Is it chemistry or mental harassment or the classic story of doosra aadmi or pati, patni aur woh? The morality in most of us is intact because of sheer lack of opportunities but in the case of celebrities — film stars and cricketers — they have opportunities galore. Money, fame and with that comes women and men.  So, Aamir Khan-Kiran Rao deciding to go in for a divorce should not raise eyebrows. They have more than survived a seven-year itch. Well, one can say… 16-year itch. Insiders say it has been simmering for over two years now. So much so that Kiran moved to Goa. So, what was the final nail in the coffin? Again, close circles point out it is another woman. In the past many marriages were almost on the rocks because of linkup — Shah Rukh Khan-Priyanka Chopra, Amitabh-Rekha. In the case of yesteryear’s superstar Rajesh Khanna, it was one too many affairs. Again, in the case of a well-known star, his wife’s affair rocked his marriage of two kids. Women alone cannot be blamed. A respected star confessed: “It is difficult not to have an affair with our co-stars as we work in close proximity.” Some stars did not call off their marriages because of sheer societal pressure and kept it under wraps. Others did not: Hrithik Rohan, Karishma Kapoor, Arjun Rampal.

Some may mark Wednesday, June 30 as the day of “Justice for Black America” when Bill Cosby —  an American stand-up comedian, actor and author famous for his TV show, The Cosby Show — walked free after serving just three years of a 10-year sentence on three counts of aggravated sexual attack. Half the world will mourn it as the day the #metoo movement died. When “America’s Dad” was convicted in 2018, it seemed a landmark moment when a famous and powerful man was held to account for abusing his position to exploit women. Women exulted as their movement gained traction with the Harvey Weinstein and Bill Cosby cases. Cosby used the classic Black card, much like American football legend OJ Simpson did to exploit racial divisions splitting the court of public opinion. The court decided that Cosby had been unfairly prosecuted three years ago but a 12-person jury had found him guilty. The climax in this cause celebre shows the American legal system is flawed and that the rich and famous can find their way out. But what it does for the women’s movement against sexual assault is a sad commentary on what is still a man’s world in which power and money can make a mockery of justice.

Dadasaheb Phalke Chitra Nagari, famously known as the Film City, is getting ready for a makeover in phases. This integrated film studio complex, spread over 520 acres, is located in Mumbai’s western suburb at Goregaon East. It has over 42 outdoor shooting locations and 16 studios of various sizes. Now, the latest news is that Maharashtra Film, Stage & Cultural Development Corporation (MFSCDC) is keen to equip the Film City with technologically advanced infrastructure. According to squarefeatindia.com – a leading real estate website, MFSCDC intends to undertake the development of 22 acres of the Film City via the PPP route. It will develop sound stages, post production facilities, and related infrastructure. It has invited Expression of Interest and the cost envisaged is around Rs 391.6 crore. With big demand coming from commercial cinema, TV and now OTT, most state governments see business opportunities in creating a hub for film shooting. It may be recalled that UP Chief Minister Yogi Adityanath met with several leading Bollywood bigwigs when he was in Mumbai a few months back, inviting them to shoot in UP. Perhaps not wishing to lose out business to other states, the Maharashtra government is going all out to ensure that the Film City is equipped with latest state-of-art technology that makes life easier for film makers. About time too.

The lockdown seems to be a boon for Bollywood actresses, especially the newcomers who are active on social media. Ananya Panday who has 19 million Instagram followers has been cashing on it by running some social media campaigns. Sara Ali Khan has been promoting fitness videos through a fitness app, Power. But on Instagram she has been regularly promoting brands like Vivo and Colgate. Janhvi Kapoor posts only activity videos like dancing and fitness apart from paid partnerships like Nykaa. Sara Ali Khan’s Hello Darshako which predominantly posts shayaris and random videos has gained her good many followers. Encouraged by this response, Sara has roped in her mother Amrita Singh, a former actress on this platform. And today we see mother-daughter doing commercials together. Disha Patani actively engages with her followers by posting action video almost every hour. Her popularity has gone up ever since she has been dating Tiger Shroff. Interestingly, a new starlet has been openly saying that she makes enough money (Rs 3-5 lakh per month) to pay her entire year’s rent by being active on social media. No, wonder these starlets are heavily focused on social media. Incidentally, most of the top actresses may not be getting big billing from films they sign but on social media they have more followers than the Khans and the Kumars.

It was the quietest of birthdays for the emerging superstar of Tamil cinema. In normal times, his fans would also have indulged in shows of grand affection by holding charity events in honour of Vijay. In pandemic times, the star has been content to keep a low profile but his phenomenal record in the 2010s marks him out as the industry’s undisputed money spinner.  His co-stars held a Twitter chat event on his 47th birthday that was a super hit in terms of numbers. As Total Unlock nears with the second wave waning, Vijay awaits the opening of theatres to continue his domination of the big screens. In the last decade, he churned out nine films that grossed over Rs 100 crore, a record that surpassed the industry’s ageing Superstar, the one and only Rajinikanth who is now in the US for medical checkup. Vijay’s last four releases – Bigil, Sarkar, Mersal and Master – saw business in excess of Rs 350 crore worldwide with Master a Superhit even in the pandemic year of 2020. And now Beast is getting ready as the star’s next with Pooja Hegde and Yogi Babu in supporting roles. Beast may usher in the next wave of theatre-going cinema fans.

Samantha Ruth Prabhu, now Samantha Akkineni, has put in a once in a lifetime performance as the LTTE woman in a very highly acclaimed Season 2 of The Family Man, on Amazon Prime. The central antagonist, Srikant Tiwari who carried Season 1 entirely on his talent and skill, playing the role of a covert operator of TASC (a fictional NIA), is pushed to play second fiddle to Samantha as Raji. In trying to tar her in sepia tones as a Sri Lankan, the brown make up has totally gone haywire…but this does not diminish from her brooding, menacing , almost other worldly countenance as she takes on the suicide mission of bombing the venue for a crucial meet of the two neighbouring country’s Prime Ministers. Her kill skills, spycraft and totally frigid inhuman approach to the enemy spies and mission…chilling. Samantha has pirouetted through many inane films that showcased her good looks. In The Family Man Season 2, she conveys every nuance needed to prove what it takes to be a suicide missionary, whatever the cause.

The D Gang’s clout was all pervading.  All top stars – heroes, heroines and producers – were forced to fly to Dubai and perform for bhai’s events. There is video footage of stars hobnobbing with the Don at a Sharjah cricket match. A ‘No’ was not an option. And the job of terrorizing the film industry was entrusted to the handsome gangster Abu Salem, now languishing in Taloja jail, on the outskirts of Mumbai. Abu Salem almost threatened every top actor and producer. One of the early victims was Rajiv Rai, son of Gulshan Rai of Trimurti Films fame. He fled to the UK with his wife Sonam and son after a failed attempt on his life by Abu Salem’s henchmen. Gulshan Kumar of T Series fame was chased and gunned down. Bollywood biggies – producer-director Subhash Ghai, Manmohan Shetty, and Rakesh Roshan received threatening calls from Abu Salem. Rakesh Roshan survived a brutal murderous attack, and luckily recovered from gunshots wounds. Not unlike Haji Mastan, Abu Salem too needed his share of Bollywood beauties – and he got Monica Bedi. His threat forced producers to cast her opposite big stars in movies like Jodi No 1, and Pyaar Ishq Aur Mohabbat. In September 2002, Monica Bedi and Abu Salem were arrested in Portugal. After serving prison sentences there, they were deported to India. To cut to the chase, the gangsters had paid informers in the film industry who tipped them about stars’ financials – movie signing amount, movie release date etc. Armed with this information, the underworld would make extortion calls. The Bollywood-Underworld nexus became apparent when Mumbai serial blasts of 1993 was investigated.  READ PART 4

