Onkar Kulkarni (BOMBAY TIMES; November 28, 2019)

During his long innings in Bollywood, filmmaker Vipul Amrutlal Shah has collaborated with established stars as well as newcomers. The filmmaker has not only helmed projects, but has also mentored first-time directors and new actors. In a conversation with BT, Shah spoke about upcoming film Commando 3, collaborating with Vidyut Jammwal and his plans to make Commando 4. Excerpts:

When you decided to make Commando in 2013, did you plan it as a franchise?
Commando has been one of the most difficult franchises because we wanted to start a unique action series in India with this. Action is a very expensive genre. We had a Vidyut Jammwal playing the lead, but to make it big, we needed resources. So, we decided to make at least three films under the franchise, and we planned to make every movie bigger than the other. The first film was based in a jungle, and it did well, so we shot the second in Bangkok on a bigger scale. This time around, we have shot Commando 3 in London. And looking at the results, I believe that probably Commando 4 is on the cards. Let’s see how big we can make that film.

You gave Vidyut a break in Bollywood with Force (2011) where he played the antagonist opposite John Abraham. Then, you signed him for the Commando franchise. Why did you think he was the right choice to shoulder a franchise so early in his career?
When I saw Vidyut’s audition for Force, I thought he was hero material, but, we filmmakers are greedy. We want what is best for the film. Force was my first collaboration with John, and a remake of a popular south film (Kaakha Kaakha). While I thought Vidyut deserved to be a hero, I launched him as a villain. During the course of the shoot, I was very clear that I will cast him as a hero and start an action franchise with him. The idea of Commando and how do we take it forward with Vidyut was playing on my mind constantly. Vidyut deserved to be the hero and that’s how Commando came into existence. It is a pleasure to work with someone who is gifted. Sometimes, when you work with newcomers, you feel responsible for their career. In fact, at some point in time, I would like to direct him. But, I want to find something unique for a collaboration in that space. Vidyut and I have exchanged a few ideas, but they didn’t materialise into a film. One of the ideas we discussed was to make a film without any action in it. There was not even a slap in the movie. However, I was not satisfied with the script, and so, we didn’t go ahead. I feel no actor should be limited to one genre. I think Vidyut deserves the opportunity to explore his talent in other genres as well.

When it comes to making the next film of an action franchise like Commando, do you feel the pressure to take it a notch higher every time?
No, it actually gives you more strength, because people already know the franchise, they are connected with it and want to see the next film. To try and better yourself is a process, which is constant. And that holds true for every project and not just a franchise. Sometimes you are successful, and sometimes you aren’t. No matter what the result is, you don’t stop that process.

In terms of the storyline, what can people expect this time around?
When we started making this film, the subject was such that people said, ‘You are a dreamer’. The film portrays that when the nation is under attack, Hindus and Muslims always unite and fight any challenge. This country is united because they live together in peace and harmony. A lot of people questioned my thinking. I am not a dreamer, but a realist. I think this is the best possible time to make a film like Commando 3. We talk about girls being at par with guys, and in this film, the audience will get to see the same. Adah Sharma and Angira Dhar will be matching up to an action star like Vidyut Jammwal. He is difficult to match up to, but both the actresses have done their stunts very well. I am also happy to introduce Gulshan Devaiah as the antagonist. The exchange of dialogues between Vidyut and Gulshan is one of the highlights of the film.

Though Vidyut has been a part of all the films made of the franchise, you have opted for a new director for each project. Why did you feel the need to do that?
I feel that every script requires a certain kind of treatment, and you have to select the right director for that particular story. For Commando 3, I felt that Aditya (Datt) was the best choice. If Deven (Bhojani, director of Commando 2), was directing Commando 3, he would probably see it as an extension of Commando 2. Aditya, as a new director, brings freshness to the table.

