Iconic — the adjective doesn’t just describe the body of work, but the man behind it as well. Filmmaker-host-actor Karan Johar, in a candid chat on The Right Angle with Sonal Kalra, talks about everything under the sun — his upcoming films and the underworld threat looming large over the film industry to the rumours around a possible comeback of a much-loved film. Excerpts

There is no Kabhi Khushi Kabhie Gham 2 (K3G2), and there is no derivative of Takht being made. I’d never make a K3G2. I’m not saying K3G was the best film ever made, not at all. Every film has its flaws, but what K3G has in abundance is nostalgia. Generations have grown up watching that film — for what they’ve loved, what they haven’t, what they’ve cried about and laughed with. They love the movie, and I’m very grateful to the universe that I got to create a film that still lives on. I would never mess with that nostalgia or the love the film has, because you’re setting yourself up for disaster when you make a film like K3G2. So yes, the absolute truth is there is no K3G2.

A much-in-love couple’s world comes crashing down when the girl is diagnosed with a memory loss condition. She goes missing one day, and the musician hero uses a song to find her.

This is not just the plot of Mohit Suri’s directorial Saiyaara (2025), but of the 2019 YouTube short film Khwaabon by Amit Jadhav. These glaring similarities are the basis of Amit’s allegations of plagiarism against the makers of the Ahaan Panday-Aneet Padda starrer, made in a now-viral Instagram Reel.

Talking to us, Amit, an actor, singer, and filmmaker, shares that he was about to convert his short into a feature film. “I had got producers, too. We were going to shoot in 2025, but then Saiyaara happened and everything got derailed,” he shares, adding, “I went into depression and one day, when sloshed, I almost committed suicide. But my parents saw me and stopped it from happening.”

Amit says that the entire ordeal dates back four years. “I had tried speaking up about this last year, too. In 2022, I received an Instagram DM from YRF Talent (a division of Yash Raj Films, which produced Saiyaara) about getting in touch with me. I asked which project they were reaching out for, but they did not respond. I did not know anyone there, nor had I given any auditions.”

After the release of Saiyaara, Amit’s friends pointed out the overlaps. “My friends said, ‘Tera toh story same tha’. I was shocked. I tried reaching out to them, even going to their office, but my friends told me they won’t entertain me... I wrote YRF two mails seeking clarification, but got no answer.”

When asked if he got his story or script registered, Amit admits that he did not. “I am a part of the Screenwriters’ Association, but I did not get the story registered in 2019 because it was a short film and out on a public platform as proof,” he says.

Now, all he is seeking is acknowledgement: “I should get some credit. Or maybe I can be cast in a role in some project. That’s all I am seeking.”

We reached out to both Mohit and YRF for comment on the matter, but did not receive a response till the time of going to press.

Sometimes talent is not the only factor; you need to be at the right place, at the right time. Janki Bodiwala, who plays a cop in Rani Mukerji’s Mardaani 3, will vouch for this. The actor was on a day trip to Mumbai and it surprisingly ended with her bagging the cop fare.

“I had gone to Mumbai for some other work. That very day, I got a call from Shanoo ma’am [Sharma, casting director], who asked me to audition for a part. I went [to YRF Studios], she helped me prepare, and then auditioned me. Later, when I was returning to Ahmedabad, she called and said that the [makers] had liked me and wanted me to come back. I thought to myself, ‘I had gone for some other work and now I’m doing a YRF film’,” she marvels, still surprised at how it all panned out.

If Bodiwala starred with Ajay Devgn in her maiden Bollywood film Shaitaan (2024), her second outing saw her rub shoulders with Mukerji.

“For the first two-three shots, I was quite nervous. But your co-actors’ energy helps you. She was so involved in her character that it set the tone on the set,” she says.

Off set, she saw a completely different side to Mukerji. “At the mahurat puja, she was there with her family. She was exactly how we are with our families. There was no hint of her stardom.”

A still from Madgaon Express, which was Kunal Khemu’s first writing credit for screenplay; (right) YRF’s Mere Brother Ki Dulhan launched writer Ali Abbas Zafar

It was an announcement from Yash Raj Films, asking writers to send in scripts to their submission portal. Innocuous enough, until a clause screenshot from the YRF website found its way to social media, with a post titled “This is wrong on so many levels.” Soon enough, WhatsApp groups were buzzing, setting off alarm bells among film enthusiasts.

The clause reads as if it was from a dystopian contract: “Any submission, solicited or unsolicited, shall become the property of the production house unless there’s a prior written agreement, and may be exploited in any way at YRF’s sole discretion.” The fine print went on to state that those submitting their work would not be entitled to “any compensation, credit, or notice”.

