents of the comedy genre in Dream Girl 2-Ayushmann Khurrana
9:00 AM
Ayushmann ecstatic to collaborate with some of the finest comic actors, including Annu Kapoor and Paresh Rawal, in Dream Girl 2
Mohar Basu (MID-DAY; August 8, 2023)
Ayushmann Khurrana is almost synonymous with social comedies. But the Dream Girl franchise stands out in his filmography for being one of those few out-and-out laugh riots. A good comedy relies on sharp writing and stellar performances to make an impact. With the upcoming Dream Girl 2, which also stars Ananya Panday, Khurrana says he was aided by talented actors who are masters of the genre.
“I’m fortunate to have the opportunity to work with some of the comic geniuses of our country like Paresh Rawal sir, Asrani sir, Annu Kapoor sir, Rajpal Yadav-ji, Vijay Raaz-ji, Seema Pahwa-ji, Abhishek Banerjee and Manjot Singh. To me, we have the best exponents of the comedy genre in our film. This is one of the biggest USPs of Dream Girl 2,” shares the actor, who reprises the dual roles of Karam and Pooja in the movie.
Comedy is the toughest genre to crack, notes Khurrana. What made his job easier was director Raaj Shaandilyaa’s clear vision for his offering, and the able supporting cast.
The actor adds, “Raaj Shaandilyaa has managed to get this eclectic bunch of fantastic actors under one roof, and kudos to him for this casting coup! Our producer Ektaa Kapoor had the vision that she wanted to create a disruptive comedy. There was never a dull moment on set, and I think [the camaraderie] will translate on screen when people watch the film.”
Entering the world of OTT was a last resort to prove myself-Tanuj Virwani
8:36 AM
Kanksha Vasavada (BOMBAY TIMES; July 19, 2023)
On how he deals with pressure of being a star kid
There has always been pressure to live up to the name and legacy created by my mother, Rati Agnihotri, especially when I started my career. I have often been referred to as a 'Nepo Kid,' which I have never liked because my journey has been very different. My mother was not in the industry for a long time before I entered films, so it would be unfair to say that I had easy access to opportunities. However, I am glad that things are changing now. I am being recognised and cast based on my previous projects, not solely because I am my mother's son
On his mother being his biggest critic
My mother (Rati Agnihotri) is my biggest critic. She watches all my shows and films, and there have been instances where my character is loved by the audience, but my mother would be unhappy. She points out the tiniest elements that I might need to improve. And if she loves my performance, she appreciates it wholeheartedly. Actor-to-actor communication is very helpful, especially when she has so much experience that comes in handy for me
On his interest in writing and direction
I never envisioned myself becoming an actor. I was overweight and had a severe stammer, which led me to believe that I could excel in behind-the-scenes roles. So, I began working as an assistant director in movies and also wrote and directed short films. Even now, I hold onto the hope that someday I can unleash my untapped potential in storytelling and direction
On his shift from films to OTT
Entering the world of OTT was not a conscious decision for me; rather, it was somewhat of a last resort to prove myself. Despite having done three films—Luv U Soniyo (2013), Purani Jeans (2014), and One Night Stand (2016)—I was still not getting offered interesting roles. Then, unexpectedly, OTT emerged as a viable option. Back in 2016-17, this medium was not as significant as it is now. However, I consider myself fortunate to have secured projects like Inside Edge, Code M, and Cartel in the initial years, which helped me maintain relevance within the OTT realm. Presently, I aspire to take another leap and reintroduce myself to the film industry, aiming for a successful career in both domains. Several projects are in the pipeline, and I hope to conclude this year on a high note
On his love for experimenting with roles
Each project has its own process, sometimes you play with your physique or your voice depending on the character. I focus a lot on how my character should look, because I believe if the look is correct half of your battle is won. Experimenting with your character is most important for any actor, otherwise you can keep on doing the same kind of role and that’s not what I like to do. For instance, as Vayu in Inside Edge I have paced up my speech since the character is like that, and in Cartel as Major Bhau, I have brought the thehraav that my character needs. Moreover, it is important to enjoy the process, and if you fail during experimenting it’s fine, not every dart sticks to the board, at least 1 out of 10 will
When you're working on a film, you know it will have a theatrical release, appealing to the masses and potentially eliciting varied responses. However, in the case of OTT, each streaming platform caters to a distinct audience base. This understanding helps in choosing the right projects and bringing your character to life in a way that doesn't disappoint the viewers.
I believe in staying true to the roles I select because it's easy for the audience to detect fake acting. I learned early in my career the saying, ‘You start acting when you stop acting,’ and this realization came to me when I had the opportunity to work with actors like Kay Kay Menon and Vijay Raaz. Being as authentic as possible on screen is what the audience loves.
