In the early months of the lockdown last year, Salman Khan’s food trucks were a common sight on Mumbai roads as they distributed food kits among the underprivileged. Almost a year on, as the country reels under the second wave of the Coronavirus, the superstar has revived the initiative. This time around, the Being Haangryy trucks are distributing meals among the frontline workers. 

Yuva Sena leader Rahul Kanal, who is coordinating the endeavour with the actor, says that the superstar sprang into action as soon as the state government imposed a junta curfew from April 15. “Salman expressed his concern for the police officers, BMC staff and health workers on duty. Given their long work hours, he wondered how they would procure essentials since most shops are shut and the grocery stores are functioning in the stipulated four-hour window. Within 24 hours of our conversation, our food trucks hit the road,” says Kanal. 

Over the past two days, three food trucks have distributed food packets to COVID-19 warriors between Worli and Juhu. A three-week plan has been charted out, with the idea of extending their service to other pockets of Mumbai. Kanal adds, “Our kits include tea, mineral water, a pack of biscuits, and snacks that include upma or poha or vada pav or pav bhaji. We have also started a helpline number on which the frontline workers can call, and we’ll travel to their area to serve them. It is Salman’s way of thanking them for their sustained efforts. This will go on till May 15.”

Even though away in Lonavala, Tanuj Virwani recounts fire department's three-hour rescue operation after the blaze erupted at the family home in Worli
Mohar Basu (MID-DAY; August 27, 2020)

It was a sleepless night for the Virwanis on Wednesday when they received frantic calls from neighbours informing them that a fire had broken out at their Worli residence. While actor Rati Agnihotri has been stationed in Poland during the Coronavirus lockdown, son Tanuj and husband Anil Virwani were in their Lonavala farmhouse when the incident took place.

Tanuj reveals that a blaze erupted in the 10th storey of the highrise in the small hours of Wednesday. "About 10 people, including some senior citizens, and two dogs were stuck in the A wing penthouse. Initially, the fire engine was only able to reach up to the eighth floor. So, the firefighters broke open our house [in the B wing] to gain access to the [adjacent] penthouse and help people evacuate. Eventually, the entire building was evacuated. Thankfully, there was no casualty and no damage to our apartment," he recounts.

The Worli fire station was alerted a little after 12.30 am and the rescue operation continued till 3.45 am. "I was in Mumbai for a shoot last week and returned to Lonavala after honouring the commitment. It was a disturbing night as sitting here, we couldn't fully understand the gravity of the situation. My father did his best to coordinate with the fire department officials and give them access to our home. He also called the building's chairman to offer assistance." He adds that Worli MLA Aaditya Thackeray rushed to the site at 2.30 am to appraise the situation.

Tanuj relayed the turn of events to mother Rati, who is spending the lockdown with her sister. "She panicked on hearing about the fire. My mother won't be able to return to India anytime soon. Though she has procured the necessary permission to travel, she hasn't got the clearance required for her pet dog to travel. My father will head to Mumbai in a few days to see if the house needs fixing."

Riding high on the blockbuster, Kabir Singh, Shahid Kapoor says he now feels ‘connected with people’; adds he’s happy to not have fallen in ‘any bracket’
Prashant Singh (HINDUSTAN TIMES; December 27, 2019)

He could easily be called ‘the box office disruptor’ of 2019. After all, breaking every archetypal notion and turning each trade mantra on its head, Shahid Kapoor delivered the biggest blockbuster of his career yet, Kabir Singh. And that too when not many — including the trade world — had many expectations from the film. “I’ve been doing this [acting in films] for the last 15 years but suddenly, I feel very different, and it’s only because of the love that audiences have given me,” says Shahid, who is currently busy with the shoot of his next, Jersey, a Hindi remake of the Telugu sports-drama of the same name. Excerpts from an interview:

Personally, how do you look at 2019?
It’s been a defining year [for me] for sure. I think 2019 has empowered me to play all types of characters. It has given me the belief that audiences are there to watch a good story. If you can emotionally affect them and give a new experience, they are not as restricted in their minds as I think some of us, within the industry, are about what can travel wide and what can’t. The first thing that I felt [vis-à-vis Kabir Singh] was a strong and direct connection with the audience. When you get such overwhelming love, you realise its intensity. So, now, I feel very connected with the audience, and everyone who gave me, and the film so much love. And I only feel answerable only to them.

