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Paresh Rawal on why he thinks Ranbir Kapoor is like Naseeruddin Shah, demonetisation and his latest film

The politician in Paresh Rawal is yet to be overshadowed by the actor. Clad in blue jeans and a loose shirt when I meet him at a five star hotel, it’s evident that Rawal is on familiar turf. So what’s his first love these days — films or the Parliament? “Basically I am an actor so it has to be film sets, but these days I am enjoying my stint in a different way. The experience inside the Parliament is enriching. It helps one learn tricks of the world which helps me polish my craft as an actor,” Rawal says, as we settle down for a chat.

People who have interacted with Paresh Rawal will vouch for his reserve. He hardly engages with people he does not know and intracting with the press seems to be anathema. The cumulative result is that he is perceived as a snob. Is the assessment true? “If I keep appearing in front of them (people and the press) on a regular basis, they themselves will get bored of me. Rest assured, I am not media shy. People who know me and are close to me know this well that I don’t even have an iota of snobbishness. As far as perception goes, it’s difficult to win over perceptions because that’s not tangible. You can’t please everybody,” Rawal explains.

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Paresh Rawal has never looked back after he shot into the limelight with his menacing act in Arjun. He was handpicked for the role by director Rahul Rawail after seeing him perform in a play. Rawal, a gifted actor, excelled in virtually every role that was offered to him. He believes that this could happen only because he did not receive formal training from any school. He cites his villainous acts in Dacait, Kabzaa and Sir, which were all inspired from people he knew. “It’s difficult for me to get into (the skin of) a villainous character who is an idiot. These days no one is scared of villains. Whatever make-up you apply or weapon you carry, people will never be scared of you. Behude lagte hai hum. If it’s all about portraying a behuda character, might as well make it amusing,” he reasons.

His upcoming film Patel Ki Punjabi Shaadi has been compared to 2 States, but Rawal denies any similarities. He maintains that the film is a laugh riot and the Gujarati character that he plays is neither stereotypical nor caricaturish. The film also reunites him with Rishi Kapoor after almost 25 years. The last time the two shared screen space together was for Rajkumar Santoshi’s Damini. So was there a moment when the passage of time hit home? “Never,” says Rawal. “Those from the Kapoor clan are such large-hearted people. I never got this feeling that I am acting with him after such a long period. He is a straightforward man.”

Currently he is also busy shooting for Sanjay Dutt’s biopic. The very mention of his co-actor Ranbir Kapoor brings a twinkle to Rawal’s eyes and it’s fair to conclude that the younger actor has the veteran in thrall with his acting prowess. In fact, Rawal believes that Ranbir is in the same league as Naseeruddin Shah. “An actor is known by his choices and just look at Ranbir’s choices. No one can dare stand in front of him.” He recalls: “When I was acting with Ranbir in the Dutt biopic, I got a feeling which I had experienced when I was acting with Naseer Bhai during Sir 25 years back. There is an actor in front of you to whom you reacting. The feeling was surreal and it happened after 25 years.”

Rawal is, of late, known for his acerbic tone on social media platforms. His Twitter account was in the eye of a storm when he mentioned Arundhati Roy in a tweets about Kashmir. Has his wife ever chided him to tone down his tweets? “She knows that there is no point chiding me but she also knows that I mean every word that I say or write on my social platform. I know that sometimes my style is acidic and harsh but during such cases it becomes impossible for me to keep things inside because of my anger.”

Bobby Deol: ‘Yes the film industry has let me down, but I can’t keep sulking’

After a four year hiatus, Bobby Deol — the flamboyant star of the 90s — is back on the big screen.

He hopes to win back his audience and his fading stardom, and revive his career with the upcoming comedy, Poster Boys, which marks the directorial debut of actor Shreyas Talpade, and also features his older brother, Sunny Deol. “People ask me why was I so choosy and why I didn’t do any film in the last four years. I tell them that I wasn’t choosy but people had become choosy about me,” says the actor candidly.

