Category Archives: News

world right now !!

Mahira Khan on working in Raees: ‘I used to wish I wasn’t such a big Shah Rukh Khan fan

Mumbai: Mahira Khana’s Bollywood debut film, Raees, which has not yet released in Pakistan, is being eagerly awaited by film buffs there, the actress said at a press conference.

Along with Shah Rukh Khan, Mahira the film’s leading lady, who couldn’t promote the film due to the ban imposed on Pakistani artists in India, joined in via video call on Friday .

Mahira Khan with Shah Rukh Khan in 'Raees'

The actress said: “Raees is releasing soon in Pakistan and believe me, everybody is waiting for the film just like people had waited all over the world and I believe that it is going to do amazing business here.”

The Humsafar actress shared how her family reacted to the film. “The big fear was people will come to watch the movie and hoot for Shah Rukh, not for me. When my family watched the movie, they were also screaming for him.”

“But the kind of response I received has been completely fantastic and I am very grateful,” she added.

Sharing the experience of working with Shah Rukh, Mahira, 32, said, “I was nervous as hell. Sometimes I used to wish I wasn’t a big Shah Rukh fan. It was scary but it got better, especially after we shot ‘Zaalima‘. Working with him is a dream come true. Nothing short of that.”

The actress who was seen grooving in the songs “Udi Udi Jaye” and “Zaalima” in the film, stated, “I’ve to rehearse a lot for the songs. The choreographers used to give me examples of the other great Bollywood actresses.”

Post release of the film, the Raees team is soon going to release another song of the movie which was edited to make short the length of the running time.

Kaabil box office collection: Hrithik starrer earns Rs 10.43 cr on Day 1

The stakes were high for Hrithik Roshan starrer Kaabil, when it opened in theatres across the world on Wednesday, 25 January.

Hrithik Roshan in 'Kaabil'

Not only is this a home production for the Roshans, it was also a chance for both director Sanjay Gupta (whose last film Jazbaa was not a success) and Hrithik (who had a box office debacle in Mohenjo Daro on his hands in 2016) to redeem themselves.

To complicate matters further, there was the high-profile clash with Shah Rukh Khan’s mass entertainer Raees that was bound to eat into the business Kaabil expected to do.

On opening day, Raees raced ahead  with a Rs 21 crore opening — as expected for the SRK starrer.

On the other hand, Kaabil scored a Rs 10.43 crore box office collection on Day 1.

An official statement released by the Kaabil team read: “Kaabil opened to 40 percent theatre share in multiplexes as well as a smaller share of the single screens yesterday. It collected Rs 10.43 crore on Day One… The film is expected to grow exponentially over the Republic Day weekend on the strength of the positive audience reactions.”

Trade website Bollywood Hungama reported that Kaabil‘s Rs 10+ crore opening has made it among Hrithik’s top-five day one earners, providing these figures for his films and their respective day 1 box office collections:

Bang Bang: Rs 27.54 crore

Agneepath: Rs 23 crore

Krrish 3: Rs 19 crore

Kaabil: Rs 10.43 crore

Kites: Rs 10 crore

Mohenjo Daro: Rs. 8.87 crore

As with Raees, the Republic Day public holiday and subsequent weekend will prove to be crucial for Kaabil‘s business as well.

Salman Khan acquitted in Jodhpur for Arms Act case: The actor has paid his dues ‘deerly’ let it go now

It would have been dead of old age by now.

That Salman and company shot the deer 18 years ago is pretty much an accepted truism.

Salman Khan. Image courtesy News18

The Jodhpur court ruling that Khan be given the benefit of doubt makes one wonder where the doubt is? Unless the chinkara died of fear or was so overwhelmed by the star’s presence the bullet wound in his body would have wiped out any doubt that it was slain by gunfire. Bullets have a funny way of leaving the barrel of a weapon and striking the target they were meant for. The slug can also be traced back to the weapon and through its rifling and the groove marks be 100 percent identified as to which weapon it was chambered into.

It took eighteen years to get to this point and underscore the doubt. Says very little for our justice system but in a nation where ‘shikar’ not so long ago was an accepted practice of the royals, the zamindars, the nawabs, the armed forces and the landed gentry and sundry VIPs the harassment and mental agony of 18 years certainly serves as a severe and undeserved penalty and punishment for this actor. Just the pressure of never knowing if you are going to be locked up and being shunted from town to town makes the dues paid for his crime paid in full and with pernicious interest.