High on money and muscle power, the underworld started dominating Bollywood. The money was routed through financiers and big stars who often visited Dubai to meet the Don. In the late 90s, early 2000s photographs of top actors, musicians and singers performing at Dawood’s Darbar were published by the media. These photographs exposed the nexus between Bollywood-Underworld. And proof of that was tapped telephonic conversation between Dawood’s right hand man Chhota Shakeel and various film personalities. This nexus pressurised Mumbai police to arrest diamond merchant cum film financier Bharat Shah under MCOCA. Reportedly, Shah was arrested for aiding Chhota Shakeel. Somebody like Rakesh Roshan had a narrow escape on the eve of the release of Kaho Naa…Pyaar Hai, his son Hrithik’s first movie. The sharp shooters fired two rounds at him for not paying Rs 5 crore. This incident shook the film world. The Mumbai police came forward to provide them protection. But, things started ebbing with Dawood not keeping well; Abu Salem incarcerated, and Chhota Rajan too cooling his heels in Tihar jail. Insiders say the extortion cases have come down. Though there were sporadic incidents like gangster Ravi Pujari trying to take advantage of the situation. Now, he too has been arrested. Now the underworld has almost stopped extortion but continues with its piracy business. Ironically, the fraternity which complains about the underworld are the same people who glamorize the underworld, making them larger than life.  CONCLUDED

Karim Lala was one of the three dreaded dons of Mumbai till the early 1980s. The other two dons were: Haji Mastan and Vardabhai or Varadarajan Mudaliar. This Pashto speaking Pathan who had moved to Mumbai from Afghanistan in the early 1920s was operating from Mumbai’s Dongri area. He ran two hotels and a travel agency – which was just a façade. As a leader of the Pathan gang his real job was extortion, kidnapping, contract killing and narcotics. Many people instead of going to the police went to Karim Lala’s court to get instant justice. During his peak, Lala frequently invited several film personalities to his parties and Eid celebrations. One of his close friends was a well-known Pathan — Mohammad Yusuf Khan aka Dilip Kumar (who hailed from Peshawar in British India – now in Pakistan). At one such party, cabaret sensation Helen tagged along with Dilip Kumar to meet Lala and casually complained about her manager PN Arora, who had allegedly duped her of large sums of money. All that Karim Lala did was make a phone call. By the time the party was over and Helen reached home, a sweating Arora was standing outside her building with a briefcase full of money. For many producers, it was an Open Sesame moment. They started paying the underworld to put a stop to starry tantrums and ensure stars report to their sets on time. In south India, stars are time-conscious and report on sets with full make up. There are stories galore about top stars keeping the entire crew waiting for hours. Producers’ myopic vision and actors’ indiscipline paved the way for the entry of the underworld into the film world. For the goons not only the money was good but they were more than rubbing shoulders with stars and starlets. Guns and roses were a deadly combination.  READ PART 2

Neither dreaded don Karim Lala nor Vardarajan Mudaliar were glamour struck. For them looking at other women was a taboo – well, that was the image they had arduously cultivated. But, not so for Mastan Mirza aka Haji Mastan, the man from Salem, Tamil Nadu. He was besotted by actresses. So much so that he financed quite a few movies with well-endowed stars. He was particularly infatuated by Madhubala. And in her memory, married an upcoming starlet Sona, a look alike of Madhubala. There are photographs of well-known film makers paying obeisance to Haji Mastan by touching his feet. It was fear and money. Mastan’s diktat ran large. There are stories of how well-known actors and actresses were forced to complete movies.  A top leading actress, on her arrival from London, drove straight from the airport to the set as she was confronted by Mastan’s men. Similarly a thespian actor was physically picked up by the goons from his bungalow taken to Hyderabad and brought back after completion of shooting. Parallely, even as Mastan was going about his filmy business, Dawood Ibrahim’s notoriety was fast rising for contract killing, gold smuggling, extortions, drug trafficking and real estate deals. After fleeing to Dubai he had corporatized illegal activities under the umbrella D Company, paid his henchmen monthly salaries. For D Company, which was spreading its tentacles, the film industry was the low hanging fruit. Of course, like all Dons he and his brothers too sought to have their own harem of heroines and starlets. A case in point is Mandakini of Ram Teri Ganga Maili fame. With the D gang entering the scene, stars started reporting to sets on time. Producers were happy. But, not Dawood. This protection money was small beer for him. He saw huge business opportunities in acquiring distribution rights in India, then he moved to acquiring overseas rights before becoming a producer. Of course, Dawood’s brother Noora penned songs for Hindi films.  TO BE CONTINUED – PART 3 & PART...

She oozed oomph in the most unselfconscious manner. Maybe she herself was not aware of the magnetic sexuality she projected when she came alive on the screen. If fate had consigned her to the backwaters of Eluru in Andhra Pradesh as Vijayalakshmi Vadapatla, this seductive actor launched as Silk Smitha in the Tamil film, Vandichakram in 1979, would have remained yet another anonymous villager. Silk fought her way out of abject poverty and struck out to conquer the arc lights of Kodambakkam as the Rani of raunch. This dark skinned, scintillating, and striking woman careened across the filmy scape, like a meteor, acted in over 300 films in just a span of 17 years, before she died by suicide in 1996. Whatever a lecherous audience spoke about her in trashing terms, few had the integrity to speak about the goodness of Silk Smitha. Bayilvan Ranganathan, a film actor, critic and chronicler talks about Silk as a generous, dignified person, who was punctual and disciplined. If a producer was in dire straits, she would not insist on immediate payment, cooperated with all on the sets, never asked for exotic meals to be catered. Even when the skimpiest costumes were given, she would robotically perform. Director Bharathi Raja cast her in a memorable role in Alaigal Oyvadillai. But Late Balu Mahendra exploited her raw sensuality to the maximum in Moonram Pirai (Sadma ). Even when Rajnikant or Kamal Haasan were signed as leads, the distributor/ financier would insist on at least one dance by Silk, guarantee for repeat audience. Three biopics, including Dirty Picture (Vidya Balan as lead) were made on Silk Smitha.  

Easy to speculate: did Pinarayi Vijayan, Kerala’s cult CM look over his back after watching Mammootty in the just released Malayalam movie 1? Every Malayalee worth his pips as an educated political would wish… if only Mammootty stood for election, if only he could lead our state to that Camelot. This Mammootty showcase has a laudable theme…the Right to Recall your elected representative if he is proved corrupt, self-serving and insensitive. Many films have taken inspiration from this kernel….unbridled corruption, and unpatriotic representatives. But the ideal is beyond the best intentions of the idealists. 1 too tries and weaves a few commonplace incidents to ignite that fire of selfless service to the people. Even as the CM, Kadakkal Chandran played by Mammootty, moots the bill to Recall the Elected, the expected outcry, posturing and malevolent reactions from his own party and the opposition erupts. And in a telling comment, the ruling party MLA hits out, “we will face elections every two years.” The ganging up of the plundering and profiteering is quick. Even as the well-intentioned plot touches a chord, no viable or practical solutions are given. In fact, 1 leaves the viewer mystified, baffled: why so many loose ends including those memory losses the CM suffers? But it is Mammootty who carries this me-too motivational effort on his towering self. And makes 1 worth a watch…who knows some young contenders may come up with an ideal of politics.  