You have collaborated with actors like Akshay Kumar, John Abraham, and now, Vidyut Jammwal repeatedly, but that doesn’t seem to be the case with actresses…
I am working with Adah Sharma for the second time; she was a part of Commando 2, too. I have also worked with Katrina Kaif in Namastey London (2007) and Singh Is Kinng (2008). I had also met her for Namaste England (2018), but we felt that the role wouldn’t suit her, so we didn’t collaborate on that. I want to work with her again. In fact, I would also like to work with Aishwarya (Rai Bachchan), Priyanka (Chopra) and Sonakshi (Sinha) again. When I find the right script, I will reach out to them.

You have worked with established actors as well as fresh talent. How do you balance it out?
It is always great to work with people like Akshay Kumar and John Abraham. I have also worked with Salman Khan, Amit ji (Amitabh Bachchan) and Ajay Devgn. They are amazing and it is always a privilege to work with them. When it comes to newcomers or the young bunch, I like the kind of energy they bring with them. They want to go all out to prove themselves. Which is why I introduced Aditya Roy Kapur with London Dreams (2009) and I had cast Freddy Daruwala as the negative lead in Holiday: A Soldier Is Never Off Duty (2014). In Force 2 (2016), we had Tahir Raj Bhasin, and in Commando 3, we have Gulshan Devaiah, who has done an excellent job as the antagonist.

Vipul Shah refutes rumours of a fallout; reveals he got a clean chit on #MeToo allegations and that message of his new film is communal amity
Hiren Kotwani (MUMBAI MIRROR; November 12, 2019)

One would expect a commando to tackle terror attacks from outside but going by the trailer of Commando 3, your protagonist is on a mission of uniting communities within the country. Is it a reflection of what’s happening for real?
India has 90 crore Hindus and around 22 crore Muslims living together, amicably. Yet, people talk about communal disharmony. If we have managed to coexist all these years, it’s because Muslims are as patriotic as Hindus and whenever there is an attack on our sovereignty from outside forces, they fight together. When 26/11 happened, people didn’t ask those they were helping which religion they belonged to. That’s the film’s core message, which goes beyond just the action and the thrills.

When such an issue is addressed, it could be an admission to a problem. Do we have to emphasize the fact that Muslims are as patriotic as Hindus?
For a long time, certain perceptions have been created, not by filmmakers but by groups with an agenda in mind. They need to be countered and I believe, the audience is smart enough to see through a script and figure for themselves if the maker’s intention is genuine or for shortterm gain. I feel we’ve conveyed our message with conviction and people will connect with the film.

Given that your lead actor comes up with innovative stunts, what’s the novelty factor this time around?
Commando 3 has some trademark Vidyut Jammwal stunts and some new action pieces. He trained with a team from Hollywood for two-three weeks prior to filming. Also, in Hindi films, we don’t usually see the leading ladies fighting, but both Adah Sharma and Angira Dhar will surprise with their skills. We set the first film in a small town in North India. We wanted to graduate to a city with the second outing and take the third abroad. But after the first did well, we went to Bangkok with Commando 2 and to London with Part 3. Making an action film is expensive but the series has turned out exactly as we planned. We hope to expand with the fourth instalment.

Where do you think you failed with your last directorial, Namaste England?
It’s difficult to analyse, but from what I have gathered, the second half didn’t work and when the screenplay fails, everything else starts falling apart. The story had happened to someone we know, so in a way it was inspired. But what Ritesh (Shah), Suresh (Nair) and I wrote, probably didn’t connect with viewers.

Akshay Kumar and you have given many hits together. Is he going to be your first choice for your next directorial?
I’d love to work with Akshay who is at his peak, not only in terms of performances and success, but also the kind of subjects he’s pulling off. I’ll reach out to him, it would be wonderful if he accepts.

Last year, you were accused of sexual harassment by Elnaaz Norouzi in the wake of the #MeToo Movement. What’s happening?
I didn’t give a statement when the controversy erupted but requested two committees to look into the allegations; one was IFTDA (Indian Film and Television Directors Association) and the other an independent external panel. I didn’t go to an internal complaints committee myself because I wanted the process to be fair and unbiased. I didn’t speak even after both the committees gave me a clean chit. The episode is behind me now. It’s time to move on.