We go into depression if a bank calls about an overdue credit card payment by a day. A missed EMI sends us into a panic.

For 18 years we hounded this man just to let him off the hook with timid dispensation.

The hypocrisy is astounding. And widespread. On the way to Shimla you pass a town called Solan. On one of the U turns one used to get the finest venison and partridge pickle in the world. It probably still is available even though to the chosen few.

The armed forces regularly shot down sambhars and cheetals for a bara khana (feast) for the brigade commander and they often used semi-automatic weapons fired into the herd. Plump black or brown partridge may be officially banned but are probably trapped and still served on executive and government officials’ tables. If fish was on the menu the use of a 90 grenade in a pond would stun a few dozen freshwater fish in a balloon of water caused by the explosion and also destroy the eco-system of that pond which probably took years to form.

No one thought anything of these exercises. From Jhansi to Gwalior to Jabalpur to the forests of Rajasthan to the foothills of Kumaon, Jammu Tawi and Udhampur, from Uttar Pradesh and Madhya Pradesh’s lush forests hunting was a sport.

You did not have to like it but it was a sport.

Even the laws are archaic. Shooting deer may be illegal but the nilgai which is now classified as vermin for the crops it destroys is running riot because of the security in its name. it is not bovine cattle, but belongs to the antelope family. In 2016 Bihar ordered wild boar and nilgai to be culled because of their nuisance. Woe betide anyone who might shoot a nilgai especially if it becomes a caste thing. Try explaining that National Geographic calls it an antelope when the lynch mob is stringing you up.

Certainly, a law was broken in Salman Khan’s case but you have to be particularly vindictive to think he should be punished further.

Eighteen years of harassment for suspected killing of a deer.

In a country where the walls of every lodge, every ‘bara sahib’ club, every armed forces ‘koi hai’ mess are covered with the heads and skins of wildlife this robbery of a man’s peace of mind is an injustice in itself.

Om Puri: His life, dreams, struggles and accomplishments in his own words

I used to work as a clerk at a government office in Punjab. I was paid a salary of Rs 600 per month. I decided to leave the job, and pursue a career in acting. I knew that irrespective of how I fared, I would do better than making six hundred rupees. So I quit the job. At the time, it was unheard of. Everybody wanted government jobs. I studied acting for five years, including a course at the National School of Drama (NSD) in Delhi, and only after I was certain that I had the requisite skill, I moved to Mumbai. But it took not less than thirteen years after I decided on pursuing a career in the film industry that stability finally found me.”

These are Om Puri’s words in an interview to me.

Om Puri had earlier sought bail after being accused of domestic violence. PTI

An internationally acclaimed actor, a Padma Shri recipient, one of the pioneers of the world of parallel cinema, a stellar performer whose versatility transcended borders – Om Puri, who breathed his last in his Mumbai home on Friday, bagged several credits during his celebrated career spanning over four decades. But behind the tales of glory was a man who, as per his own admission, had trained hard to acquire the skill he was distinguished for.

He had struggled hard to survive in Mumbai before the film industry let him carve his space.

My interaction with Mr Om Puri was on a morning in August, 2015. I was busy with research for my recently published book, ‘The Front Page Murders: Inside the Serial Killings that Shocked India.’ The book, which is the true story of a serial killer who would murder and hack Bollywood strugglers for wealth in Mumbai, 2012, required me to speak to film industry insiders about the Bollywood struggler life in Mumbai, their passion and its pitfalls.

My study took me to actor Om Puri, recipient of two national awards then, but a man of long-standing perseverance, his story barely told. Since I had been a senior crime correspondent with a leading national daily, availing Mr Puri’s mobile number through an entertainment journalist in the city was not a difficult task. But I knew that getting him to talk would be tricky. He was a Bollywoodwallah after all, and to journalists, no one has more dolled up egos than this breed of artists. I, however, was in for a surprise.

‘Haan ji,’ Mr Puri answered his phone.

After I introduced myself, inquiring if it was a good time to talk, Mr Puri informed that he was on his way somewhere, and would be happy to spare a few minutes. Pleasantly surprised, I rolled out my questions, and he gladly detailed.