Arshad Warsi to play a double role for the first time in the quirky crime comedy Jeevan Bheema Yojana
8:22 AM
Rachana Dubey (BOMBAY TIMES; March 23, 2022)
In his career of over two decades, Arshad Warsi has played all sorts of characters — serious roles like the ones in Jolly LLB and Sehar, and comical parts in the much popular Golmaal and Munnabhai franchises.
In his upcoming film titled Jeevan Bheema Yojana, BT has it exclusively that Arshad not only plays the central character, but also features in a double role. The film, which is a quirky crime comedy, helmed by Abhishek Dogra (who previously directed Dolly Ki Doli), went on floors a few days ago in Mumbai and will be shot at different locations in the city.
Arshad will be seen playing two diametrically different people, Jeevan and Bheema, who look the same. While one belongs to the world of white-collared professionals, the other is seeded in the world of crime. The film revolves around what happens when their paths cross.
Talking about it, Arshad told BT, “What excited me was the script, which was insanely funny. I was cracking up every now and then during the narration. And the cherry on cake was the double role. The director has his vision and I am following that. I am playing two individuals who look the same, but are completely different personalities. The script has a good balance of humour and drama.”
Arshad adds, “As an actor, I follow what the character’s journey is and the vision that the director has for it. As for the prep, the mind is a very powerful tool. Like I was Ajay Kumar in Sehar and Circuit in Munnabhai— now imagine them in one film! It’s that simple. It has been about 10 days since we went on floors, and we’ve been having a lot of fun. Sanjeeda Sheikh, Pooja Chopra, Bijendra Kala and Vijay Raaz are my co-stars and you can’t imagine the kind of fun we have off camera. Improvisation to apne aap ho jaati hai.”
Director Abhishek Dogra adds, “Jeevan Bheema Yojana has a lot of humour packed in with some drama. Arshad is one actor who can look innocent and cunning at the same time, he’s really underrated and I have been an admirer of his work. It’s his firstever double role, with two contrasting characters. As a director when you have actors like Arshad and Vijay Raaz in the film, it makes your work easy. Their timing is impeccable.”
The grammar of writing a screenplay and making a film for OTT is different-Subhash Ghai
8:07 AM
After four decades of making silver-screen entertainers, Ghai on relearning tricks of trade as he makes web debut with 36 Farmhouse
Uma Ramasubramanian (MID-DAY; December 20, 2021)
From Karz (1980) to Karma (1986) and Taal (1999), Subhash Ghai’s films have a larger-than-life appeal to them and are best enjoyed on the big screen. But with changing times, the filmmaker too has to alter his style of storytelling. Ghai is set to make his OTT debut with his production, 36 Farmhouse that will drop on ZEE5 early next year.
“Change is the name of life. [The same stands true] for storytellers [like us] who have to relearn to write for the new medium, [while bringing] our experience of writing big-screen drama for four decades,” he says.
Even as he is relearning the rules of the game, Ghai hasn’t veered away from what he does best — family dramas. 36 Farmhouse is a family dramedy helmed by Ram Ramesh Sharma and stars Amol Parashar of Tripling fame, Barkha Singh and Vijay Raaz. The senior filmmaker notes that it is essential to reinvent so that he can cater to the needs of the audience that has evolved dramatically in the past two years.
“I am relearning to write and produce interesting content for home screen, along with the big screen. In OTT entertainment, viewers have the power to watch, stop and forward as they like. The grammar of writing a screenplay and making a film for OTT is different from big-screen writing. There is little scope to pause and stay [on a scene] or use long-shots [in projects designed for] laptops or mobile screens. So, it is tougher to make an interesting film with repeat value.”
I wanted to burn every print that existed of my film Kama Sutra-Mira Nair
8:16 AM
From matar paneer to the movies, that sweet taste of Indian-American success from another age
Mayank Shekhar (MID-DAY; November 21, 2020)
Mira Nair's journey as an Odisha-born/bred filmmaker in America will seem greater to you, if you consider the first thing she did, landing up as an under-grad student at Harvard in the mid '70s. She went over to her course-mate from Bombay, Sooni Taraporevala, desperately to check on who the other Indians around were.
There were only two — studying film. One of them, a gentleman named Anand Mahindra; the industrialist, whose surname carries the massive fleet of automobiles on Indian roads. "Anand was a really talented filmmaker. He's still an artist in his soul. I'll never forget the wonderful thesis-film he made, following a holy man up a mountain," Mira remembers.
Screenwriter Sooni and Mira of course became great friends and colleagues thereafter — collaborating on notable productions like Salaam Bombay (1988), Mississippi Masala (1991), and The Namesake (2006). Anand was the "big brother, who'd encourage everyone to move back to India [once done with studies]." As he did, taking over his family empire.
Speaking of famous associations from unrelated fields, a picture that once got widely circulated online was of Mira as Cleopatra and Shashi Tharoor as Mark Antony, in an inter-college Shakespearean production from the '70s. Mira was a student at Delhi University's Miranda House then; Shashi Tharoor, the undisputed star of St Stephen's College.