After a successful debut with Rajkumar Santoshi’s Barsaat (opposite Twinkle Khanna) in 1995, he went on to appear in many hits and is best remembered for his thriller and action films like Gupt, Soldier, Hamraaz, Ajnabee among others. Bobby’s career slowed down with duds like Chor Machaaye Shor, Kismat, Bardaasht, Tango Charlie. Years later, his fading career got a new lease of life with Yamla Pagla Deewana (2011) but his success was short-lived as younger actors displaced the once blue-eyed boy of the 90s. To make it worse, his films like Thank You and Players tanked at the box office.

He’s back in his flashy avatar — donning trendy shades and leather boots — and Bobby has now decided to speak his heart out.

“This is me, there is no defense mechanism,” he reiterates, adding, “I have no idea what went wrong with my career. I haven’t worked for four years, and these four years of my life has gone so fast but it has made me a better and stronger person. I have been dying to work, I love being on the sets. Now I feel refreshed, more positive in life and it reflects in my attitude or else I wouldn’t have been able to talk so openly. This way I will attract people’s attention and get more work.”

“A good subject, a good script is hard to find, God doesn’t give you chances again and again,” he says, as he looks around at his fans waiting for selfie. “I hate these selfie pics, it is the worst photograph possible…you look so distorted and ugly. We look like mannequins,” laughs Bobby, and gets down to chatting with Firstpost.

The actor says that the perception that he’ll only do starry roles and central characters has caused a dent in his career. “People started carrying false news about me and maligning me. The industry and social media kept saying that I don’t want to work. That I was content and happy. That I was busy as my wife’s going through a legal battle, but nobody knows the reality. It was tough for me to come out of all that. I want to change their outlook. I am now meeting people and telling them that I want to do good characters. Nice and meaty roles in all genres,” he says.

Few months back, Bobby had opened up about how the industry let him down and as a result he missed chances of doing hits like Jab We Met and Highway with director Imtiaz Ali, but without holding any grudges, he says, “Yes, the industry let me down but I can’t keep sulking. If work comes my way and people don’t ditch me, I would love to work with dedicated people and with some of the contemporary directors. Abbas Mustan are the only directors I have worked the maximum with. But somehow we have not been able to work together because when you are not in circulation then it is very difficult to get the project on floor.”

He further adds, “I haven’t really seen too many films off-late but I will start watching now. But I like the way Akshay is picking up scripts these days.”

While in the past Bobby was often refused roles of a small town guy, he grabbed the opportunity with Poster Boys in which he plays a naive, sincere and honest school teacher. “That’s going to be my approach now — to break stereotypes and surprise people. Earlier, whenever I would ask for the role of a poor guy, I was refused because I didn’t look like one. I always played a rich guy in many of these thrillers and rom-coms. The only time I played a small town boy was probably in Vidhu Vinod Chopra’s Kareeb. I never looked at myself as good looking or bad looking. There are so many films made where actors don’t look the part but perform the part. That is what I am hoping for,” says Bobby.

But one thing that will never change with Bobby is ‘disappearing’ from the city on the eve of his film’s release. Laughing out loud, he says, “I really get stressed with these box office collections. This time I am leaving for Manali. I would always run away on the release day. I am too sensitive a person, I can’t handle all this. I won’t lie; I get nervous and scared.

How Dilip Kumar and Shah Rukh Khan’s camaraderie goes way beyond photo opportunities

Shah Rukh Khan’s recent visit to check on the health of the 94-year old Dilip Kumar, upon the latter’s return after spending a few days in the hospital for some kidney related problem, brought to mind the sweet bond that the two have shared over the years.

The thespian and his wife, Saira Banu, have publicly expressed their love for Shah Rukh Khan on numerous occasions and in fact, have even said that SRK is the child that they would have loved to have.