Recollecting the time when he first moved to the city of slums and skyscrapers to chase his Bollywood dream, Puri said:

“I was 26 years old when I first came to Mumbai. I did not know anyone here except for actor Naseeruddin Shah. He was my senior at NSD. So upon reaching here, I went straight to him. He was living in a rented room then, and allowed me to stay with him for two weeks. We were sharing the room, but the landlady did not approve of it. I was staying as a guest, and wasn’t paying rent. So she took me out. Through a friend, Naseer then found a paying guest accommodation for me off Hill Road in Bandra. It was a bungalow, and I was given one room with only a cot, one almirah, a table, and a chair. That was 1976. I paid a rent of Rs 175 per month. One and a half years later, the landlady’s son got married. They wanted the room, and I had to move out.”

The veteran artist recollected that after leaving the bungalow, he approached a hostel in Bandra. However, the authorities were skeptical about letting him stay because they had a bad experience with an actor before, and didn’t allow accommodation to Bollywood aspirants anymore. Puri tried to convince them, saying that he wasn’t any other run-away in the city, whiling his time away, that he was extremely serious about his Bollywood dream, and was working hard towards it. But the hostel authorities wouldn’t budge.

I did not give up hope, and landed at the hostel every other week. I had to have a roof. Eventually, they agreed, and I stayed there for two years, sharing my room with another boy. Aakrosh released in 1981. The film was very well received by art producers, but it didn’t impress the film industry. I moved to several other places before Manmohan Shetty’s Ardh Satya was released in 1983. (Om Puri’s career took off with this film; he also won the National Film Award for Best Actor for this role.) Mr Shetty told me that he had a one-BHK flat lying vacant in Chembur, and that I should move there until I get my own place. Things were good thereafter – eight years after I moved to Mumbai, and thirteen years after I chose to pursue a career in acting.

During our conversation, Puri spoke extensively about how difficult the life of a Bollywood struggler is in Mumbai, how these men and women flock to the city with dreams of the silver screen, hopes of that one celluloid break, and how they end up getting exploited by men who have set up businesses only to cash on their innocent dreams.

Bollywood aspirants need to be careful about falling prey to criminal elements in Mumbai. They should only visit established offices, and not believe any random person who boasts of connections in the film industry. The struggler’s life is very difficult here.  When you come to the city with dreams of the film industry, the biggest problem is survival. Mumbai is an expensive city. When youngsters approach me for roles, the first thing I ask them is if they can afford staying in the city for at least a year without a stable income, if their families can afford it. If yes, they can go ahead and try their luck.

Talking about his own luck, Puri said that he had worked hard to turn fate in his favour.

“Bollywood aspirants usually come to this city, looking at people like us. And when they see someone like me, particularly, it gives them hope. They think ke yaar, Om Puri jaisa aadmi, jiske face pe daag hai, naak bada mota sa hai, Irfan Khan bhi koi aisa good-looking nahi lagta, agar yeh log kar sakte hai, toh hum toh inse better dikhte hai. (They think that if a man like Om Puri, who has spots all over his face, a fat nose, Irfan Khan is also not very good-looking, if they can make it, we are better looking than them.) But they don’t realise that we have worked hard to study acting before coming to Mumbai. I came here after training for five years.”

Although I haven’t spoken to the actor since this conversation, I know that he was proud of his eccentric looks, and his achievements in the face-obsessed film industry despite them.

“I have no regrets at all. I have done quite well for myself. I didn’t have a conventional face, but I have done well, and I am proud of it,” Puri wrote on Twitter a fortnight ago.

Masaan actress Shweta Tripathi is back in Haraamkhor: Why she stays away from ‘mindless’ films

Mumbai: Her maiden feature film Masaan made critics take note of her performance and actress Shweta Tripathi says she wants to stay away from “mindless” cinema where she is reduced to being looked upon as an object.

Shweta garnered rave reviews for the 2015 Neeraj Ghaywan film where she played the upper-caste lover of Vicky Kaushal’s Dalit character.

Shweta Tripathi. Image from News 18

The actress finds the cinema of Zoya Akhtar “commercial, yet not insulting your intelligence”, but does not understand mindless films.

“I dont watch the kind of cinema where people say leave your brain at home and watch. What is even that? I would never want to be treated as a prop, to be looked on as an object just because of my gender. That I am very sure about,” Shweta told PTI.

“If I am doing something which is making a difference in the story then Ill do it. But not because I am wearing certain clothes and doing nothing,” she added.

Though the National Award-winning Masaan became her first big release, Shweta had previously worked in the short film Sujata, part of Shorts — an anthology of five short films.