The 1957 romance-drama Pyaasa starring Guru Dutt and Waheeda Rehman is widely considered one of the best Indian films. Produced and directed by Guru Dutt, it was a box office hit too. And of course who can forget the melodious songs like Jaane woh kaise log they jinake pyaar ko pyaar milaa or ye mahalo, ye takto, ye taajo ki duniyaa…  Guru Dutt not only perfectly fitted the role of a sensitive poet, he immortalized the character! But Guru played the role not because he wanted to but because he was left with no option. How?  Actually for the main role of the poet, the actor finalized was Dilip Kumar. Guru Dutt briefed him about the story and finalized the deal. But strangely as promised, Dilip Kumar never reported to the set for shooting. The entire crew was kept waiting and a totally exasperated Guru Dutt decided he will put on the make-up and do the role. And what a momentous decision he took. It turned out the best thing that could have ever happened to him, the movie and also the Indian audience. Even today Pyaasa is regarded as one of the greatest films ever made. It frequently features on world cinema’s greatest films lists. It was one of the earliest films to have achieved a healthy blend of artistic as well as commercial mainstream traits. One may ask, was it destiny or luck that played the role here!

It was quite a popular song of the 1970s Do Bichaare Bina Sahaare, Dekho Puchh Puchhkar Haare sung on screen by Ashok Kumar and Pran in the 1972 comedy movie Victoria 203. The movie, produced and directed by Brij Sadanah, had Navin Nishchol and Saira Banu in the lead roles. Those days most of the films were shot with the original sound recorded simultaneously at the time of shooting. There was no post-production concept. The shooting of the movie was in full progress at a Mumbai studio with Ashok Kumar (Raja) and Pran (Rana) in full flow…delivering their dialogues. But there was a problem. Every time the camera rolled it would capture the cooing sound of pigeons. The sound recordist said that pigeon cooing noise was interfering with the dialogues. After three takes everybody was exasperated as to how to overcome the pigeon noise issue.  Ashok Kumar said, “Okay, don’t worry, I will manage.” No one understood what he meant by ‘manage’.  When the director said lights, camera, action, Dada Moni effortlessly added a line before his actual dialogue, ”Kya zamana aa gaya hai Rana, aajkal raat me bhi kabootar bolte hain!”  This thinking on the feet or ad-libbing as it is popularly known saved the day and the director Brij could finally say cut and pack up.

Thirty-year-old Kartik Aaryan, considered one of the most bankable NextGen stars, has been making headlines for all the wrong reasons. First, Karan Johar’s Dharma Production dropped him from Dostanna2 for his ‘alleged misbehaviour’. Now, comes the news that Shah Rukh Khan promoted Red Chillies Entertainment has dropped him from Good-Bye Freddie. Is it coincidence or a coterie at play? There has been no official confirmation but people close to Kartik say that he has returned the signing amount of Rs 2 crore. His exit seems to have evoked mixed reactions. His rivals that include few producers and stars who were unhappy with his meteoric rise are elated. They are wishing he goes down like the yesteryear’s superstar. But it’s wishful thinking as there are producers after producers eagerly waiting to sign this most bankable star. The news brings to fore once again the raging debate about nepotism and outsider vs insider in Bollywood which started with the untimely death of Sushant Singh Rajput in June 2020. Reportedly, Karan Johar is playing safe and is looking for Kartik’s replacement from ‘outside’. So what are the reasons for Kartik’s exit? Sources say in both cases he asked for scripts to be changed – a theory that has not many takers. But is it the first time a star has made such a request? All stars have made changes while at the peak. Luckily, two production houses have offered Kartik a three-film contract worth Rs 70 crore, but he is yet to sign on the dotted line. For now, millions of his fans need not worry, they will see more of their hero.

It does seem like Salman Khan has set the trend of hybrid releases in India. Even if the net business is Rs 125 crore, Radhe has set a new yardstick for tangible recoveries, proportionate to Box Office (BO) returns. Overseas, the theatre numbers of the film are very encouraging, given the currently restricted footfalls in the cinemas. In the past Zee had released Khali Peeli which didn’t work but a Tamil/ Telugu film released on the same day worked wonders. So, the writing is on the wall, that in the coming months when cinemas will start opening, the hybrid formula of the revenues via Transactional Video on Demand (TVOD) will continue. It has raised the bar, which will only add to the BO number game. There are middle-order films that are now released directly on OTT like Hungama 2 and Bhoot Police and we also hear that some big films that are in the pipeline are looking to keep a TVOD window for their films.

Covid 19 has overturned our ethos and lifestyles in ways that we haven’t fully fathomed. OTT is one of the most significant changes in our entertainment spectrum. Whichever the platform, the content and creative genius still remains supreme. Without sounding partisan, Tamil content has made that OTT transition, a much more creative, smooth as silk experience …whether in its earliest Anthology…Putham Pudhiya Kaalai, of five stories brilliantly directed by five outstanding directors among them Gautam Menon, Sudha Kangana, Suhasini Maniratnam. This showcased how the characters handle a corona ridden milieu. Urvashi, Jayaram, Kalidas, Prakshraj are memorable for their performances. Another anthology, Paava Kathaigal did fairly well. Two cute Hindi movies, Pagglait and Choked were super entertainers on a small budget. Bombay Begums is a pretentious me too. Big budget producers and mega vista directors like Shanker have to wait patiently for cinemas to come to life. In the meanwhile, new stars, new trends and more appealing entertainment in the privacy of your home are gaining big currency. One such OTT star is predicted to be Aishwarya Lekshmi, the stunning Malayalam actor from a hit movie, Maayanadhi. Her Jagame Thandiram with Dhanush, directed by Karthik Subburaj, is expected to raise the OTT bar even higher when released in June. Lekshmi is also in the ensemble cast of Mani Rathnam’s Ponniyin Selvan. No wonder OTT’s are in a keenly run race to garner gripping content.  Reportedly, Zee5 claims their subscriptions have jumped 50% during Covid lockdown. Bloomberg analysts also estimates that multiple OTTs, Hotstar, Amazon Prime, Netflix are cashing in on an 82% increase in viewership.

 It was a mixed reaction for Salman Khan-Disha Patani starrer Radhe released on Eid. A few film critics and some in social media platform were quite negative.  A video of youtuber sharing her expert opinion on the movie in a typical Bhojpuri flair just added to the suspense and curiosity.  If it was the plant of rival camps and certain multiplexes to ensure that the film is not a hit, it clearly didn’t succeed. “Radhe has experienced positive response from viewers, right from the first day of its release, wherein it clocked 4.2 million views across platforms. The film has also received encouraging box office collections in the overseas markets. The film has reinforced the fact that the viewers in India are ready for the Pay Per View model and ZEE has been at the forefront of this change,” said Shariq Patel, CEO of Zee Studios. Pay Per View is a very old model. DTH platforms have this. You could also compare it with VCR which one hired in the eighties to watch movies; it is just that the mode of delivery has become digital. Interestingly, the popular IMDb gave Radhe, a rating of 1.7 – the lowest this season. Yet the brand pull of Salman Khan saw the movie reportedly gross over Rs 250 crore. This figure more than covers its production cost and earns the producers tidy profit. Only digital approach may not work for big ticket films. But there is no denying the fact that hybrid model is here to stay. One must commend Salman’s production house for innovative marketing and distribution of Radhe. He has shown the industry a new path. And perhaps his confidence stems from the fact that 50 million plus fans on social media will not let him down. 

