
Anupam Kher recalls shutting down Aamir Khan on Dil He Ke Manta Nahin sets ‘with an English phrase': ‘He complained to Mahesh Bhatt'
Kher feels that's probably why Aamir had a disagreement with him on the sets of Dil Hai Ke Manta Nahin, while filming the climax. 'In the climax of Dil Hai Ke Manta Nahin, the father tells his daughter to run away from the wedding. The moment was very exaggerated,' recalled Kher, who played Seth Dharamchand, father to the bride, played by Pooja Bhatt.
'I was fully ready to portray it, but Aamir Khan complained to Mahesh Bhatt saab about my interpretation. He found it wrong and different. Bhatt saab added fuel to the matter and told me about Aamir's comment. I used an English phrase for Aamir Khan to shut him down,' added Kher, who wanted to remind Aamir he's a gold medallist from the National School of Drama, unlike Aamir who isn't a trained actor.
'Aamir was upset with me throughout the film. He was at that stage of becoming Aamir Khan, which he wanted to become. All my love for him,' said Kher. Aamir gained more popularity right after Dil Hai Ke Manta Nahin with Mansoor's 1994 cult college caper Jo Jeeta Wohi Sikandar the following year.
Dil Hai Ke Manta Nahin marked the first time Aamir worked with Mahesh Bhatt. They followed it up with the 1993 romantic comedy Hum Hain Rahi Pyar Ke. Meanwhile, Bhatt gave Kher his big break in Bollywood with his 1984 relationship drama Saaransh. Post that, they collaborated for Janam (1985), Kaash (1987), Thikana (1987), Kabzaa (1988), Daddy (1989), Awaargi (1990), Gumrah (1993), Tadipaar (1993), Papa Kahte Hain (1996), and Chaahat (1996).
In a new, exclusive interview with SCREEN, Kher claimed that seasoned actors like him and Neena Gupta can perform even on their feet because of their education at NSD and experience in theatre. 'Without realizing, we've worked like theatre in this film (Metro… In Dino). Even in the case of Shiv Shastri Balboa, we did that. That film can be adapted into a very good play. So that's the advantage of being experienced, educated actors. We can incorporate our experiences into these films which we probably can't in others,' said Kher.
Also Read — Tanvi The Great trailer: Anupam Kher champions neurodivergent granddaughter's dream of serving in the Indian Army
He'll be next seen paired with Neena in Anurag Basu's romantic anthology Metro… In Dino, the spiritual successor of his 2007 hit film Life.. in a Metro. Kher is also returning to direction 23 years after Om Jai Jagdish with Tanvi the Great, a coming-of-age film about an autistic girl's dream to join the Indian Army. Kher also plays a supporting role in the movie.
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News18
an hour ago
- News18
Dhanush Says Aanand L Rai Invested Own Money To Cast Him In Raanjhanaa: 'They Didn't Have Budget'
Last Updated: Dhanush reveals he nearly turned down Raanjhanaa due to budget issues, and shares how director Aanand L Rai personally backed him to play Kundan. Dhanush might be a big name in Tamil cinema, but back in 2013, when he was gearing up for his Bollywood debut with Raanjhanaa, things weren't exactly smooth sailing. In fact, he nearly walked away from the film altogether. The actor recently looked back on the film during a special fan screening celebrating its 12th anniversary. While Raanjhanaa became a cult favourite over the years, Dhanush admitted that he was close to saying no – and it all came down to the budget. 'At that time, they didn't have the right kind of budget for hiring me as the lead actor. But this man's (Aanand L Rai) passion was so strong that he just wanted me to play Kundan. He could have offered any actor this part and they would have happily come on board. After all, it's such a great part," Dhanush shared, as quoted in SCREEN. The part he's talking about – Kundan – was a lovestruck Varanasi boy whose obsession and heartbreak eventually pull him into the world of politics. According to him, director Aanand L Rai had to take a big risk to make it happen. 'He went against all odds. I don't know I am supposed to say this and I don't care! He invested his own money as well. He went all out (to cast me). He saw Kundan in me and he stayed true to his vision," Dhanush said. Even for a seasoned performer like Dhanush, the pressure was real. He revealed that stepping into the Hindi film world brought a kind of fear he hadn't experienced before. 'I was not scared during my first film. When I was written off, I was not scared. That's how I am. But for the first time, I was scared. I felt responsible. So, I was praying so hard to God that 'Somehow save this man,'" he said, reflecting on the weight of expectations. In the end, the gamble paid off. Raanjhanaa clicked with audiences and critics alike. 'They made a cult classic. It is not the story of Kundan and Zoya. It is the story of two mad men who believed in this," Dhanush added. The film also starred Sonam Kapoor, Abhay Deol, Swara Bhaskar and Mohammed Zeeshan Ayyub, and became a defining moment in Aanand L Rai's directorial career. Since Raanjhanaa, Dhanush and Aanand L Rai have teamed up again, including in the 2021 film Atrangi Re, and are working together on Tere Ishq Mein – a film Rai has said is set in 'the same world as Raanjhanaa." Disclaimer: Comments reflect users' views, not News18's. Please keep discussions respectful and constructive. Abusive, defamatory, or illegal comments will be removed. News18 may disable any comment at its discretion. By posting, you agree to our Terms of Use and Privacy Policy.