What made the post blow up was its reference to YRF’s announcement just days earlier of the submission portal, “Script Cell”. 

We reached out to YRF for a clarification; however, they only issued a public statement claiming that the viral clause was not part of its Script Cell terms but from a separate disclaimer (now removed) on their website. 

However, screenwriters say such clauses are not unheard of. Contracts often support producers more than the writers. Independent screenwriter Sailesh Ramaswamy lists some examples, including the credit clause, which gives credit as per the producer’s or platform’s (in the case of OTTs) discretion. “Earlier, we used to be able to push back. Back in 2019, 2018, and 2020, I signed contracts where I had put in clauses that my name would be on the poster. We have regressed from there,” he says. 

 

The second big thing, Ramaswamy says, is the shift in the payment structure. Contracts are now being structured to pay writers only 40 to 50 per cent for the final draft, and the rest in parts. Ramaswamy adds, “At times, if the writer has insisted on a buyback clause, successful producers want writers to buy it back at 40-50 per cent more than the price that they paid you for writing it.” In many contracts, payments are also tied to draft approvals: 20 per cent on the first draft, another 20 per cent on the second, and so on.

While Ramaswamy has more examples that even established writers struggle with, we wonder if it is even logical to submit scripts via a portal. 

How do new writers, looking to get their foot in the door, even navigate this system? “I feel that script submissions done without knowing the person to whom you are submitting are not that useful,” says Sudeep Nigam, screenwriter and creator. 

Instead, Nigam recommends pitch festivals, like the one organized by the Screenwriters Association (SWA), as better platforms to bring new scripts forward. 

In the real world, where young writers have little to no bargaining power, you can’t depend only on luck. “Over the last five years there has been a lot of chatter around writers’ rights, and we want to push that discourse forward. The Writers Guild of America (WGA) strike in 2023 gave us a lot of momentum. It’s still not equitable, it’s still not great bargaining power. But at least there is chatter and there is fight,” says Nigam. 

But why is credit and compensation even a question? Anu Singh Choudhary, a screenwriter who has recently transitioned to being a director and producer, says that the Copyright Act in India is strong, but it gets murky as “filmmaking is such a collaborative idea”. “At what point is a director’s voice or a producer’s voice giving input? When you have submitted your script and then they come back with feedback or “notes” and they are making it supposedly their own, does that make the material theirs? Therefore, I feel a basic minimum contract is important to have. We are only fighting for that,” she says. 

The SWA, for some time now, has been working on standardizing writers’ contracts that cover fair compensation and credit with a Minimum Basic Contract (MBC). “The ecosystem is changing, and there is pushback now. Therefore, my advice to young writers is that before they sit at the negotiating table, they should be ready to walk away,” says Anjum Rajabali, a veteran screenwriter and senior activist of the Screenwriters Association. 

Despite tug-and-pull, the MBC has made progress, but as Rajabali says, the contract will ensure “more vulnerable writers are protected.” 

In the meantime, what can writers do at an individual level? Riya Rajkumar Sharma, counsel at AM Sports Law and Management Co, who handles gaming, media, and entertainment law, explains: “When writers submit a script on a portal, they often consent to its exploitation in line with the portal’s terms and conditions. If they’re not careful, they may inadvertently surrender all ownership and rights, including derivative rights [ie, the right to create new works based on their original material]. Moreover, when writers share their ideas through such portals, they usually have little to no bargaining power. It is therefore crucial to understand the implications of any submission. Everyone should carefully read all terms and conditions before uploading or sharing their original work on any platform.”

Sharma further clarifies that there is no intellectual property in an idea itself. “What I mean is that an idea, by itself, is merely a concept. It gains protection only when expressed in a tangible form, for example, as a written script or a painting. The intellectual property rights lie in that expression, not in the idea alone,” she adds.

Nigam also emphasizes the need for writers to speak up, instead of simply complaining about it on social media. “The more they speak up, the better it is for the entire ecosystem to not allow for this to happen. Most writers are fearful, and that’s where the problem lies. At SWA, we have a dispute settlement committee, which is specially designed just to do this. We handle over 500 cases in a year, and we have the capacity to handle even more,” he says. 

Would it then help if copyright and IP law were taught as a module in film schools? It would, says Anu, adding, “Also, the art of negotiation. We can all benefit from this and learn not just our rights, but also a producer or studio’s perspective.”

Naturally, coming together as a community is crucial to this cause. Anu says that young writers should constantly check with each other on what kinds of terms and conditions one is agreeing upon. She says that trusted whisper networks do exist, and writers usually compare notes and red flags before signing projects. There is a flipside, though.