She's been asked about this picture on occasion during interviews. And I gauge from her responses before — it doesn't seem like she liked the college-kid Shashi Tharoor much! Did he throw big words at her? "Oh no, I just didn't like kissing him [in the play]. Back then, you know how it was — even if you got slightly physically close to someone, people would start cat-calling. It was ridiculous."
As for the Tharoorosaurus bit, "Well, we used to tease Shashi [who hadn't lived or been abroad yet] about where he had got that accent from. We used to say that his mother flew over England, when she was pregnant, and you know, wahaan se thoda atmosphere aa gaya! But he's always been a sport. He used to take it well!"
Which instantly reminds you of Vivek Gomber's character Arun Mehra from Mira's A Suitable Boy, who has similarly never set foot in England, but throws a thick British twang, chiefly to denote class: "Arun Mehra, of course, is [straight] from Vikram Seth's novel [of the same name]." On which the six-part series is based.
In fact the language/diction has been a pet peeve for a lot of people who have dissed the show. In her defense, Mira says, "I feel like we were very nuanced with the language [back then] — trying to be 'angrez', and we were taught to be so. But it is a world that people literally don't know now. They don't hear that world."
To be fair, you do hear that over-intonated, cleanly clipped British-English in old clips, especially of Indian statesmen or women from the time — say, Nehru, or Sarojini Naidu, whose black-and-white video pops up quite often on social media feeds.
"I don't get that [dialogue/language] comment from people of my mother's generation. Because that was the world familiar to them. I tempered a fair amount of dialogue that I could, during the making of A Suitable Boy — primarily, getting 20 per cent of it back into Urdu/Hindustani and Awadhi. Which wasn't the case before."
"They didn't even think of it. Anyway, so I know that it is new and different to the ear. But I stand by it. Of course, it was from the get-go written by someone else [Andrew Davies]. It could be different. But the book is what we largely followed."
For its setting (early '50s), and set-up (BBC production, streaming on Netflix), Mira has in jest described A Suitable Boy as 'The Crown in brown, within a fraction of the budget!' It is by no means her most loved work, even while rants and raves are subjective by nature. One wonders if, after over 40 years of being an active filmmaker, she cares so much for all that's written about her latest film, or debut series, as in this case?
"That I am always creatively absorbed in another world provides a protection. So I am not waiting to hear your words; what's the point? And social media is a weirdly interesting space, where I just kinda get a vibe, than actually read a full review. Especially if there is something nasty in the headline," she laughs, flipping her fingers, as if quickly turning pages!
Taking away nothing from the fact that Mira remains still one of the most critically acclaimed filmmakers — for a majority of her filmography. A creative slump/dissatisfaction, if one may call it that, is something she attributes only through self-introspection. Which is how she felt after Kama Sutra (1996): "I wanted to burn every print that existed of that film!" It's not something you'll hear many directors publicly admit, even in hindsight.
As she puts it, "It was also dovetailed with me moving to Cape Town with my husband [Mahmood Mamdani], who was heading the African Studies department at the university. Our son [Zohran] was six and I didn't want to leave him. It was a dove tailing of all those things. I didn't quite know how to work it. We made this film in two months, My Own Country [1998], which Sooni and I wrote after. That was good. I have to keep doing/making things. It was in that wandering that I found myself making a [documentary] film, Laughing Club of India [2001], in my state of malaise." What happened with the shooting of that film in the rain, using old Hindi movie songs? "On its own, it became the seed for what became the style of Monsoon Wedding [2001]. That's what I share with people — to be fallow is also important."
Mira is formally trained in cinema verite — art/technique, mostly associated with documentary filmmaking, intended to convey realism. Well before Reese Witherspoon in Mira's costume/period piece Vanity Fair (2004); even before Denzel Washington, a top-draw Hollywood star, who said yes to her mixed-race romance, Mississippi Masala (1991) — struck by the Oscar-nominated Salaam Bombay (1988) — the main muse for Mira's realistic lens was in fact the city of Bombay itself.
Which is where I'm speaking to her from, and where Laughing Club of India is set (in Malabar Hill, to be more precise). So are her two early documentaries: Children Of A Desired Sex (1987), on gender-determination foetus tests. And India Cabaret (1985), following lives of two Bombay strip-club dancers, before dance-bars became a thing (and thereafter became illegal). And anybody had thought of Maximum City, or Slumdog Millionaire!
I watched India Cabaret recently (on YouTube). And the warm yet brutal gaze still holds. As with Salaam Bombay, that it subsequently inspired: "It was not a pretty Bombay for sure — pigs careening in the mud; cruelty and violence over how men treated women…. In that type of filmmaking, you don't take holidays. It is about what is happening around you. I remember going to see Shekhar Kapur, who is an old friend, but I almost had no language to understand his Juhu life — after living the life I was, back in 'Antophi' (Antop Hill)! Most days, I would just go to a beautiful handloom shop called Kasab, which is still there on Napean Sea Road, and sit there for hours [for mental peace]."