After the death of Himanshu Roy in 1940, one of the pioneers of Indian cinema and husband of Devika Rani, the burden of running Bombay Talkies side fell on his partner Sashadhar Mukherji, who also became a legend in his own lifetime.  The new found responsibility saw Mukherji hiring directors to complete the film under his creative supervision. Last film he produced in Bombay Talkies was Kismat directed by Gyan Mukherjee starring Ashok Kumar, his brother-in-law and Mumtaz Shanti. It was in Kismat that he gave the ‘lost and found formula’ to Bollywood. Kismat’s release was at the backdrop of Quit India movement 1942. The film was ready for release when Mukherji got a novel idea to include a song that captures the country’s political sentiments. Lyricist Kavi Pradeep wrote the song Door Hato Aye Duniya Walo Hindustan Hamara Hai which became popular. At Mumbai’s Roxy Theatre, Opera House where the film was released, the audience gave a standing ovation to the song. People’s patriotism was aroused. The British authorities got jittery and police were asked to investigate everyone connected with the film. The song was so cleverly written that they couldn’t find anything objectionable. Kismat was his swan song at Bombay Talkies, post that Mukherji formed a cooperative and created Filmistan Studio with 11 partners — including Ashok Kumar, Kavi Pradeep, Madan Mohan’s father and othe

Thirty-five year old Shruti Haasan, Kamal Haasan’s elder daughter pirouetted into the arc lights with much promise…a child star, singer and multilingual artist, this apple has not fallen far from the tree…the legendary Kamal Haasan. Shruti inherited not just drop dead gorgeous looks from her actress mother Sarika, but also immense talent and electrifying screen presence from Kamal. But after 15 films, a few hits, some flops, she has yet to get that role of a lifetime and come anywhere near her father’s mesmerising performance in innumerable box office hits. What has held her back? Cinema trackers say that she has also inherited her dad’s famous talent for falling in and out of love with fleeting flings. At the start of her career, actor Siddharth was much touted as her arm candy. Seems her co-star and music partner Dhanush was also smitten by her. Then came Michael Corsale, Shruti’s London amour de cour. A South Indian firang wedding was almost on the drawing board. Shruti and Corsale broke up, and stories of her plunging into alcoholic nirvana were bandied around. Shruti herself admitted that she had to be hung out to dry. More than a year later, she emerged from the hibernation, radiant and ravishing. But a new beau is in the wings: Santanu Hazarika, tattoo and doodle artist from Assam. Shruti Haasan has Uber loads of talent. Will she get back on her promising film track?

There is a silver lining to be sighted even in poll defeat. Cinema fans are thrilled that two big stars of the silver screen have been denied a place in Tamil Nadu’s star-studded politics. While Rajinikanth left even before a single vote was cast, the thespian Kamal Haasan faces the same fate as Sivaji Ganesan in failing badly at the polls. Both matinee stars can now concentrate their energies on acting in the autumn of their film careers. Kamal Haasan’s party, formed in 2018, is facing an existential crisis after being wiped out electorally — 2.5% vote share and 0 seats — in the 2021 Tamil Nadu Assembly polls. Kamal, at a loose end after the poll crash, confided to friends that he is free to pursue all his film projects while he intends to keep one eye on his political presence with statements on issues. Rajini, advised by the Marans to resist pressure from Delhi to take on a political avatar, will be acting in more Sun Films ventures after Annatthe. Kamal has Project 232, Indian 2 and Thalaivan Irukkindran to finish as well think of unfinished projects like Madhuranagayam which caused such a stir that even the British Queen visited the set. The one certainty to emerge from 2021 TN polls is that the cinema stars are totally free to act full time.

Sacred Games apart, the actor who, arguably set the OTT platform on fire is Pratik Gandhi with his 10-part web series Scam 1992: The Harshad Mehta Story. Its signature tune went viral. So much so that Abhishek Bachchan’s movie The Big Bull evoked very poor response. Other actors making waves in the OTT world are: Jaideep Ahlawat, Abhishek Banerjee, Divyendu Sharma, Shobhita Dhulipala, Arjun Mathur and Amit Sial. As for film stars’ OTT entry, Abhishek, Saif Ali Khan, Amit Sadh, Nawazuddin Siddiqui and Manoj Bajpayee, among others, could not attain the success of Pratik Gandhi or Jaideep Alhawat (Paatal Lok). During the first lockdown, the big screen stars and filmmakers resisted OTT release. Looking at the performance of films like Laxxmi, Coolie and Gulabo Sitabo, the OTT was labelled a dumping ground for films that would have failed at the box office. But, realizing that OTT is here to stay, the film makers are now sending Press Releases that mentions TRP ratings besides box office figures. Effectively, this TRP will measure Akshay Kumar or Pratik Gandhi by the same yardstick – pointing to a new litmus test for the concept of Superstars. OTT is a medium dominated by actors and not superstars. With OTT gaining currency even big ticket stars like Hrithik Roshan and Shahid Kapoor are getting ready to make digital debut. Salman Khan is also releasing his movie Radhe on OTT platform. OTT is the new way of life.

The second lockdown has hit Bollywood real hard. With shoots cancelled everybody from producers to spot boys have been financially impacted. To avoid further cost over-runs and meet with new release dates many producers are shooting in states where there are no lockdowns. Producer-actor Aamir Khan is no different. He missed the release date of Laal Singh Chaddha last Christmas because of lockdown beginning in March 2020, followed by Kareena Kapoor’s pregnancy and finally he tested positive. To make up for the lost time Aamir and his team are furiously shooting the war and climax scenes at Ladakh. The new release date is this Christmas – considered to be his lucky day. Salman Khan is no different. He too has the tradition of releasing all his movies on Eid. But, the second wave has delayed the release of Radhe directed by Prabhu Deva. Being Salman he knows how to market himself. He has appealed to his fans to watch Radhe which will be released on multiple platforms. And his fans never disappoint him. In the case of Shah Rukh Khan, he has been maintaining a deliberate low profile barring his social chats with acid victims via his Meer Foundation. Shah Rukh was shooting for Pathan in full swing but the second lockdown stopped it. However sets at both YRF Studio and Film City have been kept standing. Meanwhile, he is taking no chances; all ad films are shot at Mannat. What also kept him busy was watching IPL Season-14 before it was suspended.

Inderjeet Singh Johar, popularly known in Bollywood as IS Johar, was a versatile actor, writer, producer, and director. His talent took him to Hollywood where he acted in movies like Lawrence Of Arabia, Death On The Nile. But, for a man who made it big in Bollywood, he was deeply disturbed by the 1947 Partition as he was born in Talagang in Punjab in British India (which became a part of newly created Pakistan). The rape, murder of lakhs of Hindus shook him very badly. He felt such violence could be done by only those who have lost faith in God. So, he went to his mentor S Mukerji to make a film on a subject that could restore people’s faith in God. Mukerji read Johar’s script and told him, if you want to appeal to the masses then tweak the script; don’t take the problem head on but do it subtly. Heeding to his mentor’s advice, Johar rewrote the script and directed the film. Nastik, produced by S Mukerji (Filmistan) in 1954, is a film set against the backdrop of Partition with its ensuing riots and violence, and using actual footage of refugees. The movie was phenomenally successful at the box office and completed Golden Jubilee. Even today it is known for its “immortal” song Dekh Tere Sansar Ki Haalat Kya Ho Gayi Bhagwan, Kitna Badal Gaya Insaan. Married five times, Johar died in 1984 at the age of 64.