“Unfortunately, there is such tough competition and such little work that we end up taking these exploitative contracts only because everybody needs work,” she says, adding that “the responsibility of advocacy at various levels then falls on senior writers, which means constantly talking and creating awareness. And if there are red flags, let the community know. Be, in that sense, champion of the other writers. All this while, this ecosystem has really thrived on a lack of unity between the writers.”

Rajabali echoes this, “If writers stand united… collective bargaining is very strong.”

Mumbai: Bollywood is set to pack its bags for Britain again. In a shot in the arm for UK-India creative collaboration, UK Prime Minister Keir Starmer announced in Mumbai that Yash Raj Films (YRF) will start work on three major productions in the UK from early 2026, a move expected to create over "3,000 jobs and boost the British economy by millions of pounds".

Starmer made the announcement on a visit to Yash Raj Studios, which marks 20 years of operations on Oct 12. He was accompanied by a delegation representing film powerhouses such as the British Film Institute, British Film Commission, Pinewood Studios, Elstree Studios, and Civic Studios.

Starmer spent time touring the studio - meeting actor Rani Mukerji, sitting in for a short screening at YRF's private auditorium, chatting with technicians, and even trying his hand at the studio's console board. Mukerji is wife of YRF chairman Aditya Chopra.

"Bollywood is back in Britain, and it's bringing jobs, investment and opportunity, all while showcasing the UK as a world-class destination for global filmmaking. This is exactly the kind of partnership our trade deal with India is destined to unlock-driving growth, strengthening cultural ties and delivering for communities across the country," said Starmer.

The UK PM's two-day visit to Mumbai comes as part of his first major trade mission to India, following the landmark UK-India trade deal signed in July. The trade deal is meant to lower tariffs on British goods, improve market access and raise bilateral trade by £25.5 billion a year, with UK exports projected to grow by nearly 60%.

The 125-member delegation accompanying Starmer includes CEOs, entrepreneurs, vice-chancellors and cultural leaders, marking the largest UK govt trade mission ever to India. Among the companies represented are Rolls Royce, British Telecom, Diageo, the London Stock Exchange, and British Airways, alongside growing SMEs and start-ups from across the UK.

An MoU between the British Film Institute and India's National Film Development Corporation is also proposed to encourage co-productions and sharing of resources.

Culture Secretary Lisa Nandy who visited India earlier this year said, "Partnerships between Bollywood and British studios make complete sense for our Creative Industries Sector Plan."

The potential is huge. Oscar-winning Slumdog Millionaire, made on a £12m budget, generated around £300m for the UK economy.

For YRF, the return to UK will mark the end of an eight-year hiatus in filming there. It also celebrates 30 years of Dilwale Dulhania Le Jayenge (DDLJ), the cult romance that spanned England, Switzerland, and Punjab's mustard fields. "The UK holds a very special place in our hearts," said YRF CEO Akshaye Widhani.

Widhani added that the company is currently producing Come Fall In Love, an English stage adaptation of DDLJ, in the UK. "So, we are thrilled to join hands with UK again... and discuss how India and UK could come together to push the content landscape globally..."

Shaan R Grover belongs to that rare breed who is happy that his social media, over the past few days, has been flooded with hate messages. To the actor, it’s proof that his negative turn in Saiyaara has hit a chord with the audience. “Boys have been messaging me that they hated my character, while girls are leaving comments that they loved my performance. I’m happy people are showing love for my work, even if it’s through hate messages,” laughs Grover, who plays Aneet Padda’s former boyfriend in the love story.

Mohit Suri’s directorial venture, which serves as Ahaan Panday and Padda’s Bollywood launchpad, also marks Grover’s first Hindi film. If things were different, he would have debuted years ago with another Yash Raj Films’ (YRF) offering.

“I had auditioned for Mardaani 2 [2019], but I didn’t get through. I’ve had a long connection with YRF as I was a part of Shanoo Sharma’s casting team from 2016 for a year. After seeing my dubsmash videos, she felt there was something special about me. So, she trained me for a year.”

Around that time, Grover first met Panday, both unaware that they’d go on to share screen space. What bound them was their love for Hindi movies and Shah Rukh Khan. He recalls, “I remember both of us saw Jab Harry Met Sejal [2017] on the first day, and we spoke about it for three-four hours. I love Ahaan. He has given a brilliant performance because he is a Hindi movie keeda.”