Indian Express
3 hours ago
- Indian Express
Sarzameen: Ibrahim Ali Khan's terrible film accidentally gets you to root for a terrorist to kill an Indian soldier, and you can't even deny it
In Sarzameen, a stern military man allows his only son to be murdered by terrorists in Kashmir because… nation comes first or something. You often hear about parents who proudly declare that they are willing to sacrifice their children for the country, and perhaps Prithviraj Sukumaran's Vijay Menon is cut from the same cloth as those folks. The only difference is that his son isn't a soldier on the front-lines, but a child for whom he feels no love. Played by Ibrahim Ali Khan, the child's name is Harman, and the only reason his father hates him is that he isn't like the other boys; he's timid, he can't play sports, and he speaks with a stutter. Bizarrely enough, Sarzameen implies that Vijay wouldn't have let his son die had he conformed to the 'norms' of boyhood. If Harman didn't have a speech impediment, the movie suggests, he'd likely have lived. It's an astounding thought that struck absolutely nobody in the Dharma writing incubator that coughed up this script, which relies almost exclusively on contrivance, convenience, and coincidence to keep the plot moving. Sarzameen expects us to root for a reunion of some kind after it reveals that Harman miraculously survived a bullet to the head — nobody dies in this movie, even after being shot at point-blank range — but unintentionally gets us to cheer for a terrorist to kill a member of the Indian Army. Also read – Nadaaniyan: Ibrahim Ali Khan makes one of the worst debuts in years; is Karan Johar determined to set fire to his career before it even begins? Only a complete failure in storytelling can send a viewer so wildly off track. Sarzameen is directed by Kayoze Irani, who showed such promise with his heartfelt short film in Ajeeb Daastaans. For him to have selected this as his feature debut makes no sense; as it is, it feels like he wasn't involved in the conceptualisation and execution of the action scenes at all. His focus, presumably, was on the drama. And it's drama straight out of a poor '90s movie; you can imagine how competent Sarzameen is when you realise that even Netflix, which gave an enthusiastic thumbs-up to Nadaaniyan, drew the line. As with that film, it feels like every line of dialogue here has been dubbed in a booth and not performed on set. Hindi isn't Prithviraj's mother tongue, and acting doesn't come naturally to Ibrahim. He shows up only after the first act, when Harman inexplicably escapes from the clutches of his captors and reappears in his parents' lives. For some reason, his mother, played by Kajol, is still married to Vijay, even after he abandoned Harman and left him to die. Had Sarzameen shown us what happened during those eight years, her decision would've made sense. But because it doesn't, you're left to assume that the only reason she stuck around is because she has a job to fulfil in the film's third act. Unlike Brody from Homeland, who was closely monitored by the CIA after he returned from captivity tried to begin his life afresh, Harman is simply allowed to go home to his parents. They barely recognise him. He no longer has a stutter, and he seems more confident than he used to be. Vijay is convinced that he's an imposter — the fact that he believes Harman would be the same person who 'died' eight years ago is bananas. Vijay knows that Harman was living with terrorists; he knows that Harman was probably tortured and brainwashed. And still, he welcomes Harman into his house without having him cleared first. Sarzameen seems to think that the dramatic conflict of these scenes rests in whether Harman is Vijay's son, and not whether he's a terrorist. The more suspicious Vijay becomes of Harman, the more you want to lean in and remind him that it's all his fault. Consequently, you root for the kid to shoot him in the face. This almost happens in the pre-interval scene, by the way. But the scene ends with a twist so wild that its sole purpose, seemingly, is to disarm you for the further insanity that Sarzameen has prepared for the climax. Let's talk about it. It is revealed that Harman was, indeed, a militant brainwashed against his father, who, it wouldn't be a stretch to assume, is the living manifestation of India. The villains didn't have to work too hard; Vijay did have him murdered, after all. The movie would've been far more complex had Harman come from a loving home, or if it had shown Harman commit a terrible crime before resurrecting himself. It's