Generally speaking, no trip to Pune is complete without visiting one of the city’s oldest and best-known bakeries — Kayani Bakery — to buy Shrewsbury biscuits for families and friends. Set up in 1955 by two brothers Hormuzdiar and Khodayar Irani, the bakery has tickled the palate of millions of people from all walks of life. Not many know that one of the early fans and patrons of these unmistakable cookies was the tragedy king of Hindi screen, Dilip Kumar. He relished Shrewsbury biscuits. It was around 1970; Dilip Kumar was doing a BR Chopra movie Dastaan. Those days it was not easy for those passing out of the Film & Television Institute Of India (then Poona Film Institute) to get work in mainstream cinema. But sound recordist BK Chaturvedi was lucky to be picked by BR Films and given the assignment of Dastaan. During the course of shooting, when Dilip Kumar came to know that Chaturvedi had passed out of the FTII, he told him whenever you go to Pune get me Shrewsbury biscuits from Kayani Bakery. It was an honour for Chaturvedi that the legendary Dilip saab was making such a request. Since that day till the shooting of Dastaan was complete, Chaturvedi would religiously go to Pune to get biscuits for Dilip Kumar. On his part, the thespian actor would offer him tea in his lavish, impeccable style at his Pali Hill bungalow. So it was chai, biscuits and filmy charcha.

Versatile star Ranveer Singh seems thrilled after signing the Hindi remake of the 2005 hit Tamil movie Anniyan (dubbed version Aparichit). It shows. Immediately on his Instagram handle he wrote: “Proudly announcing my collaboration with the pioneering visionary of Indian cinema, the maverick master craftsman SHANKAR, powered by veteran film producer Dr Jayantilal Gada.” But the movie is already shrouded under controversy with the south producer S Ravichandran claiming that he owns the right to the film and the director Shankar cannot really sell the story of the film to Bollywood. The two producers – Gada and Ravichandran – are locked in a legal battle over the film rights so the chances of the film release date getting postponed cannot be ruled out. Meanwhile, various theories are floating around as to why Shankar and Ranveer came together for this remake. Some say Ranveer fell in love with script and was keen to make inroads in the south and this movie would be a perfect platform. Another theory doing the rounds is that Shankar was keen to sign Ranveer as he has not really worked with Bollywood’s leading stars save for Akshay Kumar and Anil Kapoor. But everybody agrees that Ranveer is the right man to play the lead role in the Bollywood remake  – just like actor Vikram who played the lead role in the original Tamil film.

Is it starry tantrums, strategy, or success that saw Kartik Aaryan playing hide-and-seek with shooting dates for Dharma Production’s Dostana2. Infuriated by his alleged ‘indiscipline’, producer Karan Johar decided to scrap the film even though Rs 20 crore has been spent on shooting nearly 50% of the movie. The reason for this stalemate, say insiders, could be because Kartik has become hypochondriac after he got infected with Covid-19. So, giving into his demand, the shooting of the film was shifted from London to Rajasthan; a good portion was already shot in Chandigarh. Besides that, trade circles believe Kartik apparently had issues with the second half of the script and wanted changes. This is what got Karan Johar’s goat; he couldn’t take orders from newcomer Kartik. Besides Dostana2, he has cancelled two other projects with Kartik and blacklisted him. If this episode had happened in the south, the producers would have boycotted the star. Not, here. Bollywood producers are making beeline to Kartik’s house. Not surprising, in a short span of time this ‘outsider’ has risen to become Top 10. Currently, he has three films contract worth Rs 75 crore. Brand pundits say this episode will not erode his brand value. On the contrary, a number of big brands have signed him on. There is no disputing the fact that he is one of the most popular faces today. For now, Kartik is maintaining a studied silence even though Karan is getting heavily trolled by Twitteratis and the loudest voice being none than Kangana Ranaut.

The song, Why This Kolaveri Di sung by popular Tamil film hero Dhanush, rocked music lovers globally in 2011. Dhanush now has hit another big-time chart buster anthem that is sure to be a global foot tapper. Kandaa Vara Sollunga Karnana Kaiyoda Kuttivarunga belted out by an unknown folk singer, Kidakkuzhi Mariyammal, has already garnered five lakh hits in just under a month. Dhanush turns ballistic in this just released movie Karnan, a powerful story on caste oppression. Mariyammal’s powerful voice, the rustic flavour and her no pretensions attitude has cast a spell on the audience. It is as though the audience wants to see the movie just to savour the setting and touching folk poetry. The Dravidian Parai beat and the poignant lyrics have made this folk song haunting. Director Mari Selvaraj, composer Santosh Narayanan, and of course lead actor Dhanush are all basking in the popularity of the song and the singer. And another unplanned fallout, this song featured as a satirical election anthem for many campaigners who played it to taunt the opponent – “bring him if you see him”. Just shows that Indian polity and society has come off age. Oppression is showcased powerfully, with unforgettable narratives.

South’s diva, Nayanthara, the acknowledged female super star is worth all that big moolah paid to her.  She has acted in over 75 films –in Tamil, Telugu and Malayalam – and is the only south Indian female actor to have made it to the Forbes India Celebrity 100 2018 list. She is quite professional. She has not allowed her stormy love life to come in the way of hits like Naanum Rowdy Thaan, Aram, Ram Rajyam and Darbar. She has been in and out of love several times. Simbu and Prabhu Deva have gone through those revolving doors. Nayan turned wary and watchful after these breakups even as she held on to that top slot. And then came Director Vignesh Shivan. They have been in a relationship ever since they worked together in Naanum Rowdy Thaan. Nayan, it seems, is smitten by him. But the couple have still not announced wedding plans. Recently she was offered a whopping Rs 10 crore for an OTT movie. But when she heard the script and some over-the-top scenes in the movie, she coolly turned down the drool worthy offer. Has she finally found her anchor in Vignesh Shivan?

The untimely death of Sushant Singh Rajput last June kicked off a national debate about nepotism and outsider vs insider in Bollywood. The uncharitable lines one heard was: “Oh! Karan Johar is the son of a successful producer Yash Johar; Aditya Chopra is the son of an eminent director Yash Chopra; Sonakshi is daughter of a super star Shatrugan Sinha; Ranbir comes from the most celebrated Kapoor family so on and so forth. And this is why they made it big!  Actually, all these so-called “insiders” had skills, which was a cut above the rest and proved their mettle to emerge successful in their own rights. Pedigree gave them entry, but it does not guarantee success. Or else how do you explain sons and daughters of successful stars not being able to make a mark. What about Feroz Khan’s son Fardeen; what about Abhishek Bachchan? What about BR Chopra’s son Ravi Chopra? What about the sons of Guru Dutt? What about the sons of Chetan Anand and Dev Anand? In the cricket world one can think of Sunil Gavaskar’s son Rohan and Kumar Mangalam Birla’s son Aryaman.  The list is endless. People forget that in any creative field or even in sports it is the performance that finally speaks. Of course, luck too plays a major role. Rajendra Kumar may not have been considered a great actor but he was popularly known as Jubilee Kumar as all his movies ran for 25 weeks in theatres.

The Shammi Kapoor-Sharmila Tagore starrer Kashmir Ki Kali directed by Shakti Samanta was not only a box office hit but also renowned for its popular songs composed by OP Nayyar and sung by Mohammed Rafi. Remember the famous number, Yeh Chand Sa Roshan Chehra, shot on Dal Lake shikara which became an eternal boat ballet to remember with the song reaching a striking crescendo – Tareef Krun Kya Uski Jisne Tujhe Banaya What’s not known to many is an interesting story behind the song. At the recording studio, as is customary, the hero, Shammi Kapoor, was present. But he did not like the way music director OP Nayyar had composed the song – especially the end part of it. Being a popular star, Shammi Kapoor requested Nayyar if he could quicken the pace of the song at the end to a crescendo and sync the last line Tareef Karun Kya Uski with the music. Nayyar, it seems, turned down Shammi’s suggestion. Seeing a sulking Shammi, Rafi saab asked him what the matter was. Shammi told Rafi saab about his suggestion and how Nayyar saab refused to entertain him. Rafi was convinced; he told Nayyar saab, “Looks like Shammi has something in his mind as to how he will perform on this song. Why not listen to him and compose the ending as per his wish.”  With Rafi also making a request, Nayyar relented. The picturisation is dramatic as you see Shammi serenading Sharmila in the middle of the Dal Lake, as she’s rowing her shikara, full of flowers. The performance has become immortal. What would have happened had Nayyar saab not given in?