Now, going ahead, does a hit of such a big size put any pressure on you?
Not really! I think during your early years in the career, when you haven’t done enough work, you tend to take pressure about these things as you think that you can control them. But after many years, when you understand that success and failure is not completely in your control, you actually feel kind of liberated. I just feel that I did something very instinctively, from my gut, which connected with people. And I want to continue doing the same.

You broke the mould of a ‘Bollywood hero’ with films such as Kaminey (2009), Haider (2014) and Udta Punjab (2015). And you did it again with Kabir Singh. Does that give you a kick?
I don’t think I’ve ever fallen in any bracket in the last 10 years of my career and Kabir Singh was also not the kind of film that people would expect me to do. So, I think giving the audience the unexpected is what my relationship with them is based on. I will always try and give them a new experience. I will never do the same thing, which may work at the box office, 10 times. I don’t think that’s my relationship with the audience. Every actor has a different equation [with audiences] and my attempt is to surprise them or give them something new every time with a story.

What has been your biggest takeaway from the year?
That’s a very large question (laughs). I feel we are standing at a crossroad where everything is being questioned a lot, everybody is feeling judged, and everybody is being judgmental towards others. However, I feel that at the end of the day, filmmaking is all about telling stories about good as well as bad people. It’s also about the craft, and about entertaining people and the only party who should have the last word is the audience. So, my biggest learning is that you are making movies for people, and your focus has to be on what they feel about it.

Looking back at 2019, would you call it a transformative year of sorts for you?
See, as an actor, what happens is that you have many ambitions of your own because of which you make choices accordingly. But after Kabir Singh, I feel one of the most important aspects for me – while making my film choices – would be, ‘how I can reach out to people who have given me all the love.’ I wouldn’t want to do a film that is limited in its appeal. Of course, in today’s times, there are no rules to the game. But I’d definitely want to give people as many good films as I can because I feel they are the wind beneath my wings. And that’s why I feel responsible towards them.

Kabir Singh has beat films such as Avengers: Endgame, Joker, War and Gully Boy to become the most-searched movie on Google in India this year...
See, Kabir Singh was also quite a controversial film [many felt that the film ‘glamorised misogyny’ and ‘toxic masculinity’] and many people spoke a lot about it. So, I guess that also contributed a lot to why the film is the most searched film. It’s surely one of the biggest hits of the year but these are conversations that need to happen. I feel one of the biggest things that a film does is to bring up a conversation in the society. It makes the society reflect upon itself. Films are not meant to sermonise but some films are surely meant to reflect upon life. A film can be purely for entertainment, or to scare people, or it can be based on somebody’s life story which somebody believes must be made, and then the audience will decide if it’s worth their time or not.

In essence, you are advocating for space for different kinds of films. Is that correct?
Absolutely! And it’s great to see that there are different kinds of filmmakers, who are making various types of films. After all, cinema needs to be a wide spectrum medium. There should be no rules to the game, otherwise where is the free speech and free expression? Agar humein filmein banana hai and if films are a part of the fundamental right of free speech and expression, then we should agree to disagree. Nobody should be forced to like something that they don’t. But I don’t think anybody also has the right to say that you should or shouldn’t make this because we are all on the same platform. For somebody to tell others that you can or cannot do this means they are on a pedestal. Right? And I don’t think anybody is on that pedestal. We don’t need to fight if we don’t agree. That’s what a healthy democracy is all about. Respect somebody else’s point of view and others must respect your point of view. Disagreement is the basis of free society and that’s what we should focus on.

From this point, how do you see 2020, and the future?
The future looks the same as it was earlier. It’s as unexpected and as unpredictable. I don’t think I have gained any special sixth sense. This job is just so unpredictable that you should just keep the head down, focus on work, enjoy what you are doing, make people happy and keep going on till the time people want to see you. The idea is to keep giving them the best you got and never think that is forever. I feel everything has a timeline, har cheez ki expiry date hoti hai toh jab tak chal rahe ho, chalte raho, kaam karte raho.

Do you feel such a big success has come at the right time for you?
It’s never a wrong time for the right thing (smiles). Whenever it comes, its welcome and I am thankful. Let me be very honest, I have just bought a house in Worli, and I need to pay for it, so I am very happy that I got a successful film (laughs). People see actors differently but we also have the same issues that every other person faces ke, ghar chalaana hai aur family ko accha ghar dena hai and acchi life deni hai. So, I felt relieved that now, hopefully, I will be able to pay for the house that I have bought.