Lasyapriya Sundaram (BOMBAY TIMES; October 19, 2018)

Filmmaker Vipul Amrutlal Shah is back in the director’s chair after a gap of eight years, with the Arjun Kapoor and Parineeti Chopra-starrer Namaste England. He says that the film addresses the patriarchy that exists in our society and speaks about how every girl has the fundamental right to make her own choices. In a candid chat with BT, he also discussed how the process of filmmaking has evolved in the past decade. Excerpts...

Given its title,is Namaste England a companion film to Namastey London (2007)?
On one hand, Namastey London was a film that made a comment about the difference between India and the West, and on the other, it was also the story of a girl whose dreams were suppressed by her parents. They get her married to a boy she doesn’t like and rebels against that. Namaste England, too, is about a girl and her dreams. She wants to live a middle-class life, but wants to be able to make her own decisions. She wants freedom, which has been denied to her because of the social structure. When she faces challenges, she decides to go to London, thinking that will give her the freedom she craves for. The film talks about how every girl has the fundamental right to make decisions about her own life.

Both men and women are endorsers as well as victims of patriarchy. How do you think you can convey this complex idea within the framework of a commercial Hindi film?
The audience is extremely sensitive and they understand nuances. They might not be able to articulate it, but they feel the emotion. As a filmmaker, when you are portraying the problems girls face in our country, I can’t give a permanent solution. What I can do is show the problem and suggest a path which could be taken. Every girl’s problem is different, so, there can’t be one common solution. While women don’t have the right to work in some families, in others, they have to work because the family needs the additional income. Even in some modern families, women dancing at parties are frowned upon. They are told, ‘Hamare khandaan ki ek reputation hai’. But there are different rules for men and if they dance, the reputation of the family is not at stake. I have seen this happening in front of me. The man can wear whatever he wants, but the woman has to drape a sari and wear a particular kind of jewellery. This is a result of the patriarchal mind-set that exists in our society and it is about suppression of women. Even in an apparently modern and evolved society, girls don’t have the freedom they deserve.

The last film you directed was Action Replayy, which was eight years back. What made you take a sabbatical from direction for such a long time?
I have been working constantly for the past 25 years, without taking a break. When Action Replayy didn’t do well, I wanted to reinvent myself as a writer, director and producer. The digital age was upon us and filmmaking was also evolving with people shooting on their mobile phones. I realised that cinema was going through a paradigm shift and I had to adapt to the changes. The films that I was backing as a producer were taking up my time. It was an exciting journey for me to observe the manner in which storytelling and characterisation was evolving in cinema. I hope, all that I have observed and imbibed has been reflected in Namaste England. I hope that the eightyear break from direction has helped me mature as a director.

Your films, Aankhen(2002) and Waqt: The Race Against Time (2005) featured Amitabh Bachchan. But you haven’t teamed up with him since…
I have told him many times that I can’t see him doing roles, which aren’t incredible. I have been looking for material which will do justice to him, but unfortunately, I haven’t been able to do so. When I worked with him, I was a fanboy and even today, I am just a fan. Earlier, if I thought of an idea, I would send him a message even in the middle of the night. However, I don’t do that anymore, because I feel it’s wrong to disturb him. I can’t thank Amitabh Bachchan, Akshay Kumar and Paresh Rawal enough for agreeing to do my first film as a director. I was a television director and in those days, the film industry didn’t have that kind of faith in people like us who were making a smooth transition to film direction. All these actors are responsible for my transition into cinema as a director and I will be indebted to them emotionally.

You have also donned the producer’s hat since 2008. How do you think filmmaking, from the point of view of a producer, has evolved over the last decade?
Change can sometimes be seen as disruption. When studios invested in films, people felt that as corporates what will they know about filmmaking? But today, can we imagine the industry without the studios? They put a lot of systems in place. There is no black money in the film industry, thanks to the studios. In fact, they have put a stop to cash dealings and all transactions are through cheques. Their risk appetite is amazing. There are also independent producers operating simultaneously along with the big studios. Producers like working as partners and their collaborations have helped the industry immensely.

