Tag: Ranveer Singh

Karan Johar’s Public Journey With Mental Health: An ‘Anxious’ Evolution

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“I was sweating, I didn’t even realise. He (Varun Dhawan) came to me, held my hand and asked ‘Are you okay?’ And my hands were shaking. I first thought it was a cardiac arrest. I went back home and I just went to my bed and I cried. I didn’t know why I was crying.”

After the very first episode of season 8 of filmmaker Karan Johar’s talk show Koffee With Karan was aired on 26 October, something unusual happened. Usually, after each season (or to be fair, each episode) social media trolls get to their job of hating Johar.

This time around though, along with the usual negativity, there was a sympathetic wave for the filmmaker. On the show, Johar had asked actor Deepika Padukone about her struggles with mental health and how Ranveer Singh helped her through it as a caregiver.

During the episode, he also opened up about his own brush with anxiety at the opening of the Nita Mukesh Ambani Cultural Centre just months before in March. But this wasn’t the first time the filmmaker acknowledged his mental health issues. 

Over the past few years, Johar has often used his stage, mic, and privilege to shed light on mental health and medication.

‘Like Oxygen From Your System Has Been Sucked Out’: When KJo First Talked About Anxiety

Back in 2015, when Padukone had first talked about her battle with depression, it gave space to others in the public domain to break their silence too.

Leading up to the release of his 2016 directorial feature Ae Dil Hai Mushkil, Johar told NDTV,

“There was a phase in my life when I was really depressed. I realised that I had some internal issues to deal with, which got built up to such point that it resulted in anxiety.”

Just a few months after this, in January 2017, when his autobiography An Unsuitable Boy was launched, it came with quite a few revelations. Johar had dedicated a whole chapter to what he called his “midlife angst.”

To Johar’s credit, it was nothing short of brave for a mainstream massy filmmaker to tell the world that he was on medication for anxiety.

Time and time again, the latest being on his show, Johar has emphasised that those struggling with mental health conditions should be provided access to professional resources and not given “simple solutions like “go for a drive!!! Meet friends!! Go for a holiday. Get a massage… (sic)”

And of course, in his classic storyteller style, he has also helped his readers visualise exactly what he was going through.

“You feel like the oxygen from your system has just been sucked out. You feel like you’re in Ladakh. You feel you need acclimitization. Your mind is running, your dreams are running. You dream, you wake up, you dream, you wake up. That’s anxiety.”

Karan Johar, in his book An Unsuitable Boy

Many Triggers, Much More Courage

Whenever Johar has talked about his mental health, he has very often delved into the specifics of his life, and revealed his potential triggers.

As a child, Johar was called “pansy,” for being more feminine than the boys his age. Recently, in a conversation with content platform Yuvaa’s Nikhil Taneja on the latter’s show Be A Man, Yaar, Johar had mentioned how he always wanted to ‘fit in, until he realised he couldn’t.’

That’s also a recurring theme through his book – how even though his family loved him unconditionally and was extremely supportive, he did grow up with insecurities.

The filmmaker, who is also famous for knowing how to take a joke on himself, has often said publicly that humour and self-depreciation, for him, are actually defense mechanisms. 

But what has majorly pushed the director to also speak up is the social media trolling he has faced since the beginning of the COVID-19 pandemic.

In 2020, when actor Sushant Singh Rajput died by suicide, there was a wave of anti-nepotism (in Bollywood) sentiment that surfaced online, with Johar being one of the primary targets.

The filmmaker, in the past year, revealed how much of a toll it took on not just him, but also his mother – who would see all kinds of negativity being spurned towards Johar on different media platforms. 

To the audience too, it was quite evident that Johar was down bad. On Taneja’s show, there was a segment where the team had curated compliments for Johar from social media users.

As the host fished out these compliments, it was a little sad to see the filmmaker be genuinely surprised that people were saying nice things about him – after so many years of only being trolled online.

All this also got a hold on Johar as the filmmaker admitted to growing more and more anxious leading up to the release of his 2023 feature Rocky Aur Rani Kii Prem Kahaani. 

Johar also told film journalist Anupama Chopra in an interview with Film Companion, 

“I have never been this stressed before a release. I think it’s a combination of the fact that it’s been a seven year gap (of directing) and also a certain anxiety that built over the last three years within me with a lot that happened on social media.”