1. Saif Ali Khan shooting for his upcoming film Hunter at Goregaon’s Filmistan studio 2. Alia Bhatt filming an ad in Wadala 3. Huma Qureshi seen preparing for a reality TV show 4. Manoj Bajpayee at Elphinstone Technical College during the making of Satyamev Jayate

Several factors are compelling Bollywood to look beyond Mumbai to make its movies
Hiren Kotwani (MUMBAI MIRROR; September 16, 2019)

Mumbai’s connection with movies dates back more than 100 years to Raja Harishchandra (1913), the first film made in India. Though Bollywood has shot innumerable movies in the city it’s synonymous with, filming in Mumbai has declined significantly in the past few years. Several factors have led filmmakers to increasingly scout for locations outside of Maharashtra.

For starters, the island city, the commercial capital of India, is an expensive place to live and work in. A day’s shoot can cost upwards of Rs 10 lakh, and that doesn’t include payments for the cast and crew.

One major reason for the increase in the cost is payments to various unions. A director, not wishing to be named, tells Mirror: “Earlier, most associations of various departments were affiliated to one political party’s union. Now, there are dozens of them. Whenever a shoot is underway, their representatives frequent the set to check if any non-member is working on the film.”

Director Ashwini Chaudhary agrees: “Typically all unions are against each other, but internally they are all connected. Suppose you’re shooting in one place and a group from one union comes to check and fines you for hiring a non-member, after some time, another union’s group will come, and then another. When shooting outside in daylight, time is crucial and wasting even half-hour costs a lot of money. The production team has to be ready to make all types of payments, whether it’s to unions or the police or other authorities who stop by to check whether the team has the required permissions to shoot in a public place. Sometimes goons halt the shoot and assault crew members. This is what happened at Mira Road a few months ago.”

Mirror had reported on June 20, 2019, that a crew working on a project backed by Ekta Kapoor was attacked while filming at Gaimukh on Godbunder Road, Thane. Cinematographer Santosh Thundiyil sustained injuries to his forehead and got seven stitches. Apart from the crew, also present were director Soham Shah, Tigmanshu Dhulia and Mahie Gill.

Filmmakers blame all the unnecessary expenditure on the absence of a single-window system for permissions. Sanjay Gupta, who began shooting his next, Mumbai Saga, in the city, says, “If I have to shoot around Worli sea face, I have to get permission from the coast guard, police, BMC, traffic, environment and other departments too.”

And sometimes, permissions can be cancelled without notice. “We had all the permissions needed to shoot in Worli village. But a day before the shoot, we were told that owing to some tension in the area, the permits had been revoked. Thankfully, we had a plan B. In Mumbai, you can’t shoot without a Plan B.”

Who’s to blame?
On the flip side, the film industry is also partially responsible for the poor state of affairs. Sushant Tungare, executive producer of Uri: The Surgical Strike, concedes that the fraternity bends and breaks rules on a whim. “Permissions take time, so we sometimes end up shooting without permits because the nature of the business is such that everything can’t be planned,” Tungare says. “If we get an actor’s dates, but don’t have permissions for the locations, we still go ahead with the shoot.”

Another reason why there’s a shift underway is because locations in Mumbai have been exploited to the hilt. “Whether it’s the Gateway of India, Marine Drive, CST, or other such spots that identify Mumbai, they have all been seen too many times in films,” Tungare says. “Not many stories are set in Mumbai nowadays, or really need to be shot here. Andhadhun, for example, is set in Pune. There’s too much red-tapism in Mumbai and we don’t want to get into that hassle. Even after paying, the problems persist.”

Suniel Saini, co-producer of the upcoming Pal Pal Dil Ke Paas, says that a single window for permissions needd to be expedited. “Suppose I have the actors’ dates and I want to finish a shoot, I can’t, because it takes a week or two to get the permissions.” Also, many locations in south Mumbai are available for shooting only on weekends, when most offices are shut. For a filmmaker who needs to shoot for more than two days at, say, Marine Drive, Ballard Pier or Colaba, this adds to the cost. “If I have to shoot at Marine Drive for six days, I will have to keep breaking, and stretch it over three weekends. In such situations, some filmmakers even end up compromising on their work,” he says.