Besides having a few things in common with the younger Khan — including the same number of Filmfare awards for the Best Actor, eight to be exact, and both playing Devdas at some point in their careers — Dilip sahab’s fondness for Shah Rukh Khan also mirrors the manner in which he has interacted with some of the superstars who followed him.

Dilip Kumar’s influence on Indian cinema is peerless and this influence extends beyond acting prowess. It was Dilip Kumar’s persona that inspired more than a few generation of actors such as Manoj Kumar, Rajendra Kumar, Dharmendra and Amitabh Bachchan, and almost every single one of them famously modelled certain aspects of their craft on Dilip Kumar.

In Manoj Kumar’s case, he even took his screen name ‘Manoj’ after a character that Dilip Kumar portrayed in one of his films, Shabnam (1949). Dharmendra often mentions that even though he came to (then) Bombay to try his hand at acting, meeting Dilip Kumar was perhaps a bigger draw for him. During the shooting of one of his initial films in the late 1950s, Dharmendra met Dilip Kumar’s sister, and thanks to her ended up spending an evening at Dilip Kumar’s residence. Late in the night when Dharam ji was leaving, Dilip Kumar gave him a sweater as it had been raining, and to this day, the sweater is a prized possession for the former.

Later the emergence of Rajesh Khanna as the new superstar coincided with the period where Dilip Kumar had considerably reduced his output, but even then the public interaction between Dilip Kumar and other leading men, such as Khanna and later Amitabh Bachchan, was the same. It’s not just Hindi films where Dilip Kumar’s impact, both as an actor and an elder, was felt. His friendship with the iconic Sivaji Ganesan, and later his influence on a Kamal Haasan, is also well documented.

Bareilly Ki Barfi review: Ayushmann, Kriti and Rajkummar bring small town charm to life

Bareilly Ki Barfi starts with what has been its USP as seen in the trailer and songs so far – small town charm.

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The worn out yet cozy bylanes of Bareilly, a small town in Uttar Pradesh is introduced by the articulate voice of Javed Akhtar. His narrative takes you to the Mishra family – the patriarch (Pankaj Tripathi), matriarch (Seema Pahwa) and their daughter Bitti (Kriti Sanon), whom they have raised ‘as a son’.

She smokes, break dances, asserts her will on her neighbours and spreads out her legs while sitting on a bike.

While she has never been treated like a small town girl by he family, she gets disgusted by the misogyny that comes with every prospective groom, while is looking for prospective men to be married to. Dejected, she finds refuge in a book titled Bareilly Ki Barfi that she wantonly picks from a book stall.

The book that she grabs is ghost written by Chirag Dubey (Ayushmann Khurrana). It seems like he takes off right where he left in his last film Meri Pyaari Bindu. He writes a book in memory of his unrequited love Babli. However, Bitti finds the character of Babli a carbon copy of herself and approaches the publisher of the book to get in touch with the author. The publisher turns out to be Khurrana who gets smitten by Bitti as he sees shades of Babli in her.

The hurdle however is the picture of the author on the book, which is that of Pritam (Rajkummar Rao), a gullible friend of Chirag who he had convinced to masquerade as the author in order to hide his love for Babli, as she’s now happily married.

While Chirag serves as the postman of Bitti and delivers her letters to the author, he realises that Bitti has actually fallen for the author, and not the publisher.

Chirag convinces Pritam to do him a favour yet again and sets up his meeting with Bitti. But he trains Pritam to project himself as an embodiment of everything that Bitti hates – all her misogynistic prospective grooms rolled into one.

Cue love triangle.

Kriti Sanon delivers arguably her best performance of the career. She fits the bill as the girl next door and gets everything right from the accent to the styling. While her small town girl act is pale in comparison to say, a Swara Bhaskar from Nil Battey Sannata but her author-backed role gives her ample scope to perform.