There’s Still Criticism…

As a hardcore KJo fan (Dharma [Productions] is my only dharam), I have always believed that Johar knows how to balance the business of storytelling with the stories he wants to tell.

Many of his films, like Kabhi Alvida Na Kehna and My Name Is Khan, have been ahead of their times. At the same time, he has also made films purely for business and to cater to what the audience wants when they go to see a Dharma film – a masala entertainer like I Hate Luv Storys and Yeh Jawaani Hai Deewani.

He has also been one of those rare filmmakers who has always talked about their feelings.

But with Johar taking the stage to talk about mental health, a similar criticism has come forward too.

Johar knows what his audience wants. 25 years ago, it was Kuch Kuch Hota Hai. Today, it may be mental health conversations that the GenZ wants.

But that said, opening up about mental health struggles in public is never easy – whether it’s Karan Johar, Deepika Padukone, or the person reading this piece.

With the World Health Organization estimating that mental health illnesses account for 15 percent of the global disease burden, every little conversation around stigma and seeking mental health support must be welcome.

In this context, doesn’t a filmmaker like Johar, who has taken very many opportunities to speak about mental health conditions, deserve more than just a wave of sympathy?

I cannot help but wonder if Johar deserves some acknowledgement or even appreciation for speaking out – and for invariably sparking more conversations.

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Rocky Aur Rani Kii Prem Kahaani Review: Ranveer Singh-Alia Bhatt Are Having Fun!

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Karan Johar returns to the director’s chair with Rocky Aur Rani Kii Prem Kahaani, a film that is a journey between “it’s all about loving your parents” and “the blood of the covenant is thicker than the water of the womb”. 

A strapping, brawny Rocky Randhawa (Ranveer Singh), endearing in his theatrics, is the heir apparent to his family’s confectionery, Dhanlakshmi Sweets; the eponym is his grandmother played by Jaya Bachchan. 

Adversely, Rani Chatterjee (Alia Bhatt) is a feisty news anchor who doesn’t answer to anyone; goes as far as to throw her earpiece out before an interview (nobody monitoring the many cameras trained on her notices). 

Alia Bhatt in a still from Rocky Aur Rani Kii Prem Kahaani.

The film, at the crux of it, positions the cultural differences between the Punjabi and Bengali families. The latter sticks to traditional and stifling patriarchal values and the former is more progressive and challenges those very norms in the way their family operates. 

These ideological differences naturally affect the way Rocky and Rani behave. And yet somehow, these two poles-apart characters find each other and start a steamy situationship. 

Rocky’s family consists of his grandmother who is ever-brooding and seemingly runs the family and the business with an iron fist, his bitter and indignant father Tijori (Aamir Bashir), his demure but ambitious mother-sister duo (portrayed with ample heart by Kshitee Jog and Anjali Anand), and his grandfather who suffers from memory loss, longing for a fragment of the past (Dharmendra). 

A still from Rocky Aur Rani Kii Prem Kahaani.

Dhanlakshmi started and Tijori maintained a cycle of generational trauma that has affected every person who was born into or has married into the family. But Rani is not going to be just another cog in this horribly oiled machine. 

Rani’s family is on the other side of this progressive to not binary. Her mother (Churni Ganguly) is an English professor who speaks with an accent even unnecessary to the plot. She is said to be the family’s Shashi Tharoor (she doesn’t say GPS, she says ‘Global Positioning System’). I can’t even place if it’s a caricature of Bengalis or every literature professor to exist.

A still from Rocky Aur Rani Kii Prem Kahaani.

One of the film’s most endearing characters is Rani’s father (Tota Roy Chowdhury) who has left the grandeur of the stage in Kolkata to teach and perform Kathak in Delhi. It’s the film’s most nuanced portrayal of masculinity and it makes sense that this is the character who shows up for the brash Rocky.

Then there is Jamini, Rani’s grandmother played with an ethereal ease by Shabana Azmi. Both Chowdhury and Ganguly imbibe their characters with the honesty they require. 