The city’s inadequate infrastructure is another reason why filmmakers are increasingly planning shoots outside the city. “It takes more than an hour to drive from Bandra to Film City,” says a filmmaker. “When we’re away, we don’t have the actor’s friends and other filmmakers dropping by to chat or discuss projects. So, that also saves time and increases productivity.”

Who gains?
If Mumbai is seeing a decline in film shootings, where are they headed? Mainly Rajasthan, Madhya Pradesh and Uttar Pradesh. President of Indian Film and TV Directors’ Association Ashoke Pandit says, “Other states are extremely encouraging and supportive. Right now, for instance, locations are not available in Lucknow because they’re all booked.”

Salman Khan, for instance, recently wrapped up a schedule of Dabangg 3 in Jaipur. The Bharat actor commenced his cop drama with a spell in Maheshwar (MP). Ajay Devgn recently shot Bhuj: The Pride Of India in Gujarat, where the film — based on IAF’s Squadron leader Vinay Kartik’s role in India’s victory in the 1971 war against Pakistan — is set. Previously, he filmed a schedule at Hyderabad’s Ramoji Rao Film City, where sets were specifically built for the shoot.

Government apathy
So, why are more films not being shot at Mumbai’s Film City Studios? Apart from the time it takes the actors to travel to and from this Goregaon studio, its facilities are poor. In fact, the state government, which is in charge, has been talking about developing it for years but has done little else.

Long before Bombay came to be synonymous with the Hindi film industry, two other far-flung centres — Kolkata and Lahore — were hubs of Hindi-Urdu films. Mumbai came to the fore after Partition in 1947, and drew the best talent from across the country. But more than seven decades later, propelled by myriad factors, the Hindi film industry is seeking alternative homes.

The house that actor bought in SoBo last year is ready for possession
MUMBAI MIRROR (August 29, 2019)

On July 7, 2015, Shahid Kapoor and Mira Rajput tied the knot in a private ceremony, attended by only family and close friends, in Delhi. A year later, in August, the couple welcomed their first child, daughter Misha. With his family expanding, Shahid, who currently resides at a beach-facing apartment in Juhu, started looking out for a bigger place. The house-hunting was kicked into overdrive when the couple learnt that Mira was expecting their second child, son Zain, who was born on September 5 last year.

Months before that, in July, Shahid had signed a deal for a sea-facing duplex in Worli. Now, a source close to the development informs that the house is ready to move in.

“Shahid had been looking to move into a space that would be a better fit for his family of four. And this over 8000 square-feet apartment is expected to be ready for possession by the year-end,” revealed the source, adding that the development has fueled speculation that this could be the new address for the Kapoors.

Incidentally, it is a stone’s throw away from Deepika Padukone’s apartment, where she is currently residing with actor-husband Ranveer Singh. Yuvraj Singh, Anushka Sharma and her husband Virat Kohli are in the neighbourhood. The Indian skipper had acquired their luxury apartment in 2016.

“Shahid was looking for an unrestricted view of the city, and the 500 square-feet balcony in the new house faces the Bandra-Worli sea link, offering a great view of the city’s skyline. The apartment complex also features indoor facilities like spa, swimming pool, gym and ballrooms,” the source informed. Sharing pictures on with Mira on Instagram, Shahid had earlier said that they were planning their “dream house”. The 36-year-old actor was earlier quoted as saying that he and Mira are on the lookout for a safe place for their daughter.

Sonam to host charity dinner tonight to support humans rights organisation in fighting human trafficking
Mohar Basu (MID-DAY; August 14, 2019)

A fierce advocate of women empowerment, Sonam Kapoor aka Sonam K Ahuja has often used her celebrity status to bring women’s issues to the forefront. Ahead of India's 73rd independence Day celebrations, the actor has joined hands with YouCanFreeUs, an international human rights organisation that fights human trafficking, to host a charity dinner at Tote On The Turf in Worli tonight. The proceeds from the dinner will go towards the non-profit organisation that aims to rescue and rehabilitate trafficked victims from the red-light districts of Mumbai.

Aware of how human trafficking continues to plague our country, the actor says strategic measures need to be taken to curb the social malaise. “We can begin by educating our women, and even men. We need to provide employment opportunities to the victims and offer a means to a livelihood to them.”