Music is at the centre of director Mohit Suri’s Saiyaara, which follows the love story of an upcoming singer and a songwriter. When creating the soundtrack, the composers and the director were certain that they wanted Shilpa Rao to voice Barbaad. Now, with the song of the Ahaan Panday and Aneet Padda-starrer having recently released, the singer says she has been flooded with messages.   

“Music, for me, has always been about connecting with people’s emotions. Singing the female version of Barbaad allowed me to explore a different emotional perspective. I’ve been receiving so many messages from people saying they’re moved by the song, feeling heartbreak through it, even when they haven’t gone through one themselves,” says Rao. 

For the singer, working on Barbaad felt “like home” as she previously worked with the banner, YRF, on the chartbuster Besharam rang from Shah Rukh Khan’s Pathaan (2023).

“Mohit pushes me to go deeper. He knows how to bring out that raw, aching side of my voice. With YRF, there is an unspoken standard. After Besharam Rang, I knew I had to up my game. Barbaad is more stripped down, and that makes it powerful.”

Even though a ceasefire is in place between India and Pakistan, the after-effects of the military conflicts can be felt across the board, including in Bollywood. The buzz in the industry is that several high-profile projects are being reviewed or undergoing significant rewrites to remove any references to Pakistan from their scripts.

Among the first to be impacted is Kajol and Prithviraj Sukumaran’s political thriller Sarzameen. The team is now reworking key sequences. “The film never explicitly made a reference to Pakistan, but it’s set in Kashmir, and certain scenes were interpreted as politically sensitive in the current climate. They were to release the film on May 30, but now, they are redubbing some parts,” said a source close to the production.

Another movie that must determine how to navigate the situation is Sunny Deol’s Lahore 1947. Sources shared that Rajkumar Santoshi’s directorial venture, centred on a Muslim family relocating to Lahore after Partition, is being internally reviewed.

An insider said, “The film is in sharp contrast with the sentiment of the nation and is being re-looked at. The team needs to decide how to make it work without compromising the story or being insensitive, given the current situation.”

Pathaan (2023) and Tiger 3 (2023), the last two offerings from Yash Raj Films’ spy universe, had prominent characters hailing from Pakistan. For their future films, we have heard that many writers will take a cue from Pathaan, where John Abraham’s antagonist Jim creates his own terrorist network with no links to any country. “The approach is to shift focus to shadowy terror networks and rogue agencies without geographical identifiers,” said a source.

When mid-day reached out to YRF amid rumours that their upcoming films, War 2 and Alpha, are being reviewed in light of recent events, the spokesperson said, “There is no truth to any of these claims floating. Alpha, War 2, and Pathaan 2 have no Pakistan connection. War 2 and Alpha have already been shot and there are no changes being made because there are no changes to be made. Tiger is an Indian spy, Zoya is married to an Indian spy. So, there is no question of the [Tiger] franchise being in any uncertainty.”

Not all movies with a war backdrop are under the scanner, though. Sanjay Leela Bhansali’s Love & War — starring Ranbir Kapoor, Alia Bhatt, and Vicky Kaushal — remains untouched. A trade analyst explains, “Bhansali has positioned his story in a timeless, almost mythical space. The film is set between 1960 and 1965, with the wars serving only as the backdrop. The love story takes centre-stage.”

A day after Pakistani actor Mawra Hocane was removed from Sanam Teri Kasam’s (2016) cover on music apps, Mahira Khan has met the same fate with Raees (2017). The cover of the film’s album on Spotify now features only Shah Rukh Khan. Meanwhile, the music of Fawad Khan’s Abir Gulaal has been pulled down from Spotify and Apple Music.

Hiccups are a given when making a big-budget actioner. Just in March, Hrithik Roshan suffered a major injury while shooting a dance sequence with Jr NTR for the Ayan Mukerji-directed War 2. The accident stalled the shoot for over a month. While Roshan is on track for a speedy recovery, the director recently canned a brief patch sequence near Mazgaon Docks with the rest of the cast.

“The patch shoot was carried out with body doubles and junior artistes. Hrithik is still in recovery, undergoing regular movement training and physiotherapy,” reveals an insider. The source adds, “He’s expected to resume filming towards the end of April once he gets a go-ahead from his medical team.” 

Mukerji is working closely with the team to restructure the remaining schedule around Roshan’s recovery. “Ayan’s back with a laser focus,” shares the source.

Since the delay in March, Mukerji and his team have used the downtime to lock post-production on the completed portions and fine-tune upcoming sequences.

A source says, “The makers are confident about wrapping the film by May. There’s a tight turnaround ahead, but YRF [Yash Raj Films] is used to managing massive schedules. Hrithik is being monitored closely, and the dance scenes will resume only when he’s 100 per cent fit. The film will be released as scheduled on August 14.”