Rocky is taught to expect everything to go the Randhawa way and Rani grew up knowing she never needs to take anything lying down. So when these two characters switch families (and circumstances), a web of teaching, learning, questioning, and introspection is imminent. 

The first half is frivolous and funny. The main focus is on two relationships, one being Rocky and Rani’s. Twitter was abuzz with theories about their chemistry but what do we see as chemistry? Is it the fact that the two look naturally great together? Is it that it’s easy to believe why they would find each other endearing? If yes, they have sizzling chemistry. 

Ranveer Singh and Alia Bhatt in a still from Rocky Aur Rani Kii Prem Kahaani.

It is not the chemistry of finding each other irresistible (they do). It is also the fact that chemistry can sometimes just be calm; it can rest in the efforts of remembering that your partner doesn’t like a certain colour or food, or that they frown a certain way when something is bothering them. Johar weaves this easy chemistry into the folds of his typical Bollywood story. 

Karan Johar fits in every bit of Bollywood he can get his hands on into Rocky Aur Rani Kii Prem Kahaani. Extravagant sets? Check. Lovers forced to separate because of family differences? Check. Past lovers reuniting with a (large) tinge of infidelity? Check. Song and dance? Elaborate monologues? Loud background music? One-liners? Check, check, check, check. 

Jaya Bachchan in a still from Rocky Aur Rani Kii Prem Kahaani.

Karan Johar’s unrealistic extravagance must have the support of style, a responsibility fulfilled by fashion designer Manish Malhotra and stylist Eka Lakhani. The Sabyasachi Angarakhas flow and swish in the air with aplomb and chiffon floats against a snowy landscape (despite Rani’s mismatched blouses). It is a reminder of why Bollywood cinema felt so easy to escape into. 

The Bollywood mass appeal is right there but at some point, you wonder if there should’ve been some balance. Maybe a little less. But the Johar directorial magic hits every frame of the screen.

He knows how to frame Jaya Bachchan’s scowl as threatening and comic just with a smart use of camera work (this credit, of course, is shared by the actor and the cameraperson). 

He brings his almost cheesy Bollywood-ness and mixes it with old Bollywood nostalgia dialed up to the maximum. Yes, it seems exaggerated. Yes, it makes little sense and is so overly melodramatic. I wish I was someone who had the strength to resist a character crooning ‘Abhi Na Jao Chhod Kar’ or ‘Aaj Mausam Bada Beimaan Hai’ but I don’t. 

Tota Roy Chowdhury in a still from Rocky Aur Rani Kii Prem Kahaani.

As Rocky, Ranveer is impossible to peel your eyes away from; he has an infectious energy that lends itself to the film’s demand of uproarious laughter from the audience. The way he throws around phrases like, ‘But obvio?’ and ‘Hello babes’ feels like second nature to him. And yet, when the film moves into its melodramatic and emotion-heavy second half, his performance is heartbreaking. 

This is a man who knows there’s always been something wrong with the lessons he has been taught growing up but nobody ever taught him what. He is torn between what he sees as himself and what his family wants him to be. 

Alia pulls no punches in playing Rani, when she’s spouting her lessons on Feminism 101 or trying to find a way to get a word in while talking to her golden-retriever boyfriend. 

Alia Bhatt and Shabana Azmi in a still from Rocky Aur Rani Kii Prem Kahaani.

The film does make attempts at being more than it can be. There is a commentary on patriarchy, on misogyny, on cancel culture even. But all of them, except maybe the former, lack any nuance. It’s all monologues followed by angry looks and while it does get the point home, the point in itself is shallow.

Even the commentary on cancel culture comes so close to actually getting it but it doesn’t. 

‘Must we cancel all people instead of giving them a chance to learn’ is a very nuanced subject that delves into matters of privilege, of understanding, and of opportunity amongst all things. A confused monologue really cannot and does not cover it. 

This brings us to the actual screenplay. An actual story is sacrificed at the altar of drama. The characters outside of Rocky and Rani do not get their due. They yell their backstories and problems at the faces of their family but the actual emotional heft of these sermons is absent. Dhanlakshmi gets the shortest end of the stick. 

Even with the mandate that this is not a film rooted in realism and shouldn’t be seen that way, there are parts of the film that still seem too unnatural. At points, I found myself checking if I was laughing with the film or at it.  