Kapoor further emphasises that stars have the ability to influence people at large, and must do their bit for society. “It’s important for celebrities who are in a position of power to be able to raise funds for issues that need to be addressed. With power and fame comes responsibility, and I believe we should use that as a catalyst for social change.”

Even while she acknowledges that the road ahead is long, Kapoor believes that the dialogue around women’s issues has improved since the #MeToo movement hit India last year. “The #MeToo movement was a step in the right direction. It made society less misogynistic, entitled and changed how we think.”

Rachana Dubey (BOMBAY TIMES; June 7, 2019)

Canadian director Ken Scott has a unique connection with India. His 2011 film, Starbuck, inspired Shoojit Sircar’s Vicky Donor. Years later, in 2017, he arrived in India to make a film with Dhanush, titled The Extraordinary Journey Of The Fakir, a French-English language film. The comedy-adventure, based on Romain Puertolas’ novel, The Extraordinary Journey Of The Fakir Who Got Trapped in an Ikea Wardrobe, released in a couple of European countries in 2018, and is now gearing up to open in India, the USA and Canada among other countries. The director spoke to BT about how this project came his way and his experience of shooting in India. Excerpts:

You’ve partially shot The Extraordinary Journey Of The Fakir in India. Did you ever visit the country before working on the film?
No, I hadn’t been to India before. My first visit was during the pre-production process of the film. Initially, I had planned to shoot it in Jodhpur, but I changed my mind when I saw Mumbai. The production team took me to a beautiful neighbourhood in Worli, which I felt was an excellent setting for our story. The alleys, the houses and the surroundings were just so beautiful. The film is about a boy who grows up in a small neighbourhood in the city, and how his circumstances introduce him to the rest of his city and the world at large.

What drew you to the film?
Producer Luc Bossi asked me if I would be interested in directing it. After that, I read the book and was charmed by the fact that it has a heart, an unexpected set of twists, and a comic, poignant and philosophical story. All these elements work really well in the novel, and so I agreed to direct it. It’s the kind of mix that I gravitate towards. I worked on the script with the novelist and the producer. And then, I came to India for the first time. When I was a student at a film school, a professor had told us that if we want success, we should write about things that we know. I disagreed with him. We should also write about the things we want to know. I was passionate about discovering India. That made the journey of this film extremely interesting for me.

What did you discover about India?
I feel that people here are happy, come what may. Everyone seems to be content. Yes, being in Mumbai can be a little crazy, especially when you take the roads. The experience is very different in Canada. I also realised that there are a lot of people in Mumbai and everyone gets just so close to you, something that I am not used to (smiles).

When did you meet Dhanush?
I met him in Chennai where he was shooting. We had an elaborate discussion about everything in the film that was important to both of us. I like to be absolutely prepared before I roll out a movie. Interacting with Dhanush made me realise that he was perfect for the part.

While the film releases in India two weeks later, it has already made its way to theatres in a few European countries last year. Doesn’t the delay increase the risk of the film being leaked online?
I agree that the film could have opened in India last year itself. While we were trying to coordinate and have a common release date for the movie in the US, UK, Canada and a couple of other countries, the French producers wanted to bring it out quickly in some places. As for the chances of the film being leaked, if it’s a good film, it will get positive word of mouth, which will help its box office chances. If it’s bad, it will get bad vibes.

The Extraordinary Journey of the Fakir, presented by Golden Ratio Films, produced by M! Capital Ventures, Little Red Car Films, Brio Films and Impact Films, and distributed by Anil Thadani’s AA Films in English and YNOTX in Tamil, releases on June 21.

Action on Arzoo Govitrikar's charges of husband assaulting her in a drunken rage; The Dadar Metropolitan Court issues restraining order against businessman Siddharth Sabharwal
Sharmeen Hakim and Lata Mishra (MUMBAI MIRROR; June 4, 2019)

More than two months after film and TV actress Arzoo Govitrikar approached the Worli police against her husband, businessman Siddharth Sabharwal, alleging that he repeatedly assaulted her in alcohol-fuelled rage, the Dadar Metropolitan Court last month ordered Sabharwal to not enter the couple’s Worli house till further notice. Metropolitan Magistrate R M Karade also directed that Sabharwal should not accost Govitrikar, and that the copy of his order be sent to Worli Police Station. Govitrikar, who married Sabharwal in March 2010 after a brief courtship, resided with him at their house on Pochkhanawala Road in Worli, before she moved out in February following what she termed as “another round of brutal assault”. Metropolitan Magistrate Karade’s ex-parte order, issued without hearing Sabharwal’s side, noted that the magistrate was “satisfied that an ex-parte order was necessary, as the photographs attached with Arzoo’s complaint prima facie suggested that she had been subjected to domestic violence”.