Meena Iyer (DNA; October 9, 2018)

The walls of filmmaker Vipul Shah’s office in Andheri recount a glorious tale. There are countless posters of movies, some produced by him and others backed as well as directed by him. The man behind mainstream entertainers, which include Aankhen (2002), Waqt: The Race Against Time (2005), Namaste London (2007), Singh Is Kinng (2008) and Holiday: A Soldier Is Never Off Duty (2014) was on top of things for over a decade and these framed pictures bear testimony to this fact. However, for reasons best known to him, he took an eight-year-long sabbatical from film direction. He is back now (looking a bit pale though because he is recovering from dengue) with his latest offering, the romantic-comedy titled Namaste England with Arjun Kapoor and Parineeti Chopra, which releases on October 19, Dussehra.

Confident that he will get the audience interested in his latest offering, Vipul, who is nattily dressed in an orange hoodie, settles in a comfortable-looking chair in his fashionably-done up office and begins to talk. Here’s handing over the mic to him then. Excerpts...

What’s playing on your mind currently?
The lead up to the film is the fact that now it’s all coming together. It’s obviously the most exciting and anxious phase. Now that I’m seeing the entire movie, I’m looking forward to see how the audience reacts to it.

Why the long gap in direction?
When I decided to take a break after Action Replayy (2010), I hadn’t planned it to be such a long one. I had just thought it would be for a year or two. I felt I would utilise the time to learn something that I should, considering the changes that cinema was undergoing. Simultaneously, my other productions were also happening. One day, yeh karte karte, I realised seven years had gone by. I thought I would stop production and get back to direction. Other productions like Force, Holiday and Commando were time-consuming. I didn’t want to do two things — producing and directing — at a time. I kept learning while all this was happening... I believe I have learnt something and hope Namaste England shows that.

Your storytelling has always resonated with an audience or so it seemed, going by your track record.
Subject-wise, even Namaste England, seems like a simple film. But the audience will be surprised. I was talking to my team about running a contest saying that if you guess the film’s interval point, we will send you to London. There’s a lot of content in the movie that is not a part of the trailer. There is a serious amount of twists and turns.

When I talk about learning, I’m referring to the process of evolving. In the last seven-eight years, the digital world has evolved a great deal and with so much content coming in, there are various experiments happening and the format of storytelling is changing the world over. So, I wanted to know if I could adapt myself to this new way of storytelling while keeping my own grain intact. I didn’t want to leave my strength, but at the same time, I also wanted to imbibe something new. People are making films and editing on their cell phones, which is fantastic. The characters have changed, all because of evolution through the digital world. I wanted to learn something new and try to incorporate that into my film. At the same time, I was making the movie for the Indian audience, so I had to balance both. That’s a constant process of reinvention ­— how you don’t lose yourself but also add something that is dramatic and closer to your roots. Six months ago, what was new is old today.

This film comes after several years since Namastey London.
It comes after a gap of 11 years. We had to have a script to take it forward. In Namastey London, there was a strong point about the girl being able to dream and following it to see where it takes her. When I was writing it with Ritesh Shah and Suresh Nair, a lot of people told me that these kinds of stories don’t work in India. For me, that was a journey of the girl who was forced by her father to marry someone against her will. She fights for her dream and in the process, falls in love with the same guy.

I wanted a female-oriented script that had a strong male lead as well. In this film, Arjun’s character is such that every girl will feel her boyfriend/husband should be like him. He is affectionate, understanding and has a good sense of humour. But he is also someone who can kill for his or his family’s honour. Apart from that, he is able to understand the girl’s dream and fight with the whole world to see that it’s realised. So, it was important to find a story where the girl’s dream becomes a big thing.

There’s a distinction between a girl wanting to work and her wanting to have the freedom to decide what she wants to do with her life. Largely, we have overcome the working issue, but we haven’t come to terms with the issue of giving full freedom to her. We have given it to the boy, but the girl doesn’t have the full freedom to make decisions about her life. When I found a story with this idea at the centre, I thought I must make the sequel and the time is right.