In 2012: Before filming Krrish 3 (2013), Hrithik Roshan had a double slipped disc—so much so that filmmaker-father Rakesh Roshan considered dropping the film entirely.

In 2013: Hrithik Roshan suffered a head injury while performing stunts for Bang Bang (2014), which resulted in a subdural haematoma (a blood clot in the brain).

In early 2016: While shooting for Mohenjo Daro (2016), Hrithik Roshan sprained his ankle, tearing two ligaments, during a hand-to-hand combat sequence.

There has been heightened interest in Kartik Aaryan and director Anurag Basu’s yet-untitled film ever since it was announced—from speculation around its title, to the guessing game about the leading lady. Just as the Aaryan and Sreeleela-led romantic musical went on floors in Film City last week, we heard something interesting about it.

Industry insiders have told us that the film’s plot is similar to director Mohit Suri’s next with debutant Ahaan Panday. Each movie traces the journey of an aspiring musician, who eventually achieves stardom.

Last week, we reported that Suri’s project, backed by Yash Raj Films, is nearing the finish line (End it with a banger, March 1).

A source reveals, “Mohit’s film will be wrapped up by the first week of April whereas Anurag’s romantic musical rolled only a week ago. It has been announced as a Diwali offering. Although producer Aditya Chopra has yet to announce his film’s release, it will certainly hit the screens before the festival.”

That would be a disadvantage for Basu, given the rumoured similarities between the two stories. The source adds, “The commonality has surprised people in the film industry. In Anurag’s movie, Kartik plays a musician, who encounters heartbreak on his journey to becoming a famous rockstar. Mohit and Ahaan’s movie too deals with the same themes.”

Interestingly, Basu and Suri are products of the Bhatts’ school of filmmaking, having made their debuts with Saaya (2003) and Zeher (2005) respectively.

Another source says, “Both movies may have a musician’s love story, but that theme can be explored in so many different ways. The two directors have been in touch over the years and must have consulted each other so that their stories do not overlap.”

Music plays an integral role in Mohit Suri’s movies, from Woh Lamhe (2006) to Aashiqui 2 (2013). It’s true of the director’s next as well, which is being produced by Yash Raj Films and marks the Bollywood debut of Ahaan Panday. We’ve heard that over the past week, Suri has been shooting a music festival sequence with 1,000 background artistes at Vrundavan Studios in Malad.

The sequence sees Panday’s character performing on stage as the crowd sways to his music. Leading lady Aneet Padda, who was seen in Big Girls Don’t Cry (2024), too is part of the set-piece.

A source reveals, “The set-up is massive—pulsating lights, LED screens, smoke machines, and a roaring crowd of over 1,000, all moving in sync to the music. Mid-performance, Ahaan’s character is seen jumping off the stage and wooing the audience. Suri, who has a keen eye for music-driven storytelling, has tried to capture the electric energy of a music festival.”

The sequence will be wrapped up by the weekend, and with it, the yet-untitled movie will reach the finish line.

When production house Yash Raj Films approached Robin Behl to help Sharvari prep for their spy film, the brief was simple: She needed to look sexy, and strong. Knowledge around fitness science may be available in abundance, but Behl admits that the notion that strong women inevitably acquire a masculine physique, is still propagated. Sharvari, however, had spent enough time under the barbell to know that the claims had no merit.

“She had to be extremely fit because she was set to pull off many action sequences both with and without weapons. Since she was already undergoing action training for three hours, my job was to cater to the aesthetics. So, of course, strength training became a major component of our routine, but, because she needed to look athletic, I didn’t want her body to appear stiff on screen.”

In a bid to “introduce fluidity in her movements”, Behl included handstands, body-weight exercises, and mobility drills into her routine. Often, they’d indulge in a bout of boxing.

“All of this ensured that while she stayed active, her range of motion wasn’t compromised. This relates to both physical and mental [agility]. When you introduce something different into your regimen, you force your nervous system to adapt. If you continue to do the same movements, [the mind] stops learning. Of course, we had to repeat movements to help her build strength in certain muscles, but we had to also switch them often to keep her [at the edge]. This was also essential given the role that she was playing,” he says of the actor, who pairs up with Alia Bhatt for the film titled Alpha, and touted as the production house’s first female-led espionage thriller of the spy universe.

Behl has previously been credited for enabling Adarsh Gourav prep for the role of a fitness trainer in Kho Gaye Hum Kahan (2023). And while the trainer had opined that he was getting the actor physically ready for the film, he was amused to see his mannerisms unfold on screen when the movie released.