Ranveer Singh in a still from Rocky Aur Rani Kii Prem Kahaani.

Rocky Aur Rani Kii Prem Kahaani doesn’t have anything new to speak of; it doesn’t really have a proper, clear message. It is the spectacle the film mounts that makes it and the fact that the cast seems to have given their everything to make the screenplay work.

And maybe that is one of the true feats of acting? To elevate a film beyond even its own means. And of everyone, Ranveer Singh does it best here.

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10 Years of Lootera: 5 Moments of Pakhi & Varun Bonding Over Art & Literature

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It has been a decade since the release of one of my favourite romantic period dramas — Lootera. What has truly set it apart for me is its director Vikramaditya Motwane’s exceptional ability to defamiliarize the well-worn themes of love, inner conflicts, betrayal, loneliness, and redemption — all of which are masterfully braided in the film.

The plot of the film it is pretty simple. An orphaned lover is torn between their newly found love and their guardian’s restrictions. They resort to deception, only to seek redemption for their blunders later. It is Motwane’s unique approach that offers this straightforward storyline in one of the most aesthetically stunning and emotionally engaging ways.

Amongst all the things I admire about Lootera, what I seem to love most is how Motwane devises art and literature as the medium through which love brews between Pakhi (Sonakshi Sinha) and Varun (Ranveer Singh).

Here are five moments where Pakhi and Varun’s artistic inclinations brought the two closer.

Pakhi Reciting Vaidyanath Mishra’s ‘Akaal Aur Uske Baad’

Sonakshi Sinha in a still from Lootera.

The first scene where we witness love blossoming between the couple is when Pakhi recites Vaidyanath Mishra’s ‘Akaal Aur Uske Baad,’ and is soon joined by Varun in the second paragraph. This marks the first instance when both discover their shared passion for literature and poetry.

Ranveer Singh in Lootera.

The beauty of this moment lies in the mutual infatuation captured through their gazes. Neither of them blinks, finishing the verse with a twinkle in their eyes as they lock eyes. The dramatic backdrop of the library, the antiquities, and the dim yellow lighting add to the warm ambiance, creating an ideal romantic and poetic setting. 

A still from Lootera.

All the while, Pakhi’s father, Zamindar Babu, adds his own sweet presence by being a spectator to the recitation.

‘Tadbeer Se Bigadi Huyee’ Playing In The Background

Vikrant Massey in Lootera.

The second scene on my list is when Deb (Vikrant Massey) and Varun are getting ready for the day, and ‘Tadbeer Se Bigadi Huyee Taqdeer’ from Baazi plays on the radio. It goes on to be the background song as we move to subsequent scenes.

Sonakshi in a still from Lootera.

Pakhi, observing the interaction between them, switches on the radio to the same frequency. Her gaze reveals her hidden desires and yearning for a closer bond with Varun. By playing the same song in her room, she creates a synchronized moment where their lives align for a brief moment through the shared experience of listening to the same music, even if Varun remains unaware of it. Isn’t this a beautifully executed scene?

As she giggles while watching Deb and Varun vibing to the same song the next day, it reveals her growing infatuation with Varun.

Lakeside Confessions

A still from Lootera.

My next favourite scene is when they sit on the lakeside after their canvas finally comes alive with a landscape. They talk about what they really want to do in their lives and interestingly enough, both have simple artistic pursuits.

For Pakhi, it is writing books — a lot of books. And when the soft-spoken hero is quizzed, “Agar tumhe kabhi mauka mile kuch aur karne ka, toh kya karna chaahoge? Batao.”, we witness Varun opening up to Pakhi about his deepest desires and goals in life.

Sonakshi as Pakhi in Lootera.

Sitting beside the shore of a lake, he expresses his wish to visit another one before he dies — Chandra Taal near Manali, which in his words is located deep in the Himalayas: “Himalayon ke bilkul beech o beech; neela hara paani. Aur zara si bhi awaaz nahi.” As Pakhi whispers asking, “Bilkul bhi nahi?”, their exchanges take the form of whispering to each other until the end of the conversation, when Varun expresses his desire to paint a masterpiece that the world would remember.

A still from Lootera.

