Aditya Roy Kapur Opens Up On Past Relationships: ‘I've Learnt To Be A Better Person'
Aditya Roy Kapur defends the use of dating apps to seek love in these modern times and reveals how he would react if his partner doesn't publicly acknowledge their relationship.
During a recent promotional event of Metro In Dino, Aditya Roy Kapur broke silence on his relationship status. Responding to the intrigue surrounding his love life, he hinted at being single and said that he's currently in a relationship with his film that has released in theatres today. A while back, Aditya was reportedly dating Ananya Panday but the alleged lovebirds parted ways in April this year for reasons unknown. While they never confirmed their relationship or break-up, a source close to them had stated that he's dealing with the split rather 'maturely'.
Now, speaking exclusively to News18 Showsha, he spills the beans on his past romantic relationships and the one lesson that he has learnt from them. 'Every time you come out of a relationship, you try and learn where you've gone wrong. There's always some learning any time you fall in love with someone. The one lesson I've taken away is how to be a better person. It's also important to learn to take your share of the blame, understand where you've gone wrong, not make those same mistakes again and not fall into the same patterns of your behaviour," he tells us.
While Aditya remains tight-lipped about his relationships, his Metro In Dino director Anurag Basu can't help but wonder who he maybe talking about, leaving the rest of his co-stars in splits. As for the film, it incorporates themes such as infidelity, confusion, commitment phobia, mid-life crisis, unhappy marriages, second chances and dating apps. Though Aditya doesn't reveal if he indeed is on a dating app, he believes that it's natural for people to seek love using it in these times.
'We hear about nightclubs closing down because young people aren't drinking and partying as much as they used to. Earlier, one would go and probably meet someone in places like that. Since those places are closing, they don't have spaces to meet and that's why they go to these dating apps. They're changing with times. New technologies are coming in every day. Today, a phone call has become like an act of aggression. I, on the other hand, can't really type (chuckles)," the Ludo and Ok Jaanu actor.
And when it comes to deal breakers in relationships and partners, Aditya feels that what one perceives as red flags may not always be necessarily so. Citing an example, he shares, 'If my partner isn't willing to acknowledge our relationship in public for a good enough reason, it's completely fine. It if doesn't make sense to me, I'll put my point across." On a related note, he has been earning raving reviews for his comic timing and performance in Metro In Dino. The film also stars Anupam Kher, Neena Gupta, Konkona Sensharma, Pankaj Tripathi, Ali Fazal, Sara Ali Khan and Fatima Sana Shaikh.
First Published:
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Indian Express
2 hours ago
- Indian Express
Metro In Dino movie review: Sara Ali Khan plays a Kareena Kapoor-coded character in Anurag Basu's annoying and exhilarating film
It stands to reason that Metro In Dino will have thematic similarities with its spiritual predecessor Life… In A Metro: warring couples, predatory bosses, commitment-phobic men, confused women, straying and returning, sacrifice and recompense. It also has straight-up reprises. Konkona Sen Sharma, whose pairing with Irrfan was one of the highlights of the original, is the only one from the previous cast making a return, with Pankaj Tripathi standing in for the late, great actor; and the three-member band, led by Pritam, is strewn all over the film, like it was in the earlier iteration. In the interim– eighteen years is a long time—so much has changed. Those clunky cell-phones, which a couple of characters used in the earlier film, have changed to the sleek oblongs everyone carries these days, with laptops, tablets, and an overuse of every other device that promises connection, but provides only disconnection. You don't need an empty flat with a key, the idea borrowed from Billy Wilder's classic The Apartment, to plan an assignation; you can just create a profile on a dating app and get right down to sexting, even if you choose to call it Linger, rather than Tinder. But the one thing, if you go by Anurag Basu's characters, that hasn't changed are humans and their frailties and egos which come in the way of true connection. Pankaj and Konkona, as Monty (I still haven't got over that name; who would ever have thought of Irrfan as a still-a-virgin-at-nearly-forty, unable to hide sexual neediness but wistful with it?) and Kajol, are weathering the sort of boredom that besets most married couples who behave like old socks, rather than sparkly stockings. Kajol's younger sister Chumki (Sara Ali Khan) is trying hard to be a compliant girlfriend in preparation to be a good wife to a guy who wears his suspicions on his sleeve, when not shrugging his shoulders, a personality tic that she doesn't notice until it is pointed out to her by travel vlogger Parth (Aditya Roy Kapoor) in a meet-not-so-cute moment. Kajol and Chumki's mother Shivani (Neena Gupta), who gave up her dreams of becoming an actor when she married the girls' dictatorial dad (Saswata Chatterjee) is given a chance to relive her youth during a college reunion, where she runs into old flame Parimal (Anupam Kher). Another strand is fronted by Shruti (Fatima Sana) and husband Akash (Ali Fazal) whose double-income-no-kids corporate grind is threatened by her sudden pregnancy and his deep-seated desire to become a musician. Termination is an option; unhappiness and resentment is a resultant outcome. What I really enjoyed in the film were the nimble writerly leaps and the people speaking to each other as people do, in sentences