It was directed by Shlok Sharma, with whom she is now back with the latest Haraamkhor.

The film chronicles a relationship between a 14-year-old girl, played by Shweta and her tuition teacher, Nawazuddin Siddiqui, in a small town.

For the actress, the subject was never an issue and she insists she found out many cases like these once she started talking to people about this.

“It never worried me at all. But this happens everywhere. When I got out of my cocoon, I realised these are the stories which need to be told. I didn’t think it will run into any controversy, or it’ll have any problem with the Censor Board.”

The film, however, did run into trouble with the Examining Committee of Central Board of Film Certification (CBFC), which declined to pass the movie as the theme was “unacceptable.”

“When that happened, I used to call Shlok every now and then. More than frustrating, it was heartbreaking. When there was a meeting with the board, I went there even though I wasn’t needed.”

“When you are trying to do something right, tell an important story to the society without the intention of titillating, then you do ask ‘why us’? That moment came when the film was stuck.

Jolly LLB 2, Toilet, 2.0 and Pad Man: What Akshay Kumar’s slate of films looks like in 2017

Mumbai: On New Year’s Day on Sunday, Bollywood star Akshay Kumar shared with his fans his line-up of films for the calendar year, asking them for love and luck.

Akshay Kumar. File photo

He tweeted: “Busy summing up the year gone by? It’s time to not look back, but look ahead. Here’s what my 2017 looks like. Your thoughts, love and luck needed.”

The actor then went on to share the names of the films along with their photographs.

The first one is his upcoming courtroom comedy drama film Jolly LLB 2. Directed by Subhash Kapoor, the film also features Huma Qureshi and Annu Kapoor.

In the trailer, Akshay looks promising as a lawyer while he tackles the corrupt with some comical elements.

Toilet — Ek Prem Katha is the second. Directed by Shree Narayan Singh, it also stars Bhumi Pednekar and Anupam Kher, and is slated to release on June 2.

Then Akshay will be seen in Tamil science-fiction action thriller 2.o along with superstar Rajinikanth.

In the film, which is being directed by Shankar, Rajinikanth plays a scientist, and he will also be seen as Chitti robot. Akshay plays the prime antagonist in the film, which will hit the screens worldwide during Diwali 2017.

The fourth project that Akshay has in his kitty for 2017 is Pad Man. It is said to be a biopic on Arunachalam Muruganantham, and will chronicle his journey of finding a way to make cheap, affordable sanitary napkins for women in his village.

Jagga Jasoos trailer: Ranbir, Katrina rock a goofy avatar in this dreamy Anurag Basu film

Ranbir Kapoor says literally one line in the entire trailer of Anurag Basu’s Jagga Jasoos (and Katrina Kaif says nothing at all) and yet the trailer speaks volumes about the film.

Before we spill our judgment of the trailer, here’s something one must acknowledge.

It’s a well made trailer, especially at a time when trailers have started to present the entire film on a platter. It’s one that doesn’t reveal too much, but much like a kaleidoscope, through fast moving images and moments, reveals the tone of the film, and what we can expect.

We are told from the official synopsis of Jagga Jasoos that a young detective sets out to find his missing father, and an unusual series of events unfold.

jj social 2

The trailer begins with an introduction to Ranbir and Katrina’s characters and while the film seems to be shot all over India, they first meet in Manipur. Ranbir is a quirky guy, and in essense, so is Katrina, and we are taken through a dreamy, whirlwind journey — with ostrich rides, bike rides through the dessert, races with elephants, and much more adventure.

The look and feel of the film gives you a whiff of Basu’s earlier movie with Ranbir, Barfi! mostly because Ranbir is seen in school clothes and as a hosteler. But then we see him in multiple avatars. Not much is revealed about ages, or any other character details.

However, with Disney producing the film, you definitely get a sense of watching a children’s film. Whether that is a pro or con for Jagga Jasoos, only time will tell.

Amid all the visuals, the last 30 seconds of the trailer *finally* reveal something about Katrina and Ranbir’s chemistry.

From Rajneeti to Ajab Prem Ki Gajab Kahaani, this is the first time they looked relaxed as two goofy but affable lead protagonists. Maybe the hype around their personal life has helped them on-screen much like Jab We Met worked for Shahid, and Kareena Kapoor.