Mumbai Mirror was the first to report the complaint filed by Govitrikar – sister of model-actress Aditi Govitrikar – in which she submitted the CCTV camera footage of February 15, which showed Sabharwal slapping her. The complaint, filed on February 19, said that the couple had an argument over Sabharwal’s alcohol consumption, after which he “dragged her inside the bathroom around 4 am and hit her viciously”.

The complaint said that after another round of arguments on February 22, Sabharwal “spat” on Govitrikar and “repeated the act” when she protested. Subsequently, the Worli police booked Sabharwal under the Indian Penal Code sections 498A (cruelty), 323 (causing hurt), 504 (insult with intention to provoke breach of peace), 506 (criminal intimidation), and 509 (insulting woman’s modesty).

Sabharwal had told Mirror then that Govitrikar was making up stories of assault, and that she was the one who “asked him to slap her” saying she was “rehearsing for a crime show”.

Magistrate Karade, however, cited the 2013 order issued by the Bombay High Court, which had noted: “No matter that a man may alone own a particular house, he has no right to be violent against his wife or the woman he lives with, and if the court sees any violence, he must be restrained from entering upon the residence essentially to secure the wife and children against further violence.”

The magistrate also said that assets owned by Sabharwal, as presented by Arzoo’s lawyers Ishika Tolani and Anagha Nimbhkar, were also looked at. “I have considered the copy of will of the respondent (Sabharwal). It shows that he owns and possesses several accommodations,” Karade noted while issuing the restraining order.

Sabharwal said the matter was subjudice and he will not comment on it. Govitrikar too refused comment citing personal issues. 

Taapsee Pannu on taking air pistol shooting lessons to perfect her sharpshooter act for Anurag Kashyap's Saand Ki Aankh
Mohar Basu (MID-DAY; February 22, 2019)

Having shot for a portion of Saand Ki Aankh in Johri village in Uttar Pradesh, Taapsee Pannu has flown back to the bay to promote her next, Badla. The actor is also utilising the time to train in air pistol and rifle shooting for her sharpshooter act in the Anurag Kashyap production. The Tushar Hiranandani-directed venture sees Pannu and Bhumi Pednekar bring the story of Chandro (in pic) and Prakashi Tomar - the country's oldest women sharpshooters - on celluloid.

The actor says her mornings begin with rounds of shooting at the Maharashtra Rifle Association Range in Worli, under the tutelage of coach Vishwajeet Shinde. "I am training for four hours every day. My coach and I go to the shooting range every morning. We start with the details of the sport - how to hold the gun, the nuances and tricks as well as the safety measures."

Although she had learnt the basics of the sport before the first schedule commenced earlier this month, Pannu says the next leg will see Pednekar and her dive deep into it. "Shooting is not something that came easily to me. I was scared to even attempt this, but I chose this film to get over my mental block."

Often appreciated for picking up diverse characters, Pannu describes this as the "most challenging role" of her career so far. "Her life is far removed from what I have played so far. I have built her from scratch drawing upon my observations of her."

BOMBAY TIMES (April 13, 2018)

With the Ishaan Khatter-Malavika Mohanan starrer Beyond The Clouds, Oscar-nominated Iranian filmmaker Majid Majidi has taken the allure of Mumbai’s locations to a whole new level. Indian films have been capturing the scape of Maximum City for many years now, but Majidi’s penchant for art and aesthetic has done new wonders for Mumbai and its local places. These striking visuals of the city have been presented against the backdrop of AR Rahman’s soulful music, as the brother-sister story pans out with a strong Mumbai flavour. Here are six prominent locations where Majidi and his crew shot the film...


DHOBI GHAT
This is of one of the most iconic places in Mumbai. While one may have seen Dhobi Ghat as a backdrop in a number of Bollywood movies before, it has never been presented in such detail. The frame seems to tell a story of its own, offering an exhaustive look of the everyday life of common Mumbaikars. This is one of the most prominent locations in the film and interestingly, it’s also the place where the look-test for the female lead, Malavika, was conducted.