You have stuck to the same writing team all these years.
Yes, all my films are written by Suresh and Ritesh. We get along well. We rarely meet, but the relationship we share is great. I’m happy with the synergy we have and I appreciate the kind of work they put in my scripts.

Did you in any way miss working with Akshay Kumar and Katrina Kaif?
Akshay and I have worked together so much. I miss him every single day of my shooting. I can’t imagine a day without him. We did six films together. It’s been a wonderful association. He’s such a fun guy, he puts an extra effort to make the set a happy place. He can call me Sundy, Sethji, sometimes he calls me by some random names. That’s how it has been from the beginning. I also miss working with Katrina. She is extremely professional and passionate, the whole drive and passion towards her work are commendable. When I met her for the first time, I was doing Waqt. I told her that ‘I would really like to work with you but your Hindi is an issue for a movie like Waqt.’ And I was truly impressed because the next time she met me, she was able to read Hindi. She had worked hard on it and learnt so much in that short span of time. She blew me over with her dedication.

In Namaste England, I enjoyed working with Arjun and Parineeti equally, if not more. Sometimes you had to tell Arjun to calm down and chill. He is fully charged 24/7. I haven’t seen a moment where he is dull or tired.

He is Ranveer Singh’s best friend, so we’re guessing he has the same energy levels!
Arjun is a cylinder of energy. When you are with him, you constantly feel that please, give me a breather because you are on a different high. He’s extremely disciplined. In that sense, he and Akshay have a lot of similarities. Arjun is never late, he likes to be involved and keeps the environment on the set easy. If someone makes a mistake, he will find a solution. If a shirt is not fitting well, he won’t throw a tantrum or make a fuss. He is like, ‘Fix it and let’s go’. Parineeti, as we know, is a supremely talented actor. One thing I believe is that even if people don’t like the film, they will love the lead actors’ chemistry. Arjun-Parineeti showed it in Ishaqzaade (2012) and I’m surprised they didn’t do another film together after that. They have the capability of becoming one of the most popular pairs.

Their chemistry is liked by Arjun’s grandma (Nirmala Kapoor) so much that she feels he should get married to her. Parineeti is wonderful and doesn’t realise how good she is at what she is doing. It was great fun working with both of them.

Will you wait to see how Namaste England fares at the box office to announce your next directorial?
I’m keen to watch it with the audience to find out whether I’ve been able to reinvent myself in terms of the time and effort that I’ve invested. I’ve got a few scripts ready for my next. But first, I want to see how I have fared as a director and then decide.

Vipul Shah admits Kumar was first choice for Namaste England, chronicles how he found his hero in Arjun Kapoor
Shaheen Parkar (MID-DAY; October 5, 2018)

Barring the Salman Khan-Ajay Devgn starrer London Dreams (2009), Vipul Amrutlal Shah has always collaborated with Akshay Kumar for his directorial ventures. Naturally then, eyebrows were raised when he roped in Arjun Kapoor for Namaste England. More so, since the prequel — Namastey London (2007) — featured the superstar and was a runaway hit.

The filmmaker reveals it was Kumar’s idea to take the franchise ahead. “Akshay came up with the story of Namaste England. I had planned to make it with him. However, things did not work out due to his busy date diary. In fact, it was Akshay who suggested that I roll the film with someone else,” recalls Shah.

It was then that he considered roping in an actor from the younger crop. “When I approached Arjun, I told him at the outset that the film had been conceived for Akshay. But he loved the subject and agreed to come on board.”

Given their long-standing friendship, it was not surprising that Kumar even gave away the title — that was registered with his production house — to the filmmaker for the Parineeti Chopra starrer.

Shah says he has no patience for rumours that suggest a fallout between the duo. “My relation with Akshay and Amit ji [Bachchan] goes beyond work. They were part of my Hindi debut film [Aankhen], so there is an emotional connect. Just because Akshay did not do my film does not mean we have fought.”

He pooh-poohs the buzz by citing an example. “A few days ago, we were doing a photo shoot at Mehboob Studios. Akshay was also at the studio, shooting for an ad. We both met each other warmly; Akshay even insisted on taking pictures with Arjun and Parineeti.”