Kahaani 2 quick review: Vidya Balan is riveting in thriller that’s let down by its second half

Except for carrying forward the name of a character — ‘Vidya’ — for the first half of the movie, Sujoy Ghosh’s Kahaani 2 (also known as Kahaani 2: Durga Rani Singh) starring Vidya Balan and Arjun Rampal, is an entirely different movie from its predecessor in the franchise. The plot is new, so are the characters.

Vidya Balan in 'Kahaani 2: Durga Rani Singh'

Kahaani 2 is set in Kolkata and is the story of Durga Rani Singh, played by Vidya Balan, who has been accused of kidnapping a 6-year-old called Mili, and murdering her grandmother. There is a also a parallel life she leads as Vidya Sinha, who has a daughter named Mili. Confusing enough? You will have to watch the movie to find out how this plot plays out.

The movie revolves around child sexual abuse. The first half of the movie gives you all the possible thrills and chills as Durga Rani Singh sets out in a mission to rescue a child from a possible abuser.

This is one of those movies for which the trailer is a curse. Two of the most startling moments in the film lose all their shock factor if you’ve already watched the trailer, and that’s sad.

The movie also has Inspector Inderjit, played by Arjun Rampal. ‘Hot’, I’m sure is the correct terminology here. He is entirely convincing as an inspector who has been transferred to a small town and is waiting for a promotion so that he along with his family could shift back to the city.

The first half is gripping, and 100 percent entertaining. But the second half turns out to be slightly off track. While Sujoy Ghosh with his magical attention to detail has scripted out what was meant to be an amazing narrative, the second half drags, and is not as entertaining. The director also flavours the second half with subtle humour in the midst of intense moments. While I was with a theatreful of people laughing along at those subtleties, I felt like it might be taking the seriousness away from the issue of child sexual abuse. And the way CSA is dealt with in the movie is good, but not moving enough perhaps.

Powerful, strong and riveting, Vidya Balan gives a performance which is definitely worth watching multiple times. Arjun Rampal puts up a great show as well. The two childactors who play the character Mili are spot on. While the performances take Kahaani 2 a notch higher, a not-so-thoroughly thought out second half pulls it down.

Dear Zindagi an unusual Bollywood movie that explores the inner life of a troubled woman

There are several lines of dialogue in Dear Zindagi that you are unlikely to have heard before in Hindi cinema. A woman telling a man to pull up his (unsightly low-slung) pants before he goes in front of the camera; a woman telling a man, “I need to pee.” (In Bunty Aur Babli, Rani Mukherjee implies it when she asks Bunty to come guard the railway station. And in Raj Kumar Santoshi’s Lajja, Manisha Koirala learns to pee on the side of the road while drunkenly cavorting with Madhuri Dixit.) Dear Zindagi also features a woman announcing that she failed Class II, and a man saying his former lover would never have achieved success if they had stayed together.

Dear Zindagi stars Shah Rukh Khan and Alia Bhatt

I was looking forward to Dear Zindagi in a vague way, aided by the memory of watching Sridevi’skabuki mask-like, but still absorbing face in Gauri Shinde’s first film, English Vinglish. In Dear Zindagi, Alia Bhatt is also often expressionless-yet-not, prickly and grouchy to hide her wealth of feelings. At one point, when Kaira (Bhatt) hears from her friend Fatima (Ira Dubey) that her lover has gotten engaged to someone else, she bites into a green chilli and eats it with steady viciousness. You want to look away from her tiny red lips, but you can’t. She sniffs, and when her friend asks her if she is okay, she blames the chilli. Then she goes back to the editing studio to edit the music video she’s directing.

English-Vinglish was the journey of a well-adjusted, middle-aged woman who thinks well of herself. She only has to understand why the world doesn’t think well of her — just because she doesn’t speak English. In Dear Zindagi, Kaira doesn’t think well of herself, but others do. She veers between fragility and irritability, and we don’t know why. We don’t quite know why she’s so mean to her parents and relatives. (That’s a lie; the relatives are so well-calibrated in their smugness that I was ready to slap them on Kaira’s behalf.) We find out what has created her brittle unhappiness, as she finds out, through her therapy sessions with cool shrink Jahangir Khan (Shah Rukh Khan).

This explicit exploration of the inner life of a young woman is fairly unprecedented in Bollywood. In Tanu Weds Manu 2, we do get a chance to see Tanu’s emotional struggles with her self-destructiveness. But the black comedy of that movie and that heroine didn’t permit the earnest pursuit of mental health. Instead, in the opening scene, Tanu manages to turn marriage counselling into an opportunity to get her husband locked up in an asylum. In Queen, Rani needs the trip to Paris to recover from heartbreak and gain confidence in her own ability to navigate the world.