"Now they can call me a New York-based filmmaker in Bombay, but the fact is that not many saw Salaam Bombay, right under their noses. It was a life around us. When you live in it all the time, you can't see it well — having numbed yourself to it."
This seamless transition from documentary filmmaking to fiction — something that writers of non-fiction find harder to be equally adept at — Mira admits, has helped define her work. And you can still sense strong stamps of it, even in later movies like Queen Of Katwe (2016; set in a slum in Kampala, Uganda), or the otherwise 'unfilmable' conversation she turned into the movie version of Mohsin Hamid's The Reluctant Fundamentalist (2012).
"Cinema of truth [cinema verite] sounds a little pretentious. It is very real, in the sense that you don't script everything. You just have to be humble enough to enter the world. Just be there. Of course your presence is shaping [the moment] to some extent. But it is also about being an observer to the situation, and eliciting things from [actors] — as they feel them, rather than you telling them what to say."
What this has also led to since her celebrated debut feature is — film after film, an established practice of casting 'real' people, as it were, or non-professional actors, alongside trained actors/stars, in the same frame. And watching this unique alchemy come to life on screen.
For instance, Mira discovered Sarita Choudhury, who played Denzel Washington's love interest in Mississippi Masala, biking on a street in Cambridge once. She found Tillotama Shome (Alice in Monsoon Wedding) in the corridors of Delhi's Lady Shri Ram College. Even better, she picked up Kamini Khanna for a typically Delhi-Punjabi Shashi Aunty in the same film — spotting her on the walking track of a South Delhi park. Does she think everyone is essentially an actor then?
"Not at all! It's about several things, but mostly instinct. I can tell immediately if the camera will love you or not. Or sometimes it doesn't matter if the camera won't love you, but can I use that in a way? Like [Pedro] Almodovar and his ladies are fantastic. And they so destroy the notion of what's beautiful before a camera. But the roles need that. So it depends on the role, of course."
While casting for Monsoon Wedding, she recalls, a newbie Vijay Raaz's face had caught her eye: "He'd walked in from the train station to Uma's [Da Cunha's] house in Churchgate. I don't know how I even remembered his name. Paresh Rawal, whom I admired a lot, had approached me for P K Dube's part. We had a workshop in Delhi, which Paresh couldn't join. So then I had to take Tillotama [Alice] back to Bombay to rehearse with Paresh [Dube]."
"Naseer bhai [Naseeruddin Shah] had given us space above his flat for rehearsal. The door opened, and my eyes fell out. Paresh had gained 30 to 40 pounds. He looked like Alice's father, and this was supposed to be a love-story with him as a tent-walla! He said, 'I'll just lose [weight].'"
"But we were shooting in literally four days! I just thought of the bald man with long ears and the widest mouth in the world, Vijay Raaz, and called him. I had not auditioned him, but I loved his look." The role expanded as Raaz came on board, killing it along the way. (This conversation between mid-day and Nair took place a day before Raaz was summarily arrested and subsequently bailed over a molestation charge on a movie set.)
He's had a solid career since. Several Indian actors in the Bombay film industry similarly owe their first frame on the big screen to Mira. Right from Nana Patekar and Irrfan in Salaam Bombay. Late Irrfan, she always felt, was cut from a different cloth from Bombay's leading men in the '80s and '90s. He delivered, arguably, his finest work with Mira in The Namesake (2006).
Or Randeep Hooda and Ram Kapoor, for that matter. They were debutants in Monsoon Wedding; bona fide stars now. Why, even Kamini Khanna! She's played multiple versions of Shashi Aunty in every other Bollywood movie. This contribution to the Bombay film industry in particular, I suspect, isn't acknowledged enough about the New York and Kampala-based filmmaker.
Even more than a keen head-hunter, Mira is an all-encompassing aesthete, wholly invested in cinematography, literature, production design, colours, costumes, the craft of moulding actors/characters… You can dive deep into her 'independent filmmaking' process on an expensive app called Masterclass.
A trait that unites Mira still with the time-honoured tradition of mainstream Indian filmmakers is her exquisite ear for desi poetry and music — whether that be L Subramaniam's musical interludes in Salaam Bombay, or the Monsoon Wedding soundtrack, that melodiously travels from Anu Malik to Farida Khanum. As do the poetry of Daagh, Mir and Ghalib set to ghazals in A Suitable Boy, or the sitar maestro Shujaat Khan showing up on the small screen.
The song playing in my head all through, talking to Mira (and while writing this excerpt) is the haunting Mehfil barkhaast hui by Kavita Seth in A Suitable Boy. Similarly, Susheela Raman's ear-worm version of Mukesh's Yeh mere deewanapan hai had invaded my brain for a full year after The Namesake: "It plays on the suhaag raat, which isn't like any another, because these are Diaspora kids. So there is jazz and blues, with echoes of their roots! They have seen Bollywood stuff and simply want to be stars on their honeymoon night," Mira reasons, before humming the song delightfully herself.