Vipul Shah on the challenges he faced while making his next
Natasha Coutinho (MUMBAI MIRROR; September 6, 2018)

Vipul Amrutlal Shah was hospitalised twice in the last few weeks after being diagnosed with dengue and typhoid, and a subsequent relapse. The filmmaker is back home now but already at work as his next, the Arjun Kapoor-Parineeti Chopra-starrer Namaste England, is set for an October 19 release. “I was not supposed to step out and had been told to rest, but the final mix of the trailer was waiting so I had to defy the doctor’s orders and go to the studio. I’m glad that I did because it was a wonderful change from everything I’ve been through in the last 15-20 days,” he smiles. The film is produced by Vipul, Jayantilal Gada and Shibasish Sarkar.

Vipul wrapped up the shoot in June, way ahead of schedule, following which the release was pushed forward from December 7 to October 19. “I had a fantastic team in Arjun, Parineeti, Mannan Shaah (composer) and my DoP Yaani, a London-based guy who matched the madness of the team. It’s a bright, festive film and Dusshera is a good time to bring it out,” asserts the filmmaker.

The film’s team shot across Punjab, Brussels, Paris and London, and even mid-sea. “The fact that we still finished early says a lot about the team’s spirit though Parineeti would groan jokingly, ‘Sir, your speed is not good for my health, I will fall ill,’” he laughs, recalling that they moved from chilly Paris at 5am to sweltering Brussels with Arjun still in his leather jacket.

Quiz him on his leads, and Vipul describes Arjun and Parineeti as “Tom and Jerry” who are constantly pulling each other’s leg. “People will talk about their chemistry long after this film for sure,” he promises.

His next production, Commando 3, with Vidyut Jammwal went on the floors on Wednesday in London. “I’m sad I could not be with my team today. I was supposed to be there but couldn’t go because of my health issues. I spoke to everyone and they are all charged up to make a wonderful film,” he concludes.

Neha Maheshwri (BOMBAY TIMES; March 2, 2017)

Neha Maheshwri Bhagat (BOMBAY TIMES; November 15, 2016)

MUMBAI MIRROR (November 25, 2014)

After a long hiatus Vipul Amrutlal Shah will be back on television with Pukaar, a series that promises to get the 70mm straight into your television...

Pukaar promos are looking rather impressive, what are your expectations from it?
Television as a medium has a lot of scope of getting bigger and better, I am just attempting my bit in giving that to them. Here's a never seen before story, said in a way that will impress the audience after a long day of hard work, straight in their living room.

There was Commando, Force and Holiday on the silver screen and now there is 'Pukaar'. Why this fascination for the armed forces?
Why not? There is something extremely fascinating about the armed forces. After all, not everyone has it in them to leave their loved ones, live in extreme conditions and protect what they treasure.... It is this life they lead that makes them heroes, makes them gentlemen and makes them pillars of the society. And when in trouble, we are bound to fall back on these pillars for support. That is exactly the premise...

A premise you are set to turn grand, with your production standards we hear...
Of course, when I have the means then why should I not give it my all. We are a well-oiled system at work, on sets and I am used to working like that, so I have just brought that back into the small screen. Yes, the budgets and standards are higher than that seen on television but I have in no way gone overboard. Yes, I am setting a high standard but that's well deserved. After seeing all the reality television, we believe that our true-to-its-word fiction should make up for things! What I want to give the audience is a movie they come home to, except like most movies it is not a two and a half hour affair, it is a 24 hours film on television.

That explains the death-defying action?
As a filmmaker I believe in pre planning, rehearsals, only then any action can be well executed and can be death defying. So Deven, Allan Amin, Rannvijay and I sat together to plan, rehearse and design actions. Like there is this sequence where Rannvijay is chasing someone, and he has to take a leap, I told them the 15 storey building is looking too dangerous, so they relented and did it on a 20 storey building without a body double! While that did leave me with my heart in my mouth, I am assured all that my cast and crew have done for the series, will leave the audience enthralled, engaged and certainly, entertained.