Ayushmann is endearing as the unrequited lover; his smitten expressions clearly project the butterflies in his stomach which makes one wonder why Bitti is not able to decode his boundless love for her.

Rajkummar Rao nails both his acts – the reserved saree-seller and the brash gali ka gunda, who he pretends to be to imitate Ayushmann. His arrogant avatar is overplayed in order to draw contrast from his restrained avatar, which he excels in organically

Special mention to Pankaj Tripathi and Seema Pahwa who are brilliant with their comic chemistry. They have some of the best scenes in the film that are sure to leave everyone in splits. Pankaj Tripathi is as restrained as his last dark character in Gurgaon but still manages to make you laugh because of the lines that Nitesh Tiwari writes for him.

The story so far is predicated given the trailer of the film spelt it all. How it shapes up now will determine the graph of the film.

The rest of the story revolves around this typical love triangle. The edges are sharpened by Nitesh Tiwari’s crisp writing and his wife Ashwini Iyer Tiwari’s tight direction.

Just like he did in Dangal, Nitesh gets all the local nuances right; Ashwini brings back the honesty and warmth of Nil Battey Sannata along with the street smartness and competitiveness she brought fore so aptly in that film. Also, the highlight of the music is ‘Sweety Tera Drama’ which is both irresistible and situational.

The editing, particularly the tug of war between Ayushmann and Rajkummar is as sharp-edged as the writing.

Overall, Bareilly Ki Barfi is a character-driven as all the characters are pivotal to the plot and backed by substantial writing. The three lead actors drive most of the narrative – Ayushmann’s endearing expressions, Kriti’s livewire presence and Rajkummar’s unpredictable dialogue delivery provide the perfect ingrediendts for a sweet rom com that has its share of masala.

That masala surprisingly adds to the overall taste. While the film lacks the heartfelt moments of Nil Battey Sannata, it never gets pungent. It’s like a typical desi dessert that serves your sweet tooth but may result in adding a few pounds that you would certainly not mind.

Indu Sarkar: Madhur Bhandarkar uses a plethora of stereotypes; of women, politics and morality

Of all the things wrong about Madhur Bhandarkar’s vapid movie Indu Sarkar, two things stand out the most — the unbearably forced writing and the intolerable rigidity of its characters.

We’re told there is good and there is bad — the sarkar (government) is bad and those fighting against it are good. It can’t be ignored that the Congress government in 1975 did many gruesome things, the best known of which is, 42 years later, the Emergency and Sanjay Gandhi’s forced mass-sterilisation campaign.

But Indu Sarkar’s almost definitive portrayal of everyone in the government as evil and the rest of the world as innocuous makes you feel like you are watching a cartoon: Despicable Me: The Emergency Edition. (With apologies to Despicable Me which is rather great at exploring villainy) Political nuances be damned. Acuity in narrative be damned even more. Because, it isn’t about getting a nuance right as much as it is about having any nuance at all. (Bhandarkar fails to highlight why Emergency came about or the economic crisis in India during Emergency, thanks to the 1971 war with Pakistan.  Everything is equally sketchy. Bhandarkar fleetingly mentions Jayaprakash Narayan with no context whatsoever.)

All this to say that in Indu Sarkar, Bhandarkar relapses in his addiction for black and white characters. Plus a sepia filter.

The protagonist Indu (played by Kirti Kulhari), is a woman who only wants to be an “acchi biwi” (good wife). Except, the acchi biwi goes on to become an acchi krantikari (good activist) during the Emergency of 1975. Indu fights the Emergency against another Indu — Prime Minister Indira Gandhi (played by Supriya Vinod). ‘While one daughter of the nation is destroying it, another one can redeem it’ is the central idea. It’s good Indu v/s bad Indu. Good Indu empowered, and no cookies for bad Indu.