Surprisingly Susheela would simply not sing that track, when she once performed in Bombay, despite repeatedly loud requests from the pit right under the stage. Mira says that could be "because she must have been shy, to sing it in India, in that [British twang]! Even my husband, who is older and knows the real song, says, 'Yeh kya hai?' He can't take it!"
Given the résumé and musical references seeped into her work, besides an army of previous recruits from among top Bombay actors, I'm almost amazed that in all these years, Bollywood folk haven't ever attempted to co-opt Mira with a grand scheme/project?
"I am not looking for that either. But I have really lovely friendships. Yash Johar and I were very close. He was the production manager on one of my films, Buddha, with Warner Bros, in 1990-91. We travelled the whole country location-scouting. I really respect Aditya Chopra's mind. I had taken him on an idea — not for me to do, but for us to work together on. But, no, I don't think so. I think they think correctly — that I just make my own movies!"
On social networks, Mira goes by the rather odd handle, Pagli: "Don't forget the 'Ji'! Pagli is my nickname from childhood. I did weird things as a kid; still do. My son made me get on social media, when we were opening The Reluctant Fundamentalist. He asked, what's the name, ma? I didn't want my name on it. I thought I'd get hounded beyond belief. So I just said Pagli, yaar. And because people called me ji-vi and all that, usko bhi laga diya, Pagli ji — an honoured mad person."
That we can see in person in India, when she brings down Monsoon Wedding, as a stage musical, once pandemic ends, and hell freezes over. A film that would've brought Pagli ji back to Bombay — her early muse, and that too with Johnny Depp —was the adaptation of Gregory David Roberts' Shantaram.
Regrets — that the film fell through? "I only regretted that I gave one-and-a-half years of my life to it. And we really had a good thing going. Not, otherwise. They were starting it again, and I was not interested!"
Mira also famously let go of directing the fourth Harry Potter film, for the sake of The Namesake. She declined The Devil Wears Prada, going by the same measure of what interests her — and what she can do, better than similar directors on hire.
"I am very nihilistic like that, I suppose. I just turned down something also very huge few days ago. That's when I fell down into a khadda [a ditch on the street]," she says from her Manhattan apartment, nursing a shoulder pain.
Exuding power, all right, in an industry that when she entered it — doing theatre in New York during day, waiting tables at night — there were barely any coloured people around, let alone desis, or women. It's a world very far away from the one with M Night Shyamalans and Mindy Kalings that we know.
Mira first got on the road, splitting rent for an editing suite at a basement collective for offbeat artistes in New York. This is after she had shot Salaam Bombay. Which she knew the West had no similar reference point for.
Spike Lee, same age, also editing his film, would pay the other half of the rent! "I also used to work at a restaurant called Indian Oven, when they really didn't know how to spell India. I'd explain cottage cheese balls fried in gravy mix of peas — for a 'matar paneer'." They get her now.
BT Exclusive: People are bound to make judgements without hearing the other side of the story-Vijay Raaz
8:33 AM
Renuka Vyavahare (BOMBAY TIMES; November 13, 2020)
Last week, actor Vijay Raaz was accused of molestation by a female crew member of their upcoming film Sherni. The shoot of the film starring Vidya Balan had resumed a few days back in Balaghat (Madhya Pradesh) after the long break owing to the pandemic. The cast and crew of the film was staying at a hotel in Gondia, a few kilometres away from the shooting location. Vijay Raaz was arrested by the Gondia police late night on November 2 and was released on conditional bail by a local court the next afternoon. Right after the incident, the actor returned to Mumbai as he received an email dated November 3, 2020, from the film’s makers Abundantia Entertainment Pvt Ltd, stating his temporary suspension from the film due to the complaint received. The producers have even set up an Internal Complaints Committee (ICC) to probe the molestation allegations against Raaz.
So far, Raaz hasn’t commented on the matter, but when Bombay Times reached out to him, after much deliberation, he opened up on the allegations against him. He said, “Women’s safety is of prime concern. I have a 21-year-old daughter, so I understand the gravity of the situation. I am all for an investigation by the authorities. However, to ostracise me, suspend and terminate my services from my forthcoming films even before any sort of investigation, is shocking. I have no words to express. It’s a very dangerous place to be in. I have been working in the film industry for 23 years! Bohot mehnat se maine apna career banaya hai. Tinka tinka jodke maine apna ghar banaya hai. Anybody can sabotage anyone’s career? Kisine bol diya aur aapne maan liya that I am a harasser? People are bound to make judgements without hearing the other side of the story. No matter what the outcome of this case, aap pe ek thappa lag jaata hai. I have been pronounced guilty even before the investigation. My right to earn a livelihood is badly affected. Am I not the victim here? My old father who lives in Delhi, also has to face the society and so does my young daughter.”