“I noticed that Adarsh had also picked up [nuances], like the way I walked or spoke, and it was interesting to see that.” Having seen Gourav at work, he wanted to expose Sharvari to a similar situation—one where she could experience, first-hand, how athletes move.

“That’s why I took her to meet my teacher, Carl Varel, who is Asia’s number six Brazilian Jiu Jitsu [expert]. I wanted her to experience the grappling, clinching and take-downs [associated with the sport], and see how they move.”

Sharvari’s training involved a whole lot of everything. “We did a lot of running bouts with her. But, instead of asking her to run at one pace for a long time, we included variations, like [interval training]. To improve her adaptability, we made her run bouts that varied from two to six kilometres. Often, we’d run in the heat at noon, or early in the day at 6 am. Strength training was included. She’s incredible with her pushing movements and could execute push-ups and parallel bar dips. Gradually, we started introducing a lot of balancing work into her routine. Because I have prior experience with forms like Kung Fu, we’d have her train with sticks. The idea was to make her comfortable with how [an athlete] moves, and to build familiarity with the choreography. I am a blue belt in Brazilian Jiu-Jitsu, so, I added that into her regimen because combat will be involved in her scenes.” 

A major chunk of his sessions with Sharvari may have concluded, but Behl still seems to be in awe of her ability to meet his challenges. Ask him if she found it tough to keep up with the day-long training sessions and he says, “I found it tough to keep up with her.”

“She wouldn’t stop. After a one-hour-20-minute routine, when I am wrapping up, she’d ask me what’s next. She’d walk in saying she had two hours to train, and I’d have to tell her that I did not. Usually, I take a while to acquaint myself with an actor’s abilities in the gym, but, with her, we could pick up the pace in as little as two weeks. It was due to that effort that she could shave off nine per cent of body fat [in five months].”

Ahmedabad: The Gujarat High Court on Tuesday extended its stay by one day on the release of “Maharaj”, the debut film of Bollywood star Aamir Khan’s son Junaid, which was slated for release on Netflix last week.

Justice Sangeeta Vishen extended the stay as the arguments on the applications for removal of stay by Netflix and Yash Raj Films will continue on Wednesday.

The court had stayed the release of the film last Friday on a petition filed by eight members of Pushtimarg sect, claiming that the depiction of 1862 Maharaj Libel Case and projection of observation by the British judges might cause public disorder and disenchantment with the sect and faith because the case was based on a journalist Karsandas Mulji’s articles on a Pushtimargi Jadunath Maharaj’s sexual liaisons with female devotees.

In defence of the film’s subject, the lawyers of the OTT platform and the film production company cited legal battles involving Bandit Queen, Padmaavat, Gangubai Kathiawadi and Faraaz to assert freedom of expression.

For Netflix, senior counsel Mukul Rohatgi argued that the petitioner’s contention about inaction by the govt authorities to address their grievance was absurd because they made representation at the last moment and hence the cause of action is “contrived and artificial”.

The film received a certificate from the Central Board of Film Certification in May 2023 despite it not being required for its release on an OTT platform. The senior counsel argued that the petitioners claimed to be prominent businessmen of Ahmedabad and they did not seem aware of a book on this subject published in 2013, which did not cause any public disorder. Staying the film causes a lot of problems for the filmmakers, he submitted.

He added that it is based on legal history and whether one likes it or not, history does not change.

For the film company, senior advocate Shalin Mehta said the film does not depict the judgment. “The judgment is not read. The trial is depicted, but not the judgment. The petitioners have a problem with the judgment,” he submitted.

Ahmedabad: The Gujarat High Court on Thursday restrained OTT platform Netflix from releasing the movie “Maharaj” which features Junaid Khan, the son of Bollywood star Aamir Khan, based on objections raised by members of a religious sect called Pushtimarg. The film was to be released on Friday.

Eight members of the Pushtimarg sect, who are devotees of Lord Krishna and followers of Vallabhacharya, approached the HC alleging that the film is apparently based on the famous Maharaj Libel Case of 1862, and is likely to affect public order and incite violence against followers of the sect and the Hindu religion.

The petitioners contended that the Maharaj Libel Case, which was decided by a court during the British era, castigates the Hindu religion and makes seriously blasphemous comments against God and devotional songs and hymns.

Their senior counsel submitted that reference has been made to excerpts from the court’s judgment that contain scandalous and defamatory language, which affects the Pushtimarg sect as a whole. The possibility of inciting violence itself is in breach of the ethics and codes governing the release of such visual content.