Once upon a time in Bollywood, there were only popular actors like Dilip Kumar, Raj Kapoor and Dev Anand. Then, there was no concept of superstars till Rajesh Khanna burst onto the scene like a tsunami, giving seven hits in a row. He was a phenomenon, a rage who whipped up mass hysteria wherever he went. People emulated his hair style and mannerisms. Every girl wanted to marry him. Sadly, Kaka could not hold on to his title for long. Soon, he was dethroned by Amitabh Bachchan with his angry young man image. Big B, as he is popularly known, held the title for nearly three decades. Bachchan’s spell continued till the coming of the Khans – Shah Rukh (SRK), Salman and Aamir. During this time, Bollywood movies were going global, and this worked for SRK like magic. He became the heart throb for the younger generation world over. Everybody drooled over him. King Khan had arrived ruling the heart, mind and wallet space. Even as he continued to hold his sway, Hrithik Roshan entered the scene with Kaho Naa Pyar Hai. This movie made him an overnight sensation. Old cinema buffs say the frenzy around Hrithik is reminiscent of Rajesh Khanna’s days. Now, everybody is asking who will be the next superstar after Hrithik?  Today, there are exceptionally talented actors like Ranbir Kapoor, Ranveer Singh, Tiger Shroff and Kartik Aaryan but they haven’t really made that super impact. According to industry observers, in this digital age with multiple platforms, stardom has got so fragmented that there may be no next superstar in the immediate future.

Remember childlike, seductive and that infectious smile of Dev Anand with that small gap in his upper left denture that sent women swooning. What became a selling point was actually a bone of contention between Dev Saheb and his director. Well, it’s a ‘painful’ story. Dev Anand got the first break in the movie because of his smile. Baburao Pai, producer of Prabhat Films part of the Pune-based Prabhat Studio (founded by the likes of VG Damle and V Shantaram was), was mesmerized by Dev’s smile and signed him to play a hero’s role. But, when the shooting began director PL Santoshi (father of Rajkumar Santoshi) and the cameraman did not like the gap in Dev’s teeth. It ‘looked odd’, they both felt, in close-up shots. So, it was suggested Dev put cotton buds and fill the gap. After few days of shooting the gum got infected and Dev Saheb could not bear the pain and he complained. Giving to hero’s complaints, the cotton buds were removed and it was status quo ante. The smile took him more than a mile. No wonder he was called the Evergreen Hero till he passed away in 2011 at the age of 88 in London.

Bollywood camp seems to be divided over some of the winners of the 67th National Film Awards for 2019. Kangana Ranaut, who bagged the National Award for Best Actor for Manikarnika: The Queen of Jhansi, and Panga, is being compared to Priyanka Chopra’s performance in The Sky Is Pink. Similarly, some veteran critics are comparing Sushant Singh Rajput starrer Chhichhore that won the coveted award with their own choices: Section 375, Art 15, Batla House and Uri: The Surgical Strike. The Jury could have selected from one of these four films, the seasoned critics hold, suspecting that the awards are being given to score political brownie points. All awards, be it national or independent ones, attract such endless criticism. This brings to mind the story told to the undersigned by the Dadasaheb Phalke Award winner Manoj Kumar aka Mr Bharat. His movie Upkar (1967) was a runaway hit. Mr Bharat got a call from a babu in New Delhi to attend the National Films Awards function at Vigyan Bhavan as his film Upkar was the winner. When the announcement was made, he found much to his dismay that a south Indian film had bagged the award and his film got the Award for the Second-Best Feature Film. Seeing a visibly irritated Manoj Kumar, the babu, in question, quickly whispered into his ears: “Sir, please understand the politics of balancing!” After reluctantly collecting the medal, Manoj Kumar quietly walked out, went to the refugee camp in Delhi where he had grown up (after Partition 1947), and threw the medal into a nullah.

Film stars are in great demand during election time.  It is a star parade in West Bengal; some are fighting elections, some canvassing for the TMC or the BJP.  Ditto: Tamil Nadu and Kerala. Stars are magnets, drawing the huge crowds. But once elected, are they able to serve their constituencies?  A simple analysis shows that 90% of the reel stars fail to play the role of political leaders in the real world. Amitabh Bachchan, Govinda, Rajesh Khanna and Dharmendra won elections with convincing margins but eventually retreated after failing to make an impact. However, there are a few who successfully occupied centre stage: MGR and Jayalalithaa in Tamil Nadu; and NTR in Andhra Pradesh had a splendid journey to the top. Vinod Khanna is remembered for being the only Bollywood star to win Lok Sabha polls four times – he won from Gurdaspur in Punjab on the BJP ticket; he also served as a minister. Among the living legends, Dream Girl Hema Malini who was first nominated to the Rajya Sabha won both 2014 and 2019 Lok Sabha polls. So did singer Babul Supriyo. Raj Babbar has been active since 1989, having changed three parties. He won the Lok Sabha seat thrice and was also once nominated for the Rajya Sabha. Backed by the Samajwadi Party, Jaya Bachchan is also making her presence felt at the Upper House. Bihari babu Shatrughan Sinha, who won two terms and became a minister, is acknowledged for his fiery debate. Jaya Prada, Khushbu, Manoj Tiwari and Ravi Kishan continue to hog the limelight. In the south, Rajinikanth’s much anticipated political debut didn’t materialise – but Kamal Haasan has taken the plunge.

Born into an aristocratic family, Himanshu Roy is one of the leading pioneers of the Indian cinema. Bombay Talkies studio, which produced a number of hits and launched several stars, was his brainchild. It was set up in 1934 along with his actress wife Devika Rani. The other partner was Shashdhar Mukherji who roped in his brother-in-law Ashok Kumar Ganguly as a technician. According to a knowledgeable source, Roy in a fit of rage threw the leading hero out of the movie as he suspected him of having an affair with his wife Devika. Now, the whole studio was in a fix as the movie was going on the floor. A desperate hunt began for a new hero and everybody’s eyes fell on Ashok Kumar and he was cast as a hero opposite Devika Rani. Now rose another tricky situation. Since Mukherji was controlling the whole project there was an issue as to how he would address Ashok Kumar who was his wife’s elder brother. His nickname was Moni so Mukherji like a good Bengali added the prefix Dada to Moni and started calling him “Dada Moni”. The rest is history.

Showman Subhash Ghai, who was the guest of honour at The Indian Idol Show, revealed an interesting story about Jackie Shroff. Ghai was looking for a fresh face for his movie Hero and Jackie Shroff came to meet him with his portfolio. Ghai asked him three questions: Can you sing? Can you dance? Can you act? And Jackie Shroff said NO to all the three questions. Then why have you come to meet me, asked Ghai. Jackie said his friends forced him! Impressed by his innocent honesty, Ghai said: “You are selected to play the hero’s role opposite Meenakshi Seshdari in the movie Hero. Jackie was stunned. After profusely thanking Ghai as he was walking out of the cabin retraced his step and said: “Sir I will tell you one thing truthfully. I have played a role in Dev Anand’s movie in which there is a goonda Shakti Kapoor who has an assistant goonda and I am assistant to assistant goonda. Now, you are casting me as a hero, Sir Aap Fas Jaogey.” Ghai was moved by the hero’s honesty. Even today after tasting phenomenal success Jackie is the most grounded star, says Ghai with a touch of pride. The 64-year old star who has become synonymous with the word Bhidu is also fondly called “Jaggu Dada”.