We reached out to a unit member who was apparently present during the shoot at all times, but she refused to divulge details saying that the matter was sub judice. She briefly said, “We have said what we had to say. Everything has been told to the police. Law will take its course and people should get justice irrespective of their gender.”
According to sources, the complainant has reported in her FIR that she felt uncomfortable on various occasions between October 25 and 29. The source also added that Raaz putting his hand around her shoulder and touching her hair didn’t go down well with her and when he was informed of her discomfort, he immediately apologised.
Raaz added, “I have been working with the same crew for over a year. We play cricket on set. It’s how we are with each other. Yet, when I was told she felt uncomfortable, I apologised. This was in front of the entire crew. My apology meant I respect your feelings. But it didn’t mean that I acknowledged the claims made later at the police station. Saying sorry doesn’t always mean that you are wrong. It means you respect someone’s feelings more. I also have responsibilities and I need a job. Mere itney saalon ki mehnat can go down the drain if people jump to conclusions without verifying the claims. This should not be one-sided. Truth prevails, but the damage is done.”
ICC probe against Vijay Raaz; actor returns to Mumbai without completing the shoot
8:04 AM
After crew member files molestation case against Vijay Raaz, Sherni makers set up an investigation committee; actor returns to Mumbai without shooting pending scenes
Mohar Basu (MID-DAY; November 6, 2020)
Three days after a crew member filed a molestation case against actor Vijay Raaz, developments continue on Vidya Balan-led Sherni, which is being shot in Balaghat, Madhya Pradesh. Staying true to their endeavour of creating a safe workplace for women, producer Vikram Malhotra and director Amit Masurkar, on Wednesday, set up an Internal Complaints Committee (ICC) to probe the matter.
It is learnt that the actor, who was arrested by the Gondia police on Tuesday morning following the woman's complaint on Monday night, has returned to Mumbai. A source reveals, "Vijay left for Mumbai on Tuesday after he was granted bail. He didn't even return to the hotel where he had been put up. The production head informed the crew on Wednesday that Vijay won't be resuming work. Though he had two scenes remaining, Vikram sir and Amit were certain that he should not be allowed on the set, in keeping with Abundantia Entertainment's zero-tolerance policy for workplace harassment."
While shooting was suspended on Wednesday, the team reported back to the set yesterday. "The makers will decide on the punitive action against Raaz once the ICC ruling is out. For now, they have their eyes set on completing the shoot by the weekend."
mid-day sent detailed texts to Masurkar, Malhotra and Raaz, who did not respond till press time.
Vijay Raaz reports to Sherni set after being granted bail on alleged molestation case
8:20 AM
As Vijay Raaz reports to Sherni set after being granted bail on alleged molestation case, unit hands reveal how the episode unfurled in front of 30 members on Monday; makers encouraged woman to file complaint with studio
Mohar Basu (MID-DAY; November 5, 2020)
The team of Vidya Balan-fronted Sherni, which has been filming in the jungles of Balaghat since October 21, was faced with an unprecedented situation earlier this week. On Monday night, a crew member filed a complaint with the Gondia police, alleging that actor Vijay Raaz molested her during the shoot. The actor, who was arrested from a five-star hotel on Tuesday morning, was granted bail the same evening.
A female crew member, on condition of anonymity, told mid-day that the incident happened in full view of the 30-member team that had reported to work on Monday. "She was sitting when Vijay yanked her arm to call for her attention. She lost her temper as this is no way to behave with a female colleague at a workplace. That said, we can vouch that Vijay did not molest her. The director [Amit Masurkar] and the producers immediately stepped in to understand the situation and encouraged her to file an official complaint with the studio, Abundantia Entertainment. On his part, Vijay understood that his action was uncalled for and promptly apologised to her, but she was inconsolable," recounted the unit hand. Understanding the delicate nature of the situation, the makers suspended the shoot for the day. The unit hand adds that the woman soon filed the police complaint.
Insiders reveal that since Balan's portions were completed by Monday, she had stayed put at the hotel. A friend of the complainant claimed this was the fourth time Raaz was rude to her on the set. "Harassment manifests in many forms, and this is also a kind of harassment. Why would a senior actor take the liberty to touch a woman on a set? I don't know if he meant to behave badly or not, but he eventually did," says the source.
We reached out to several team members, who declined to comment on the matter. It is heard that Raaz, who had two scenes pending, reported to the shoot on Wednesday. While Masurkar and producer Vikram Malhotra have yet to determine punitive measures against the actor, the unit has been instructed to complete the pending shoot by the weekend.
An officer from Gondia's Ramnagar police station told mid-day, "Whenever the matter is up for hearing, Vijay will have to be present."
We sent detailed texts to Masurkar, Malhotra and Raaz, who did not respond till press time.