almost as if the most interesting chunk of the story — the eight years that Harman spent away from home — was deliberately edited out. Read more – Ae Watan Mere Watan: Heartbreaking, the worst film you've seen just made some strong political points Vijay, of course, has an awakening. But nothing can redeem him; he's like the dad from Udaan, but if he was also a child-killer. The real twist — and Abbas Mustan would be so proud of Kayoze — is that Kajol's character was a double agent all along. It's like they're gifting the Saiyaara generation with their own version of Gupt: The Hidden Truth. She was sent to spy on the Indian Army, but she fell for Vijay and had a child with him. Why she fell in love with a man like him isn't something that the movie feels confident enough to explain. And, having seen what sort of guy he is, it's impossible for the viewer to fill in the blanks either. Sarzameen is, after all, a movie that paints an Army officer as the villain and projects militants as morally justified in their actions. So, why can't it be appreciated like the scores of films made about America's war crimes after 9/11? Why does Sarzameen have more in common with Kajol's own Fanaa — the film's Harry Potter connections deserve a separate article — than it does with something like The Forever Prisoner, a film that understands the difference between empathising with a wrongdoer and actively cheering them on. By relying on trivial tropes, the movie does a disservice not only to its own characters, but also a very real geopolitical issue.


India.com
10 hours ago
- India.com
Anupam Kher makes big statement on Operation Sindoor hero Colonel Sofia Qureshi, says, ‘Presented her…'
After the Pahalgam attack shook the nation, the Indian Army launched Operation Sindoor, targeting and destroying several terrorist bases across the border. Amid the operation, one face stood out—not from the battlefield, but the briefing room. Colonel Sophia Qureshi, a high-ranking officer in the Indian Army's Corps of Signals, led media briefings, keeping the nation informed and composed during the tense period. Who is Colonel Sophia Qureshi? Sophia isn't just another officer in uniform. She made history as the first Indian woman to lead a military contingent at an international exercise. With clarity, calmness, and courage, she became the Army's voice after the Pahalgam attack. Her presence wasn't just a performance—it was reassurance. Anupam Kher meets Sophia Qureshi Veteran actor Anupam Kher, who is currently promoting his new film Tanvi the Great, recently met Colonel Sophia and shared their interaction on Instagram. In the photo, he's seen gifting her his book. His caption read, 'OPERATION SINDOOR: I was extremely HAPPY and deeply HONOURED to meet Col. #sofiyaqureshi recently and present her my fourth #SelfHelp book #DifferentButNoLess! She epitomises the grace, valour, dignity and bravery of #IndianArmy. Thank you Col. Qureshi for your warmth and appreciation! Jai Hind! #Proud' View this post on Instagram A post shared by Anupam Kher (@anupampkher) The post has since gone viral, with fans calling the moment 'real patriotism'. What's 'Tanvi the Great' and how is it connected? Kher's film, Tanvi the Great, which tells the story of a young girl fighting against all odds to chase her dreams, has just been granted tax-free status in Delhi, following its earlier declaration as tax-free in Madhya Pradesh. Sharing the update, Delhi Chief Minister Rekha Gupta wrote on social platform X, ' I am pleased to share that the Delhi Government has declared the film 'Tanvi the Great' tax-free in the state. With an impactful narrative of inclusion, the film is an inspiring story of a young, 'special' girl-Tanvi, who is determined to achieve her dreams against all odds. Tanvi's story is emotional and inspirational. We are committed to promoting films that strengthen the spirit of Rashtra Seva, ignites patriotism, and awakens the conscience of the nation. Best wishes to the entire team of the film. @AnupamPKher' I am pleased to share that the Delhi Government has declared the film 'Tanvi the Great' tax-free in the state. With an impactful narrative of inclusion, the film is an inspiring story of a young, 'special' girl-Tanvi, who is determined to achieve her dreams against all odds.… — Rekha Gupta (@gupta_rekha) July 23, 2025 From Colonel Sophia's real-life bravery to a film that celebrates courage in another form, this moment reminds us that strength wears many faces. Sometimes it's in uniform, other times in the cinema. But both spark something real: pride, purpose, and power.