It is no more signing amount or territory sharing in Bollywood. According to the industry insiders, the top 13 actors today not only charge a fee but also get a share in profits of their films. Thus, by the new model, Aamir Khan earns around Rs 100-300 crore per film. It is also learnt that he takes profits only after the producer has earned his money from the film. Salman Khan earns about Rs 100-150 crore per film; he has been making double of what he earns from a film from the reality show Bigg Boss. Akshay Kumar either co-produces a film or takes an outright price of Rs 90-135 crore for a film. Interestingly, Shah Rukh Khan — the superstar who scored a record number of blockbusters in the 90s — charges Rs 75 crore plus profits per film. Hrithik Roshan charges in the range of Rs 75-100 crore per film plus profits. The actor was offered Rs 100 crore for the web series Night Manager which is yet to go on floors. Ranbir Kapoor earns about Rs 60-75 crore for a film. Ajay Devgn produces most of his films but if he is involved as an actor, he takes Rs 50 crore. In the past, Ajay, Salman, Big B, Jeetendra opted for certain territories. Amitabh took Bombay Circuit, Jeetendra CP Circuit. The newcomers are no different; they have swung into the game by charging fees plus profits. Thus, Ranveer Singh earns about Rs 20-30 crore which includes profits; Shahid Kapoor Rs 35-50 crore plus profits. Tiger Shroff earns Rs 18-20 crore per film. New sensation Kartik Aaryan’s seems to be moving in the big league amazingly fast, having already hit the Rs 15-20 crore mark.

Unlike yesteryear’s stars today’s stars are business-like. They put the money where their mouth is. Alia Bhatt who has turned producer for the movie Darlings will charge Rs 15 crore for her lead role. So, besides acting fees, she will make big numbers if the movie does well at the box-office. Ditto: Deepika Padukone who is a joint producer of 83, a sports drama film that focuses on India’s 1983 World Cup win by Kapil Dev. Directed by Kabir Khan, she plays the role of Kapil Dev’s wife Romi. Deepika, who has already signed on with a couple of big banners, is the highest paid star in the industry, commanding a price of Rs 21 crore, according to the industry insiders. Kangana Ranaut, who has four films in the pipeline, reportedly commands around Rs 11-12 crore per film. Besides, there are four stars who fall in the Rs 7-crore bracket. They are: Shraddha Kapoor, Kareena Kapoor, Katrina Kaif and Anushka Sharma.  Shraddha Kapoor has Naagin and Luv Ranjan film. Katrina Kaif who has signed Phone Booth launched her own beauty line. Kareena and Anushka consciously signed less films as they were in the family way but managed to keep their cash registers ringing with series of brand endorsements. And the ‘desi girl’, Priyanka Chopra Jonas today commands around Rs 6 crore.

As you drive from SEEPZ to L&T complex in Mumbai’s Andheri east, you cannot miss on your left a huge film studio complex – Kamalistan — named after Pakeezah fame writer-director-producer Kamaal Amrohi. He was also the husband of Meena Kumari, the tragedy queen of Bollywood. Hailing from eastern UP’s Amroha, he landed in Mumbai to seek his fortune as a writer. As is known nobody entertained him. One day he managed to enter the office of the great film maker of Minerva Movietone fame Sohrab Modi. As he broke into conversation, Modi who was busy reading a script, did not even look at him and said “I am busy, I cannot meet anybody.” Then as he lifted his head he saw this lean thin man in Achkan, a topi with a walking-stick. Seeing his physical appearance, Modi broke into a loud laugh. Quick-thinking Kamaal cashed in on the situation and said, “I am not a person to be seen; I am to be heard.” Modi sat down, heard what he had to narrate. His command over Urdu writing skills landed him a job with Modi and he quickly became a famous writer and director.

Just when Rhea Chakraborty thought the nightmare was behind her and that she could focus on her acting career comes the news that her name figures in the Narcotics Control Bureau chargesheet linked to the Sushant Singh Rajput case. Trouble, they say, never comes alone. Earlier, she found to her dismay that her name was missing from the credit list of the mystery thriller Chehre directed by Rumi Jaffery. Yet, this 28-year-old starlet did not lose hope. She, according to sources, flew to Hyderabad to meet a producer and almost bagged the film.  One does not know if Jaffrey will ever revive the film he had planned with Rhea and Sushant. But some film makers have decided to give her a second chance. However, those who know her say that Rhea is treading cautiously; not signing films till there is clarity in her case. Nikhil Dwivedi has already announced that he is open to working with her. People from Bollywood are asking why she shouldn’t get a second chance when Sanjay Dutt has got more than three chances.  In fact, she recently met Salman Khan’s former talent manager Reshma Shetty who helped Salman resurrect his career after two big court cases. Looks like Rhea is working towards a gameplan!

It appears that no death — be it that of Mahatma Gandhi, John F Kennedy, John Lennon or Lady Diana — has been as hysterically covered that too non-stop for over 100 days by the Indian media as that of Bollywood star Sushant Singh Rajput who died under mysterious circumstance on June 14, 2020. The CBI has been on the job but their findings are yet to be made public. The glimmer of hope came in December 2020 when the CBI, in response to a letter written by the BJP’s Rajya Sabha member Dr Subramanian Swamy to the Prime Minister Narendra Modi. “The CBI is conducting investigation in a thorough and professional manner using latest scientific techniques. During investigation, all aspects are being looked at and no aspect has been ruled out as on date,” Dr Swamy was informed. Meanwhile, the diehard fans of Sushant are keeping the issue alive by posting relentlessly on Twitter: it was trending at #7 with 129,000 tweets on 3 March 2021.

The doyen of the Indian film industry, Sashadhar Mukerji, who initially joined Bombay Talkies and went on to create Filmistan and Filmalaya Studios, was considered the man with the Midas touch. He not only launched several new faces who have become a runaway success stories but his entire family right from his sons (Joy, Deb, and Shomu), grandson (Ayan), grand-daughter (Kajol), relatives (Ashok, Kishore, and Anup Kumar) are part of the film fraternity. It is a huge extended family. Actually, he was the brain behind the concept of formula films. A legend in his own lifetime, Mukherji was approached by Shammi Kapoor constantly for a big break. “Sir, you have made so many stars, when are you going to do something for me?” This persistence by Shammi went on for some time till one day Mukherji said: “Shave off your moustache and see me tomorrow.” Without wasting time, Shammi landed at his office the next day sans moustache and producer Mukherji signed him for Tum Sa Nahi Dekha which was directed by Nasir Hussain. Interestingly, this film became a launch pad for heroine Ameeta, director Hussain and catapulted a struggling Shammi Kapoor into the big league. Shammi told the undersigned: “I had a Hillman car those days. Even before the release of the film, I sold it and went on a holiday to the Far East. I knew when I return, I shall be a star!”

Unlike yesteryear’s stars who hid their married status and pregnancy, today’s stars are going to town on both the counts. Both Kareena Kapoor Khan and Anushka Sharma have smartly cashed on their pregnancy by endorsing advertisements showing their baby bumps. Result: both made money hands over fist. Kareena, according to industry sources, earned about Rs 12 crore from brand endorsements. Interestingly even brands are keen for such endorsements by celebrities. It was a hush-hush affair when Sridevi was pregnant with Janhvi while shooting for Judaai, produced by her husband Boney Kapoor. Though one did get a glimpse of it in one of the songs in the movie. Similarly, Aamir Khan’s marriage was kept a secret although the audience saw the glimpse of his wife Reena Dutta in Qayamat Se Qayamat Tak. Aishwarya Rai Bachchan was probably the first Bollywood actress who had the courage to show her baby bumps. She was spotted at fashion shows when she was pregnant with Aaradhya. She walked the ramp and did invite snide remarks, but she was unfazed. Today, pregnancies have become just a minor bump in a female actor’s career. Rani Mukherjee made a successful comeback; so did Kareena after her first baby. Even Neha Dhupia is back in the business with her talk show besides making guest appearances on TV shows and Page 3 events. Come to think of it, today’s stars are having the best of both the worlds – motherhood and career.