It’s soothing, therefore, to hear Khan tell Kiara that she doesn’t have to forgive her parents or confront them for abandoning her. To hear Khan tell Kiara that she is not “cheap” but “superfine” to not settle for the first man who comes down the pike. Kiara has literal-minded nightmares about society judging her for being unmarried and unloved (troublingly, Shinde visualises this as working-class men mocking married middle-class women). It’s even more soothing when Khan tells Kiara that no society — no matter how judgmental — doesn’t have to think well of her, as long as she thinks well of herself. It’s so soothing that you are tempted to ignore the outrageous wish-fulfilment that is the tailpiece of the movie.

A friend who went to Dear Zindagi with me began with pessimism, saying warily that the scenes of Kaira zooming above her sets in a cinematographer’s crane are likely to be the most empowering things about the movie. (He changed his mind). For me, the wish-fulfilment moment was when Kaira tells the newly engaged ex-lover Raghuvendra (Kunal Kapoor) that she has decided to not work with him on his next project. Raghuvendra, dejected but trying to be a good guy, begins some spiel about what he thinks. This sets off Kaira like a bomb. She yells at him because she has already announced her decision, he wasn’t going to get a chance to now pretend it was his decision. Ah, the ridiculous, petty, total satisfaction.

Shinde’s story stays true despite any temptations that may have come along. Kaira doesn’t find herself in a romance with her ex-lover, a new lover or even in her crush on Khan. The climax is a classic emotional breakthrough about her childhood. If you have any doubts that Bhatt can act, this is the scene for you. She cries hard enough to melt a rock. This is also a scene of unintentional comedy. SRK, who should be a proud therapist, has never looked more uncomfortable than he does at this stage. He looks like he wants to say, “I hate tears, Kaira.”

My formerly pessimistic friend explained, “No one told him he has to do anything but smoulder. Or may be it’s those pants.” It’s true that the pants seem very tight, Aki Narula. It’s also that SRK is frequently a smouldering shoulder, but he is more. Shinde’s several on-the-nose pitches and Khan’s sussegad style makes an attractive case for therapy.

Kaira has her breakthrough and slowly makes her peace with her family. Which brings us to that fantasy tailpiece. Her long-stuck short film about a cross-dressing Portuguese soldier is finally made. It is screened on the beach to an audience of her whole life. All her friends, her whole family, the man she broke up with (Angad Bedi), the man who broke up with her (Kunal Kapoor), the man who wasn’t quite right for her (a shockingly muscular Ali Zafar). They are all there, flushed with admiration, applause and goodwill for Kaira. There’s also a new man who has solid potential of being the next love interest (Aditya Roy Kapoor).

Dangal’s first song ‘Haanikaarak Bapu’ champions everything that’s right with Aamir’s film

Comparison is the fuel of Bollywood at the moment, what with the many clashes (read: Mohenjo Daro and Rustom; ADHM and Shivaay) we have seen in 2016. However — and we never thought we would say this before its release — Aamir Khan’s  Dangal seems to be doing everything right, where Salman Khan’s Sultan went wrong.

Allow us to elucidate.

After its intriguing trailer, Dangal‘s first song, ‘Haanikarak Baapu‘ revolves around Aamir Khan coaching his daughters to become competent wrestlers. The song is shot and sung from the girls’ point of view, where they seen working out really hard, training their bodies to be wrestlers, and facing the wrath of Aamir, who is shown to be brutal with them in their training.

You don’t need us to tell you that Aamir can really act. He plays the stern father part with complete conviction, and it works well for a song that laments about this very fact.

dangal 1

‘Haanikarak Baapu’ is peppered with dialogues; Sakshi Tanwar, who plays Aamir’s wife and mother to the girls, has her Haryanvi accent bang on. Aamir rocks a dad bod (an elderly man with a paunch and a flawed, yet desirable body, for the uninitiated) in this film, much like Salman in Sultan. However, he is a lot more nonchalant about it.

The song itself is catchy, and we’re sure kids will love it, but the real champion of ‘Haanikarak Baapu’, and by extension Dangal, is its nuanced and unbiased portrayal of the fact that it is actually two girls who Aamir trains; his daughters.