Good Indu protects children who lost their homes and stands up to her government-employed husband, Naveen Sarkar. Bad Indu is razing down homes and stifling voices. Prime Minister Indira Gandhi, makes a short but significant appearance.  Even in the limited screen time provided to her, she is forced into the bad-girl stereotype by providing shots of her looking haughty and throwing in a sinister smile. Bhandarkar even tries to portray the 90s TV serial antagonist metaphor of ‘only villainous women wear sunglasses’ in a scene where Gandhi puts on her sunglasses while driving away to a rally.

“I am the flag-bearer of women-centric empowerment,” filmmaker Madhur Bhandarkar has. But his movies usually focus on one type of woman — the seemingly strong innocent waiting to be misled and led astray. In Indu Sarkar too, his protagonist goes through a struggle of being misled by her husband before she finds her voice.

Bhandarkar’s female antagonists who actually do have power are also cruel and heartless. Like Kitu Gidwani’s character Anisha Roy, who runs a large modelling firm, in his largely successful if much giggled about film Fashion (2008). He failed to highlight any of Roy’s struggles or achievements, but what he did highlight was her outright selfishness and cruelty. Not that powerful women can’t be selfish or cruel. But are they only those? The only trope Bhandarkar uses to present his female antagonists (oh, and they’re almost always female) is evil with a side-dose of eyerolling and manic laughter.

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This can be observed in Page 3 (2005) as well. Konkana Sen Sharma’s journalist character is the epitome of morality in a dark world, while the women she mingles with at parties are terrible. They walk through the disco-dimmed world of celebrities with ‘shadeless morals’ (to quote Atul Kulkarni in Page 3) and no colour, but that of well, evil. A la Cruel Intentions but with less sexual frisson.

I really hoped he’d abandon this unrealistic masala in his ‘realistic’ films with Heroine (2012). Just for a change, you know. Just for fashion. Because Heroine did have a protagonist with a little bit grey. Mahi (played by Kareena Kapoor) was headstrong, fierce and above all, ambitious to the point of madness. She would do anything to achieve her dreams and had no damns to give about the damage she caused on the way.

But what does Bhandarkar make her do in the end? Abandon her ambitions. Because even driven, headstrong and ambitious women at the end of the day, are still women — which means they can’t be trusted because they’ll do anything to win. If a woman seeks power, it comes across as disgusting and contemptuous. It’s Hillary Clinton all over again.

Bhandarkar seems to have a formula-generator for most of his films: Put a good-lead-woman and a bad-antagonist-woman, add some misconstrued representation and a sprinkling of chemical sex.

Although he’s skipped the misrepresented gay man out of Indu Sarkar (unlike his other movies — the male sex worker in Traffic Signal, the gay fashion designer in Fashion, or Konkona Sen Sharma’s friend, a make-up artist, in Page 3), he has plenty of other stereotypes to reinforce in this movie.

There’s the power-hungry government officer, Naveen, who overlooks ethics in pursuit of his dreams, and commits suicide when he realises his folly (perhaps for the first time, Bhandarkar shows that bad, ambitious men give up too). Another staple ingredient of the Bhandarkar stereotype is the constant and unnatural use of the term ‘activist log’ to describe activists fighting the Emergency. The usage is so forced, it almost incites a collective groan from the audience.

There’s also Farhana, a ‘bitchy’ political confidante of Chief AKA Sanjay Gandhi, played by Neil Nitin Mukesh. Of course, in the Bhandarkar world, any woman who is a political aspirant has to be portrayed with shades of cruelty? Not that she’s spared from some mockery herself. Chief remarks how she knows his government’s policies better than a Member of Parliament, ‘in spite of being a woman’. Eh?

Indu Sarkar, like many movies in Bhandarkar’s past, is trying to empower ladies log, using the ‘Madhur Bhandarkar Beti Bachao’ formula.

Except, only the goody-two-shoes protagonist qualifies for empowerment, the antagonists and secondary characters be damned. If his idea of ‘realistic’ is restrictive to an inflexible portrayal of women’s characters, then he is in need of a reality check.