This model turned actress-producer-social worker has never changed her narrative. She is one woman who stands up for women’s rights and children’s rights and has never cared about political correctness. Bhumi Pednekar may be called the climate warrior and Taapsee Pannu has begun speaking up on the subject now. But the original voice of dissent from Bollywood and the person who took on the mantle of activism in this generation is the 39-year old Dia Mirza.  Dia is unique in her own way – elegant, charming yet understated. She went through a painful divorce but nobody got a whiff of it. She compartmentalised her personal and professional life smartly.  There was no mudslinging and neither did she look up for any sympathy.  Even if we look at her PR, it is not about publicising her role in a movie but about the good work she does outside films. Her work on the Yamuna clean up and the Ganga documentary are well-known. That is why when she was appointed as an official Sustainable Development Goals’ advocate it made sense because we know this woman will do justice to her role. Everybody needs a second chance. Professionally, Dia is making a comeback on big screen and web series, and personally she got married for the second time. We wish her luck on both fronts.

Remember Salma Agha the honey-eyed husky voiced lady who came here from Pakistan to make it big as a singer-actor-star in Bollywood — a la Noorjahan, Suraiyya! That was the time when the legendary film maker BR Chopra (who always made films on social issues – Ek Hi Raasta, Naya Daur, Mazoor) was planning to make a film on triple Talaq- based on a short story given to him by a Hindi freelance journalist Achala Nagar.  She had forgotten about it. Chopra not only read the story but also asked to search for the writer. He decide to make this film with an entirely fresh cast and crew. Salma got a break with this film along with Hasan Kamaal as its lyricist. The film was made under the title Talaq Talaq Talaq and that precisely attracted the ire of muslim groups. They said even if we mention the title of the film in front of our wives we would be pronouncing “Talaq!” One important muslim poet/journalist told Chopra “Muslims make 70% of cinema going audiences, if we issue a Fatwa to not to see the film, the film would flop.” Heeding his advice the title of the film Talaq Talaq Talaq was changed to Nikaah.  

When Bollywood stars tweeted against international pop star Rihanna they were targeted by the Maharashtra government. Now Big B and Akshay Kumar are being targeted by the Congress in Maharashtra for not tweeting against rising petrol prices. Guess one meeting or a phone call to Sharad Pawar might just solve Big B’s problem. Recently, Sonu Sood bought peace from Sena after talking to NCP supremo Sharad Pawar. Earlier Sunil Dutt sought blessings of Balasaheb Thackeray after Sanjay Dutt was arrested in the Mumbai bomb blast case. Also, Manisha Koirala went to complain about Shashilal Nair who had used her body double in a controversial scene without taking her consent. Karan Johar had to frequently meet politicians — once for My Name Is Khan, the second time for Ae Dil Hai Mushkil when the film got into trouble for featuring Fawad Khan, a Pakistani national. Even Dev Anand had to call on Balasaheb Thackeray as he had a Pakistani actor Anita Ayub in his film. Of course, one cannot forget that Mani Ratnam had to screen his film Bombay for Balasaheb Thackeray and Sharad Pawar. Looks like politicians have always been a different kind of censor board for films even after approval from the CBFC.

Looks like Priyanka Chopra Jonas has started her own #MeToo movement as a marketing tool for her memoir Unfinished. There has been some leaked content from the book since the day it was published. The content points fingers at Bollywood. The PR strategy seems to be highlighting all the sections which make headlines – basically being spicy. Every section is infused with some spicy scoop. It is more like the film Sanju, where a lot was spoken but nothing really confirmed. Sensationalism sells and Priyanka is doing just that by exposing filmmakers whom she met at the early stage of her career. The actress in her memoir has written that a director-producer made her twirl around and asked her to get a boob job, fix her jaw and cushion her buttocks. Those who have worked with her and the filmmaker know who she is talking about. But she has kept the media and others guessing as she continues to make headlines. There is one review that states that Priyanka has chosen to leave out far more than she chooses to record.  Priyanka is rather honest that she could not give time to her relationships. The actress has dated some of the top actors of Bollywood but she does not name them. However, she doesn’t mind mentioning a boyfriend named Bob who she hid in her closet and was caught by her aunt. Her strategy of not naming names seems to have unnerved a whole lot of people in Bollywood and many are hoping she does not come with a sequel titled Finished.

It may sound clichéd but behind every successful man there is a woman. Baldev Raj Chopra after doing MA in Literature from the University of the Punjab, Lahore joined as a journalist with film magazine Cine Herald and eventually acquired it in 1947. With right contacts, he launched a movie the same year in Lahore but the Partition genocide saw him fleeing to India. Eventually, he moved to Mumbai and made a movie Karwat in 1948. It flopped. In 1951, he directed a movie starring Ashok Kumar and it was a hit. More hits followed. Soon he was flooded with offer by producers to direct their films. A well-known producer gave him Rs 5,000 (a big sum those days) to direct his movie. Chopra was elated and happily broke the news to his wife. But his wife’s response surprised him. She told him: “You should not direct for others, you should become your own producer and director.” Heeding his wife’s advice, Chopra returned the money and floated BR Films in 1955. His first movie Ek Hi Raasta was a runaway hit. After that there was no looking behind.

After the Tandav controversy, the Indian government is seriously looking at tightening the noose around the OTT channels. The plan is to form a Joint Parliamentary Committee (JPC) to bring in a regulation to control the content that is streamed on the OTT channels. Feelers are being sent to various film personalities to become a part of the JPC and create some kind of guidelines based on the lines of the Central Board Of Film Certification (CBFC) for feature films. Those close to the film industry have hinted that the Standing Committee on the Information & Technology Ministry are examining the functioning of the CBFC. In order to have a holistic examination of the subject, the committee has decided to seek views of individuals associated with the media and entertainment industry. While their plan is being worked out, the makers of edgy content have begun self-regulation to avoid any kind of issues with the government. Most industry people said there has to be censorship, but there are quite a few who feel that self-regulation is the best option. The government, it seems, is keen to avoid another Tandav kind of situation. So, for now it is wait-and-watch game.

With four films in his kitty, Kartik Aaryan is one of the busiest stars from the younger generation of Bollywood actors. The actor has finished shooting for Ronnie Screwala’s film in record time and, believe it or not, has received a fee of about Rs 20 crore. The film was first slated to have a theatrical release, but the makers decided to go for a digital release with the actor being paid a premium price for it. Kartik is one of the most sought-after stars and those in the film trade feel that the actor is justified in being paid that amount. They believe that he is going the Akshay Kumar way by slowly becoming the Gen-Next bankable star.  He is also following Akshay Kumar’s footsteps and becoming a socially responsible star. The actor’s monologue ‘Corona Stop Karo Naa’ became a huge hit. He is also one of the few to donate about Rs 1 crore for the welfare of Covid Warriors followed by an awareness chat show on Covid-19 titled ‘Kookie Poochega’.  Kartik who started his journey in Bollywood with multi-starrers is now shouldering a film as a solo hero. It is his track record with Lukka Chhupi and Pati Patni Aur Woh that probably got producer Karan Johar to sign him for Dostana sequel. Kartik’s other films in the pipeline are Anees Bazmee’s Bhool Bhulaiyaa 2 and Rohit Dhawan’s next film, which is a remake of a South film.