It was also submitted that considering the reach of an OTT platform such as Netflix throughout the world, it would be impossible to rectify the image of the sect once tarnished by the film. Its release would cause an irreversible situation, whereas a stay on the release will only result in small financial losses.

The lawyer also argued requests were made by the petitioners and other groups to the authorities, filmmakers and OTT platform, but they did not get any response from the authorities or the OTT platform, whereas the filmmakers gave them a cryptic reply.

The producer of the film, Yash Raj Films Pvt Ltd, maintains secrecy over the content and this itself is a reason to draw an adverse inference.

On the argument that the movie is likely to hurt religious sentiments, Justice Sangeeta Vishen stayed Netflix from releasing the movie on Friday. The HC issued notice to the authorities concerned, the film production company and Netflix, and posted the next hearing for June 18.

The Maharaj Libel Case was a trial in a Bombay court against journalists Karshandas Mulji and Nanabhai Rustomji Ranina after they were sued for defamation for public accusations that religious leaders of the Pushtimarg sect had sexual liaisons with women devotees. The court ruled in favour of the journalists.

For someone who shot to fame in the Telugu film industry with her debut offering Arjun Reddy (2017), Shalini Pandey’s Bollywood journey hasn’t been what she expected. The actor’s maiden Hindi film, Jayeshbhai Jordaar (2022) opposite Ranveer Singh, had all the makings of a dream launch, but had an underwhelming run. She admits it left her “heartbroken”.

“Some people liked the film, some just didn’t—as simple as that. I cried for many days. It was a big deal for me to be part of a Yash Raj movie, to have a co-actor like Ranveer and to work with the best cast and crew. I don’t come from a film family. I didn’t know it would break my heart so badly. I was not prepared for it,” says the actor. However, she views this experience as a crucial lesson. “When I look at it now in retrospect, it let me loose [and I realized] that nothing is in my control.”

With this learning, Pandey is moving forward to her upcoming projects. She has a big-ticket film in Maharaj, which marks the debut of Aamir Khan’s son Junaid. Director Siddharth P Malhotra’s period drama is based on the 1862 Maharaja Libel Case. Does she fear being sidelined as the focus would be on Junaid?

“I don’t think I will [be sidelined]. When you see the film, you will know that everyone is important. I can’t say anything about my character right now.”

The actor views Maharaj as a project that brought her new experiences every day, as she worked with a first-time actor in Junaid as well as with senior artistes.

“Junaid is a sweet supporting co-actor. He is a very hard-working human being so much so that sometimes he works a little too much so I had to tell him that he had to slow down a bit. Technically, it was one of the best teams I worked with. I’m a curious person, who is all over the place wanting to know [how things work]. I got to work with DoP [director of photography] Rajeev Ravi sir. His lighting sense amused me, and I have now learned the science behind it.”

The actor also has a Prime Video show and a Netflix offering in the pipeline.

Mumbai: After nearly five years of investigation, Economic Offence Wing (EOW) of Mumbai police has closed a cheating case registered against Yash Raj Films for allegedly pocketing over Rs 100 crore in royalties belonging to lyricists, singers and musicians who performed in their films since 2012.

The police have classified the case as ‘C’ summary, which means it is neither true nor false. This occurs when a criminal case is filed due to a mistake of facts or when offence complained about is of civil nature, making the information given to police is neither true nor false.

EOW’s general cheating cell submitted the closure report before the court concerned last week, stating that there appears to be no misappropriation of money by the accused company.

The report mentioned, “The complainant had alleged that YSF had taken the licence fees from the user company/ exploiters company for songs in the agreement letter or received royalty in another way and they have used it for personal use which is not true. Also, during the course of investigation, it is seen that the amount of royalties paid by the accused company from time to time to songwriters and musicians who are members of the plaintiff have been received/accepted by the plaintiff company.”

The report further stated that the issue has arisen due to lack of clarity in the provisions of the copyright agreement regarding the calculation of song royalty amounts. This lack of clarity or commonality in the law or the provisions of copyright in India has led to legal cases pending in the courts. As a result, it does not appear that any cognizable crime like embezzlement has been committed in the said case. Terms and conditions of contract are related to civil matters, and therefore, court is requested to approve the ‘C’ summary report.

The case, filed by Indian Performing Rights Society (IPRS) in 2019, accused Bollywood production house Yash Raj Films of allegedly pocketing Rs 100 crore belonging to lyricists, musicians, singers, and music producers. IPRS alleged that the production house prevented it from collecting royalty from telecom companies, radio stations, and music streaming platforms by pressuring artists to sign illegal agreements.