As Bhandarkar abandons hopes for ladies log (again!) I’ve abandoned hope for him. Again.

Munna Michael movie review: Who cares about logic when you have dance, action courtesy Tiger Shroff?

It’s 1995. An aging dancer with a disturbing Michael Jackson hangover is removed from the chorus line of a dance troupe. Michael (Ronit Roy) is devastated. He’s seeking solace at the bottom of a bottle but fate has him wander past an abandoned baby. Michael adopts the child and raises him as Munna.

Inspired by his father, Munna Michael (Tiger Shroff) becomes a dancing machine and makes a quick buck by pulling cons on the dance floor. His inspiration is also Michael Jackson.

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It’s bad enough that our choreographers are stuck in a time warp – they either design sequences aping Jackson or are rehashing hip-hop moves from the mid-90s. But here we have a film where even the writer and director are holding on to nostalgia, not just in terms of inspiration and choreography but also a story line.

Munna Michael takes the comic route and the cold, corpse-like narrative comes alive with the introduction of the ever-reliable Nawazuddin Siddiqui. Siddiqui plays Mahinder Fauji – a hotelier and a thug with a soft corner for a dancer called Dolly (Nidhhi Agerwal). He believes the best way to impress her is by learning to dance, and for this job he hires Munna.

Let me explain that by this time Munna has left his ailing father in Mumbai and moved to Delhi to continue his con-on-the-dance-floor act. We don’t know what his father is suffering from and why Munna cannot think of any other career option but being a dancing cheat. But there you have it.

The moment Munna sets eyes on Dolly, it’s love at first shimmy and shake. Dolly’s dream is to win a dance show on TV. The men believe she’s a dancing queen. But Agerwal dancing is passable at best with her studied moves making her barely convincing as a champion dancer. Maybe she should have joined Munna’s dance classes! Alongside her, Shroff’s robotic moves almost look fluid.

Munna is assigned the job of helping Mahinder court Dolly and then, when she flees from Delhi, Munna must bring her back to Mahinder. What Dolly wants is, of course, of little consequence to Mahinder giving Munna an opportunity to deliver a lesson about that. Fortunately Mahinder’s obsession doesn’t become too creepy as the character is shown to be mean as nails otherwise but soft when it comes to matters of the heart. Siddiqui looks like he’s really enjoying the dance lesson sequences even as he flubs the steps.

Director Sabbir Khan and writer Vimi Datta have designed a film that is serviced by Shroff’s two skills – dancing and action. In spite of being predictable story with slack storytelling, Khan once again (Heropanti, Baaghi) showcases just what is needed to keep Shroff’s fans satisfied.

Put in enough of these two elements and who cares about logic, story, acting or originality.

Nawazuddin Siddiqui hints at Bollywood’s colour bias, in a tweet referring to ‘fair and handsome’ leads

Bollywood actor Nawazuddin Siddiqui has shared a cryptic message about the discrimination he has faced in the Hindi film industry over appearance.

Taking to Twitter on Monday night, Nawazuddin, whose performance has been lauded by critics and audience alike, wrote: “Thank you for making me realise that I cannot be paired along with the fair and handsome because I am dark and not good looking.” The Manjhi: The Mountain Man actor added: “But I never focus on that.”

Just last year, Nawazuddin Said, “I think there is no racism in this film industry. They are only in need of talent though it takes time, if you are talented you will get your due. I am thankful to be part of this industry,” as quoted by Indian Express.

File photo of Nawazuddin Siddiqui. News18

However, the 43-year-old actor’s message is unclear as to who he was referring to. On the acting front, Nawazuddin is gearing up for the release of his upcoming film Munna Michael. The film directed by Sabbir Khan is set to release on 21 July.

Munna Michael also stars Tiger Shroff and debutante Nidhhi Agerwal. It is based on the story of Munna, a street boy from Teen Batti slum locality of Mumbai. He loves dancing and grows up idolising Michael Jackson, the King of Pop.