This conversation, full of whispers, alludes to the strengthening of their love and trust. It is as if the world around them fades away and it’s just the two of them.

Varun ‘Revealing’ His Feelings For Pakhi

A still from Lootera.

Another beautiful scene subtly reveals Pakhi and Varun’s shared passion for stories and the art of storytelling. The nature of this scene remains unclear, making it challenging to discern whether it was a figment of Pakhi’s imagination or a genuine flashback.

It begins with Pakhi being found with her pen, writing a story about which Varun is curious. Their conversation in no time transcends mere curiosity and becomes a reflection of their feelings for each other.

By discussing the characters and their love within the story, Varun indirectly reveals his feelings for Pakhi.

When Varun questions whether the boy and the girl love each other, Pakhi’s response of “I do not know” suggests she is unsure or hesitant to acknowledge their love.

As they draw closer, the mosquito net is removed from the frame, signifying the breaking of barriers and the intimacy that develops between them.  

The ‘Last Leaf’ in The Climax

A still from Lootera.

Last but not least, the climax is one of the most poignant and moving scenes I have come across.

To me, the final leaf represents the culmination of their shared bond, which was formed through a mutual love of art and literature. Their relationship’s trajectory, delicately intertwined with their shared artistic pursuits, with the highlight being the painting sessions, gets a perfect, enduring closure with a ‘masterpiece’ that goes beyond the boundaries of their ordinary human connection.

A still from Lootera.

From ‘modern art mein pattiyan aise hi banti hain’ to producing a piece strikingly akin to the genuine leaf, Varun’s artistic journey finally reaches its apex in the film’s dramatic conclusion. 

The ‘last’ leaf, in its truest essence, emerges as a masterpiece, saving Pakhi from submitting to hopelessness and breathing life back into her existence.

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Trade expects Rohit Shetty’s Cirkus to open in double digits and even gain entry into the Rs. 100 crore club, despite underwhelming advance ticket sales :Bollywood Box Office – Bollywood Hungama

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The last big film of 2022, Cirkus, is all set to be released on December 23. A lot of expectations are riding on this film as it reunites actor Ranveer Singh and director Rohit Shetty after the blockbuster Simmba (2018). Though the ticket sales haven’t been encouraging, the trade experts are hopeful that Cirkus can work big time, provided the audience gives the film thumbs up.

When asked about the advance booking, trade analyst Atul Mohan said, “The advance booking is not up to the mark. The trailer has not worked as intended.”

Trade veteran Taran Adarsh emphasized, “The advance is not in sync with the names attached to the film, be it Rohit Shetty or Ranveer Singh. The majority of Rohit’s films have worked. He’s a hit machine but somehow, the advance of this film hasn’t been too good. But then, the advances weren’t opened till the last minute for his last film, Sooryavanshi (2021). That film relied on spot bookings. It took a fantastic opening of Rs. 26.29 crores despite 50% occupancy. Rohit Shetty, hence, has a loyal audience and it can help the film to open well”

When asked the reason for not-so-good advance booking, Taran Adarsh answered, “There are multiple reasons. Firstly, the trailer invoked mixed reactions. The buzz that should have been created with the trailer was missing. Secondly, the Avatar wave is also there.”

Raj Bansal, the owner of Entertainment Paradise in Jaipur, agreed, “Avatar: The Way Of Water will definitely affect Cirkus. Its collections are excellent. To collect Rs. 125 crores in 3 days is a feat.”

Raj Bansal continued, “The advance is very poor as people haven’t been excited by the trailer.” Girish Johar, producer and film business analyst, opined, “The audiences were expecting a little more grandeur and larger-than-life scale as well as a laugh riot kind of stuff from Rohit Shetty. The ticket sales are a little underwhelming. But the advance booking usually picks up from Wednesday or Thursday. The same happened with Drishyam 2 as well.”

Price factor

The makers have adopted a unique price strategy for Cirkus. Film exhibitor and distributor Akshaye Rathi explained, “The three bands for the multiplexes are regular, premium and blockbuster. Cirkus rates are somewhere between regular and premium.”