Amit Masurkar; Vikram Malhotra
Vijay Raaz arrested on charges of sexual harassment
8:01 AM
Soumitra Bose (THE TIMES OF INDIA; November 4, 2020)
Nagpur: Actor Vijay Raaz, known for his “kauwa biriyani” scene in the movie Run, was arrested by the police in Gondia district on Tuesday on charges of sexually harassing a colleague in the underproduction film Sherni.
The molestation is alleged to have occurred in a hotel lobby and on the set. Raaz was released on bail later in the day.
Raaz has been booked under Section 354A (sexual harassment and punishment for it) and 354D (stalking) of the IPC, for which imprisonment is up to three years.
The police did not disclose the place from where Raaz was arrested.
SP Vishwa Pansare said action permissible under the law was duly taken.
It was learnt that the film Sherni starring Vidya Balan had resumed shooting at Balaghat in Madhya Pradesh after the pandemic break. The cast and crew of the film were staying at a hotel in Gondia, which is around 40km from the shooting location.
Sources from the Gondia police said Raaz’s colleague complained that had been targeted by the actor on a number of occasions between October 25 and 29.
The woman is learnt to have narrated the incidents to her family, who shared it with an acquaintance, a senior officer in Mumbai.
DIG, Naxal range, Sandip Patil said the offence was registered immediately after the complaint was lodged.
“We acted promptly due to the sensitive nature of the case,” he said.
We have to practise physical distancing even during the rehearsals of Seventh Sense-Tanuj Virwani
8:30 AM
Tanuj Virwani discusses on-set preventive measures as he gears up for Dubai shoot with R Madhavan
Mohar Basu (MID-DAY; September 12, 2020)
R Madhavan and Tanuj Virwani's upcoming web series, Seventh Sense, is the first Indian show to go on floors in Dubai post the Coronavirus pandemic. Ahead of the principal shoot on Monday, the cast and crew have been rehearsing on the set, thus familiarising themselves with the on-ground protocol. While wearing masks is a must, Virwani says the crew has to mandatorily sport PPE suits. "There are hand sanitisers every one foot in the premises. Unit hands wear bands of different colours to signify which department they belong to. The set is sanitised thrice daily — before and after the rehearsals, and once during the day."
While the producers have flown down a 35-member unit, only 10 people are allowed on the set at a time. "We have to practise physical distancing even during the rehearsals. Shoots in Dubai don't demand health officers on set, but a medical team is a phone call away. We have been barred from stepping out of our hotel." Despite the trying circumstances, Virwani is excited to share screen space with R Madhavan in the series that also stars Rohit Roy and Vijay Raaz. "I agreed to do the project because of him. He sits and shares his career experiences, which is so precious for an actor like me," he adds.
Vidya Balan starts shooting for Amit Masurkar's Sherni in the forests of Madhya Pradesh
8:37 AM
The actress’s next, on man-animal conflict, being shot in the forests of Madhya Pradesh
Avinash Lohana (MUMBAI MIRROR; March 5, 2020)
After Jagan Shakti’s 2019 multi-starrer, Mission Mangal, Vidya Balan kicked off her next, Sherni, on Wednesday, March 4, in Bhoot Palasi in Madhya Pradesh. Directed by Newton director Amit Masurkar, the film features the actress as a forest officer. “I loved Newton and when Amit narrated Sherni to me, I knew I wanted to do this film. The uniqueness of the story and its world appealed to me,” informs the National Award-winning actress.According to a source close to the production, the drama has strong humorous undertones with Vidya’s character, along with a team of dedicated officers and forest guards, trying to find a solution to the man-animal conflict depicted in the film, while tracing her own journey. “Most of the film will be shot in the dense forests of Bhoot Palasi and Balaghat, along with other locations in the state,” informs the source.
The film, produced by Bhushan Kumar, Vikram Malhotra and Amit, rolled on March 2 and will be shot in a start-to-finish schedule. It is expected to wrap up by April-end and also features Vijay Raaz, Sharat Saxena and Ila Arun.
Newton (2017) bagged the National Award for Best Feature Film in Hindi and was India’s entry to the Best Foreign Language Film category at the Oscars. It centred on a government clerk, played by Rajkummar Rao, who is on election duty in a conflict-ridden jungle of Central India. “The story of Sherni is one that needs to be told. I am happy to be working with Vidya Balan, one of the finest actors and human beings in the industry,” Amit asserts.