Nawazuddin was last seen in the Sridevi starrer Mom and will also be feature in Babumoshai Bandookbaaz, which is slated to release on August 25.

 

Jagga Jasoos: Anurag Basu opens up about Ranbir, Katrina and shooting without a physical script

Anurag Basu is one of those people who has the habit of finishing his sentences very fast while communicating. This only means you have to be extra cautious while listening to him, lest you miss out on words.

When I meet him at the Disney office, he seems relaxed in a blue floral half-sleeved shirt and loose trousers. Along with Ranbir, he has just delivered a succession of TV interviews and is still raring to go. The relaxed vibe could also be attributed to a different technique that he has been employing for his films.

Ranbir Kapoor and Katrina Kaif in Jagga Jasoos. Image from Firstpost

“For both Barfi and Jagga Jasoos, I went ahead and shot the climax first. It gives you a sort of confidence and the entire film is clear in your head. I do this only because the climax of a film is the most difficult portion to shoot and if you are able to finish the most difficult portion first, then it’s like catching the bull by its horn,” explains Basu.

The germ of his latest venture Jagga Jasoos lies in his own daughter. After he showed Barfi to her and met with a disapproval, he was on the lookout for a subject that could appeal to his daughter and replace the Hollywood flicks synonymous with Disney and Pixar. Jagga Jasoos was thus born, a musical with a tinge of thriller.

The film also marks the second collaboration of Anurag with his ‘muse’ Ranbir Kapoor. “Ranbir is a great person and that’s why he makes a great actor” says Basu.

For the filmmaker, it was a task explaining the genre of the film to his investors. “It was very tough to explain, as there was no reference for this musical thriller. It was more like walking a completely dark path but then slowly as you move ahead, the vision became clear,” he says. Basu is a sucker for musicals and counts Mary Poppins, Sound of Music and the more recent La La Land as his favorites. He also cites a film that was made in his mother tongue Satyajit Ray’s Heerak Rajar Deshe, as one of his favourites.

To borrow words from Ranbir Kapoor, chaos is what best describes Basu’s sets. He reportedly never carries a ‘physical’ screenplay, as it’s all there in his head. Ranbir has admitted that when he was given the first narration of Jagga Jasoos, the entire movie was in his head but nothing on paper. “It’s just not possible to shoot a film without a screenplay. You have to have a graph with a beginning, middle and the end. You just cannot land on the sets and start shooting scenes. It’s just not possible. The script is definitely there somewhere, it’s either in the head, or in some drawer or in the back pocket of the director,” says the director, without revealing where he kept his script.

While the initial days of the film were marred with casting issues, there were also reports of some early scenes of the film being scrapped. As per Basu, only two small scenes were scrapped and nothing was reshot. The build-up to all this also resulted in negative publicity for the film.

“It’s difficult for both Ranbir and I to keep explaining and justifying. Ranbir is not on social media and I am hardly active. The film should speak for itself and there is no point giving justifications,” he clarifies.

Rumours related to Katrina Kaif’s commitment towards the film after her alleged split with Ranbir also did the rounds. Quiz Basu about it and he talks more about her professional commitments: “She has been amazing actually, and Ranbir and her compliment each other. They gave each other lots of space when on the sets. Both of them have behaved in a professional manner throughout the film.  It’s also very difficult for actors to give consistency when a film is in making for long. It was tough for them and they could have easily lost their interest.”

Basu also clarifies about the image of Govinda that’s been floating on social media these days. He clarifies that he did shoot with Govinda for a special appearance in the film, but because of some changes it could not find a place in the final cut.

Right at the helm of the film, I wonder what occupies the director’s mind. He jokingly reveals a grudge he has towards Ranbir. “I really want to work with most actors from the industry, but he is just not allowing me to. Kamina, karne hi nahi deta hai. There was a film planned with Shah Rukh Khan but something happened at the end moment, I am hopeful that after Jagga Jasoos it might just happen,” reveals Basu.