He further explained, “The ticket prices are not in the blockbuster category as the film caters to the aam junta. The idea is to make it financially accessible to as wide an audience as possible. Having said that, it’s a premium product as it’s a Rohit Shetty movie. Rather than going for blockbuster rates, the pricing is between regular and premium so that the higher number of footfalls can be targeted rather than squeeze out more money from fewer number of people”

Raj Bansal believes such kind of pricing is a “mistake”. He opined, “One of the biggest reasons for Drishyam 2’s success is fair pricing. Also, the content was strong. No wonder the film became a blockbuster”

He continued, “Cirkus rates should have been at par with Drishyam 2. Aap audience ko theatre mein aane toh do. So many people keep away from cinemas seeing the ticket rates.”

Trade expects Rohit Shetty’s Cirkus to open in double digits and even gain entry into the Rs. 100 crore club, despite underwhelming advance ticket sales

Opening day prediction

When asked to predict the opening day numbers, Raj Bansal said, “Rs. 8.50-9 crores. A double digit opening looks difficult. If reports are positive, we can expect spot bookings.”

Atul Mohan feels the first-day collection of Rs. 10 crores plus is still possible, “It all will depend on how the film is and public reports. If word of mouth is positive, it stands a huge chance.”

Taran Adarsh also agreed, “It should open at double digits as the film is riding on high expectations. If it doesn’t, then it’ll be a shocker.” Girish Johar, meanwhile, predicted that Crikus can open in the range of Rs. 12-15 crores.

All is not lost yet

The trade experts feel that the advance can still pick up, especially in the last 24 hours, translating into a healthy day 1 number. Taran Adarsh said, “There are 2-3 days remaining for the film to release. The advances can pick up but as of now, it’s not looking good.”

He also believes that Cirkus can see a huge jump on Saturday considering how last month, Drishyam 2 too jumped from Rs. 15.38 crores on day 1 to Rs. 21.59 crores on day 2. Taran Adarsh said, “It can jump on Saturday. In fact, I don’t rule out a huge turnout on day 1 also. Moreover, this is a festive week with Christmas Eve on Saturday and Sunday being the Christmas holiday. The holiday season continues till Sunday, January 1 not just in India but worldwide.”

Raj Bansal exulted, “The film can even jump 1 ½ time on Saturday if word of mouth is encouraging. Even Sunday can be strong, more so because it’s Christmas.”

Girish Johar also is kicked about Cirkus’s growth from day 2, more so after Drishyam 2’s trends. Moreover, with no major film releasing till Pathaan on January 25, Cirkus can get a clean five-week window. On this, Girish Johar cautioned, “Nowadays, it’s all about strong content. If the film works, then even 4 weeks are not sufficient and if it’s not good enough, then it’ll be out in a day. This dynamic has changed. Mediocrity is not working at the box office.”

Can Cirkus cross the Rs. 100 crores and Rs. 200 crores milestones?

When asked if Cirkus can get an entry into the Rs. 100 crore and Rs. 200 crore clubs, Atul Mohan said, “Why not? If word of mouth is positive, then anything is possible.” Taran Adarsh said he hopes to see Cirkus go past the Rs. 200 crore mark, “Ideally, it should. Sooryavanshi fell short of Rs. 200 crores but that was due to the pandemic restrictions”

Raj Bansal, however, predicted, “I have my doubts about Rs. 100 crores, looking at the advance trends.”

To conclude

Akshaye Rathi signed off on an optimistic note, “Cirkus is a film by Rohit Shetty, who caters to the lowest common denominator of the social strata, which is 80% of India’s audience. That is the audience that prefers to stand in serpentine queues outside the box office on the day of the release. I am pretty hopeful; in Rohit Shetty, we trust. Time and again, he has delivered at the box office irrespective of reviews and critical responses to his films. That man knows the pulse of India’s audience and I am pretty confident that this Friday, he shall deliver yet again with Cirkus.”

Also Read: Cirkus star Ranveer Singh reveals why he decided to work on his singing career

More Pages: Drishyam 2 Box Office Collection , Drishyam 2 Movie Review

Tags : Atul Mohan, Avatar: The Way of Water, Cirkus, Drishyam 2, Features, Jacqueline Fernandez, Pooja Hegde, Ranveer Singh, Rohit Shetty, Shriya Saran, Tabu, Zoe Saldana

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