On Monday, the Supreme Court said in a judgment that a film trailer is not an offer or a promise. A producer cannot be held liable for unfair trade practice if the contents of the promo do not feature in the actual movie. “A song, dialogue, or a short visual in a promotional trailer may be seen in the context of the multifarious uses of advertisements. These could be used to popularise or to create a buzz about the release of the film, rather than to purely represent information about the contents of the film,” a Bench headed by Justice PS Narasimha observed.

The SC held that there’s no deficiency in service because what was alleged in the complaint arose out of the complainant’s own expectation that the song would be a part of the movie.

“The fallacy in this argument is in assuming that a promotional trailer is an offer or a promise. It is under this misplaced assumption that the complainant has assumed that the subsequent formation of a contract to watch the movie is not in compliance with the promise allegedly made through the promotional trailer.” 

The Court observed that promo trailer not shown in the movie don’t amount to Unfair Trade Practice.

Film studio Yash Raj Films' revenue for the fiscal ended March 31, 2023, surged almost 2.5 times on-year to Rs. 1,508 crore on the back of Shah Rukh Khan-starrer Pathaan's superlative box office performance.

The company had recorded revenues of Rs. 619 crore in FY22, according to its regulatory filings with the Registrar of Companies (RoC).

"It's been one of our best years in our 50-year history," Akshaye Widhani, chief executive of Yash Raj Films (YRF), said about calendar 2023. "Our hits have been more than our misses due to our focused content approach," he told ET, referring to the performances of Pathaan and Salman Star-starrer Tiger 3, which was released in November.

Widhani refused to comment on the financials since YRF is a privately held company.

Global box office collections of Pathaan, which made its theatrical debut on January 25, and Tiger 3 stood at Rs. 1,100 crore and Rs. 480 crore, respectively.

Widhani said the five films in the YRF Spy Universe franchise have garnered close to Rs. 3,000 crore in the global box office.

The company's net profit for FY23 increased 10.3% to Rs. 117 crore, while expenses zoomed over 2.8 times to Rs. 1,375 crore, as per its RoC filing.

The surge in FY23 revenue and profit is despite the underperformance of Ranveer Singh's Jayeshbhai Jordaar, Akshay Kumar's Samrat Prithviraj, and Ranbir Kapoor's Shamshera last fiscal.

Widhani said the Indian film industry has bounced back in 2023 with highest-ever box office collections and addition of a record 250 movie screens. "The outlook for 2024 and thereafter is very positive," he added.

Fiscal year 2023 also marked YRF's foray into streaming with the launch of docuseries The Romantics on Netflix. The company this year produced a four-part thriller series, The Railway Men, which was released in November.

Kay Kay Menon had doubts about fronting The Railway Men, and for good reason. The actor had starred in Bhopal Express (1999), which was based on the 1984 Bhopal gas tragedy, the same subject that forms the backdrop of the Netflix series. What’s new here, he thought. That Yash Raj Films (YRF) was backing it made him all the more wary.

“The project’s casting director told me about The Railway Men. Since it is [produced by] YRF, one thinks the project might get into a mainstream zone. Plus, I had done Bhopal Express earlier. So, I was doubtful about [exploring the subject again],” recounts the actor.

This is where the power of the script, penned by director Shiv Rawail and writer Aayush Gupta, kicked in. “When I read the script, I was floored. I wanted to meet the person who was making it. When I met Shiv, I thought, ‘He’s a kid!’ But when he started speaking, I understood his approach to filmmaking, and when I saw the set, I was happy that I didn’t go by my instinct,” laughs Menon.

YRF Entertainment’s maiden web series—also starring R Madhavan, Divyenndu and Babil Khan—features Menon as station master Iftekaar, who risks his life to save people on the night of the gas leak. Since The Railway Men dropped online over the weekend, its lead actors have been earning acclaim for their compelling performances.

It’s not easy to hold one’s own in an ensemble drama. Yet, each actor shines bright in the limited series. Sure, it has much to do with individual talent. But Menon also attributes it to something bigger—their collaborative nature. He believes that any actor, who desires to create legacy work, can’t afford to harbour insecurity and must approach every project as teamwork.

“Sanskaar ki baat hai. I’ve never felt that I have to step into someone else’s space. The script and the project are greater than me. If that is accepted by the audience, all of us benefit. If that doesn’t happen, nothing else [works]. All of us have different parts to play [in the smooth functioning] of an engine, and if one starts to interfere with the other part, the engine will crash. So, we have to show professional maturity. This approach makes films last for posterity. Otherwise, it’s just a three-day business.”