Paresh Rawal: ‘Ranbir Kapoor is terrific in the Dutt biopic, he’s a unique talent’

Actor-politician Paresh Rawal rarely sits down with the media for a chat but when he does, it is a no-holds barred interaction.

Ahead of the release of his upcoming flick Guest Iin London, Firstpost meets up with the actor in a suburban hotel and he answers every query ranging from movies to politics in his inimitable style, expressions and quirks.

The first part of the film – Atithi Tum Kab Jaoge was quite hilarious and funny. Now, in the second part, Ajay Devgn and Konkana Sen have been replaced by Kartik Aaryan and Kriti Kharbanda. Did you miss Ajay and Konkana especially since you might need senior actors with perfect timing to match your comic timing?

I never missed Konkana or Ajay in this story as it is a completely different film. Secondly, in terms of give and take, Kartik is equally competent, and even Kriti Kharbanda is a good actress. And I mean it, I’m not saying just to sound polite.

In the film, you reprise your role of a ‘bin bulaye mehman’, so what kind of a guest are you in real life? And how do you tackle unwanted guests?

As a guest, I never disturb the host or any of their belongings and I don’t like people tampering with my stuff as well. I like few people and I like them for not more than three to four days. I am pretty much upfront and straight-forward. I ask them right in the beginning about when they plan to leave, and when their tickets are booked. They know me well so they don’t mind me asking. But I don’t have guests who pester me.

You don’t seem to socialise much…

My job is to do good work. I am not here to maintain relationships. I am from theatre; you can call it arrogance, confidence or over confidence, but I never felt the need to network or party.

What kind of roles excite you? Which have been your most challenging roles so far?

Roles have to be well-written. It should scare me; it is fright that motivates me. Sir, Sardar, Tamanna, Mumbai Meri Jaan, Oye Lucky Lucky Oye — these are some of the better films I’ve done.

How’s your experience portraying Sunil Dutt in Sanjay Dutt’s biopic?

Oh, it’s so amazing. It’s all because of my director Rajkumar Hirani, because of Abhijat Joshi’s writing and because of Ranbir Kapoor’s acting that the movie is looking amazing. Ranbir is terrific, he is a unique talent.

What kind of preparation went into it?

Fortunately, I am portraying a character that doesn’t have any kind of set mannerisms or idiosyncrasies. Sunil Dutt was very human.  He never had any vibes of stardom around him. The film is essentially a story about father and son.

Saif Ali Khan to be roped in by Netflix for upcoming web series based on The Secret Game book?

Saif Ali Khan, who was earlier approached by director Kabir Khan for a web series titled The Forgotten Army based on Subhash Chandra Bose’s Indian National Army, has now been approached by Netflix for yet another web series, reports DNA.

Courtesy: Facebook

Saif Ali Khan. Image from Facebook.

As per another DNA. report, the Netflix web series will be based on ‘The Secret Game: A Wartime Story of Courage, Change, and Basketball’s Lost Triumph’, a sports novel by Scott Ellsworth. For the uninitiated, the novel is a written account of a secret game that was played between teams from the North Carolina College for Negros and Duke University, in 1943. The book recounts the one game that changed basketball for America and also helped usher in a new nation altogether.

The same report suggests that Khan is being considered to play coach McClendon, who originally trained the North Carolina College for Negroes’s basketball team. There is no confirmation from the streaming service or the actor yet.

However, once the finances and dates are worked out between both the parties, the director of the web series will make a formal announcement, states the same report.

Since sport will be the dominant aspect in the film, Khan will undergo strenuous physical training for the part. Khan is currently shooting for Chef, which is a remake of the much-loved Hollywood film by the same name. Chef will be in theaters on 6 October, 2017.