VERSOVA VILLAGE
One of the most beautifully-shot chase sequences of the film was captured here. The narrow by-lanes of the area, crowded with people and bustling fish markets, made for an exhilarating sequence. It was tough to shoot here, given the limited space for camera movement, but Majidi, along with his cinematographer Anil Mehta, managed to bring the soul of the place alive.


SEWRI JETTY
This visual captures one of the most stunning scenes in the film. It was strategically shot in the month of February, when flamingos flock the shore of Sewri every year, just for a few weeks. Interestingly, the shot also took a few days to capture, because everything depended on the arrival and departure patterns of the birds, a fact beyond the control of the crew. Modern technology has allowed filmmakers to compose such frames digitally, but Majidi chose to capture the real shot instead of using VFX. He wanted to capture the beautiful pink birds and their elegant movements in their natural environment. So, the filmmaker waited patiently to get the right shot.


SASSOON DOCKS
The first ever schedule of the film was shot at Sassoon Docks. This lesser-explored part of Mumbai lends a unique character to the narrative. The essence of the coastline, the grey sky and the contrast of white hues create a compelling and artistic atmosphere. The colourful boats add a tinge of vibrance to the frame.


MAHIM PIPELINE
This image marks the opening visual of the film. In many ways, it’s reflective of the journey — the path one needs to take in life to see what the future has in store. The visual of a straight path, flanked by the pipelines and mangroves, makes a striking impact on first sight. This frame showcases the proverbial ‘road less travelled’ thought with élan.

WORLI KOLIWADA
A prominent shooting location for Beyond The Clouds, it also became a subsequent venue for one of the film’s promotional events. A large chunk was shot here with the help of local residents. Worli Koliwada is tucked away like a mini fortress in the middle of tall skyscrapers and the magnificent backdrop of the Bandra-Worli Sea Link. The sheer contrast of Mumbai can be viewed here — the lines between a glittery skyline merging with the sombre dark slums. You can trust a filmmaker like Majidi to bring out the ethos of the city in a single movie frame.

After Miami, the second Bang Bang film returns to Mumbai after plans for Malaysia and Thailand schedules fell through
Natasha Coutinho (MUMBAI MIRROR; September 14, 2016)

Mirror had earlier reported (September 8) that the next schedule of the second Bang Bang film, Reloaded, had been shifted from Malaysia to Thailand after the team failed to get shooting subsidies.

Now, we hear the international schedule has been scrapped, and the team will resume shooting in Mumbai's Worli village from early next week. "We begin rehearsals towards the weekend. Some hi-octane car chase sequences will be filmed, including one featuring Sidharth (Malhotra) and Darshan (Kumaar; pictured on right) whose car gets stuck between two buildings. They play cadets being mentored by Suniel Shetty, an ex-colonel. After plans to shoot in Thailand fell through due to budgetary constraints, the team felt that Worli village was perfect location for the shoot," a source from the film's team told Mirror, adding that the month-long schedule in Miami was all about the romance between Sid and his leading lady, Jacqueline Fernandez. A major chunk of action sequences will be wrapped up in this Mumbai schedule after which Fox Star Studios will decide if or when the shoot will move to international locations. Thailand and Europe are reportedly still on the cards.

The film's spokesperson chose not to comment.

Gaurav Dubey (MID-DAY; September 10, 2015)

In July this year, multi-Grammy winner Chris Martin’s surprise visit to a New Delhi café followed by an impromptu gig caused a social media meltdown. What if we tell you that the musician is in Mumbai along with his entire Coldplay team? According to some sources, the British rock band is here shooting a music video.

Says a source, “The band will be shooting in different parts of the city for their latest video, which will have something special for their Indian fans. They landed in Mumbai on Tuesday night and will be here just for a couple of days. Their upcoming video will have something special for their Indian fans.”

Another source reveals all four members of the band — Martin, Jonny Buckland, Guy Berryman and Will Champion — shot a Holi sequence in Worli Gaon on Wednesday, adding: “Their trip is being kept as discreet as possible because they want to steer clear of the paparazzi.”

Till date, the alternative rock band, which was formed in 1996, has never performed in India and this is also the first time that the entire team is in the country.