Image: This Diwali, play Aankh Micholi with this crazy, hilarious family
8:24 AM
(L-R) Paresh Rawal, Divya Dutta, Darshan Jariwala, Abhimanyu, Mrunal Thakur, Vijay Raaz, Abhishek Banerjee, Sharman Joshi, Grusha Kapoor and child artist Ricky Patel
BOMBAY TIMES (February 20, 2020)
Director-producer Umesh Shukla and Sony Pictures Films India have joined hands for a hilarious family entertainer, Aankh Micholi. The film features Abhimanyu and Mrunal Thakur in the lead. Abhimanyu had recently won the Filmfare Best Debut Actor award, and this will be his second outing with the studio.Apart from the two, the film, which will be shot across India and Europe, has an impressive line-up of actors, including Paresh Rawal, Sharman Joshi, Divya Dutta, Abhishek Banerjee, Darshan Jariwala, Grusha Kapoor and Vijay Raaz. It has been written by Jitendra Parmar.
Vivek Krishnani, Managing Director, Sony Pictures Entertainment India, says, “As a studio, we are always looking out for engaging and riveting stories that can not only charm the audience, but also evoke strong emotions. With such a stellar ensemble and Umesh in the driver’s seat, this Diwali will truly be a rib-tickling roller-coaster ride for viewers worldwide.” Umesh Shukla shares, “Aankh Micholi is close to my heart and I am proud to have been able to bring such an exciting cast together. Since it’s a family entertainer, we thought of releasing it on Diwali, and I can promise that the audience will be in for a laugh riot.”Aankh Micholi, produced by Sony Pictures Films India, Umesh Shukla and Ashish Wagh’s Merry Go Round Studios, is scheduled to release this Diwali
Abhimanyu Dassani, Mrunal Thakur join Paresh Rawal, Arshad Warsi for a laugh riot, Namune?
8:09 AM
Umesh Shukla is making a situational comedy next, film to roll next month
Hiren Kotwani (MUMBAI MIRROR; August 12, 2019)
A year after 102 Not Out, which revolved around an elderly father-son duo, essayed by Amitabh Bachchan and Rishi Kapoor respectively, filmmaker Umesh Shukla is gearing up to tickle the funny bone with a situational comedy, the tentatively-titled Namune.According to our source, Umesh’s next directorial is an ensemble comedy about a group of crazy people who have their own quirks and idiosyncrasies. “Abhimanyu (Dassani), Mrunal (Thakur), Arshad (Warsi) and Paresh (Rawal) have been confirmed as the lead cast,” the source informed, adding that talks are also on to get Richa Chadha and Vijay Raaz on board.
Buzz is, the film will go on the floors next month and will be shot in India and abroad. Mirror reached out to Umesh, but he didn’t respond to our messages.
Image: Divyendu Sharma starts shooting for Kanpuriye in Kanpur
4:13 PM
Himesh Mankad (MUMBAI MIRROR; February 22, 2019)
Divyendu Sharma, who was last seen in the Akshay Kumarstarrer Toilet - Ek Prem Katha, has started shooting for his next, Kanpuriye. The film went on the floors in Kanpur in January-end with a start-to-finish schedule with Aparshakti Khurana, Harsh Mayar, Harshhita Gaur and Vijay Raaz.
“It’s a coming-of-age story of three young men from the city, who are willing to go to any extent to realise their dreams,” said a source close to the development, adding that the plot has several twists and turns.
The film is being shot at several locations within the city, and the team is slated to shoot till mid-March. “It’s a 35-day schedule and the makers are set to release the film in the second half of the year,” the source added. Kanpuriye marks the directorial debut of Ashish Aryan, whose last project as a writer, T For Tajmahal, won the Best Story award at an American film festival. He has also written and directed a short film, which was produced by Nawazuddin Siddiqui.
Vijay Raaz plays a 40-year-old prince in his next, Waah Zindagi
7:51 AM
Actor will be seen as a royal in his next, which revolves around the ceramic and tile industry of India
Himesh Mankad (MUMBAI MIRROR; December 12, 2018)
After playing the hapless father of two feisty girls in Vishal Bhardwaj’s Pataakha, Vijay Raaz is returning to the screen with Ashok Choudhary’s Waah Zindagi. Also featuring Sanjay Mishra, and Manoj Joshi, the film deals with the struggles of India’s ceramics and tiles industries and how the small-scale sector is impacted by stiff competition from their Chinese counterparts.
Choudhary, who has also written the film besides producing it, says that it is based on a true incident so the script took three years to complete. “In November 2017, we started shooting in Morbi district of Gujarat (which accounts for 70 per cent of India’s production of ceramic items),” he informs.
In the film, Vijay plays a 40-year-old prince who is soon to be crowned as the king. Lipstick Under My Burkha actress Plabita Borthakur plays his love interest. The actor describes his character as someone who hates lies and wants everyone under his reign to progress. “If truth can be told directly, there is no need to confuse everyone with a web of lies,” he argues, adding that the script has a strong social message. “I wanted to help Ashok and Dinesh (Yadav, director) make their story reach as many people as possible.”
He rues the fact that the ‘Make in India’ concept didn’t catch on earlier as, he notes, it would have made India selfsufficient in many aspects. “If we had this vision sooner, I am sure the scenario would have been completely different by now,” he signs off.
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