which feel as if they are coming from the character's lives, rather than rehearsed dialogues on the page. Yes, there is the occasional floweriness, but that's just Basu leaning into his bent for amping up the mundane. The plot moves swiftly along for the most part, and this time around, there are four metros jostling for attention– Mumbai, Delhi, Kolkata and Bangalore– as well as Goa and Shimla. As the architect of edifices full of messy emotions and registering graphs of hurt and happiness, Basu retains his old touch, and I found myself smiling in the dark, especially in the first half. His style, a mix of the real and hyper-real, always teetering close to making us roll our eyes, outlining even as it underlines, makes for a very specific kind of film, stuffed with fleeting moments of delight when the camera catches characters off-guard, as they go about doing things in a naturalistic manner, before careering off into another exaggerated curve. Things do slacken post-interval; a couple of crucial situations repeat themselves, and the film strains to fill its nearly three hour length. One of the biggest surprises of 'Life.. was Irrfan as the self-proclaimed jackass but very likeable Monty, who gives full play to the character's foolishness ; here, Pankaj Tripathi is allowed to get into full-on burlesque-mode– I think I caught a flash of him hurriedly kissing a female toe– and hot and bothered in rumpled-sheet situations. Can anyone beat Irrfan on all those scores? Not really. But is Pankaj a hoot in some of his scenes, and Konkona is as good as it gets ? Yes, and yes. I did find a few threads not working in tandem, especially the one revolving around a young teenager's prolonged wondering if she likes 'girls or boys'. Quite a contemporary touch, but heavy-handed, and meandering. There's also the one involving Anupam Kher's widowed daughter-in-law (Darshana Bainik) and his laboured attempts at giving her her 'jaa apni zindagi jee le' moment, in which he asks for and gets Neena Gupta's willing help: that portion feels both outdated and outlandish. A few characters in this large ensemble do not get enough play: in a truly great film, even walk-ons have flash, even if they were always meant to be on the sidelines. You also wish, just like in the original, that Pritam and co would be heard less, and seen even lesser: yes, we know that the lilting soundtrack they create functions as a leitmotif-commentator-character, and Papon's voice is dreamy, but after a point you want less, not more. Aditya Roy Kapoor makes you miss Basu's original muse Ranbir Kapoor, who patented the self-obsessed man-child character, but does well enough as the breezy, irresponsible fellow turning over a new leaf, Sara Ali Khan, playing a Kareena Kapoor-coded character, fares better here than she has in most of her previous films. She also gets a let-all-the angst-out-with-a-shout moment, taking you right back to a similar situation in the original. Watch | Konkona Sen Sharma on Metro… In Dino Ali Fazal and Fatima Sana Shaikh dance around relatable dilemmas– careers, aspirations, children– even though he comes off more hangdog than anything else, and she a bit too morose. And just like veterans Dharmendra and Nafisa in the earlier one, Anupam Kher and Neena Gupta show how it's done, rising above their improbable bits. But there's enough zest in the rest of it to keep us humming, and the film, even in its looseness and overly-stretchiness, thrumming. And what a relief, in these days of ham-fisted badly-made patriotic sagas and loud family melodramas, to find adult characters doing adult things, talking up desire and lust and love, even if you can see hints of conservativeness– characters getting into bed, but not going all the way– perhaps as a nod to these times which is bent upon taming all individual passion. This really should be a series, because life is unruly and ungainly, spilling over the edges, annoying and exhilarating, in equal measure, and when Metro In Dino is at its best, it catches all those beats: I just hope Basu will not take eighteen years to make his third. Metro.. In Dino movie cast: Anupam Kher, Neena Gupta, Konkona Sen Sharma, Pankaj Tripathi, Aditya Roy Kapoor, Sara Ali Khan, Ali Fazal, Fatima Sana Shaikh, Saswata Chatterjee, Darshana Bainik, Kush Jotwani, Rohan Gurbaxani Metro.. In Dino movie director: Anurag Basu Metro.. In Dino movie rating: Three stars
Time of India
2 hours ago
- Time of India
‘Metro In Dino' star Sara Ali Khan on modern-day relationships; confesses she never used 'dating apps'
recently starred in the film 'Metro In Dino' where she takes on the role of a woman who is confused between two men. The actress recently delved into the concept of modern dating Sara Ali Khan on relationships Sara, who is known for her roles in 'Zara Hatke Zara Bachke' and 'Simmba', recently opened up about the qualms of dating in the modern world and how 'there's a death of love today,' in the actress's words. Tired of too many ads? go ad free now She indicated that she's currently single and is looking for a different person now. While addressing her past relationships and her experiences in an interview with News18 Showsha, the actress shared that the first thing to pop up in her mind is love languages. She shared that, 'When I think of love and relationships, love languages come to my mind. When you fall in love, you've to understand that people have different and their own ways of expressing something'. She also detailed how such a concept of love language may not match for every couple, but the key to a successful one is to understand that everyone is trying to work on themselves and do their best with what they have, 'in their own way'. Looking for something different? Continuing with her conversation, the actress then delved into how she is looking for something different that what she has already experienced. While talking about her reason, the actress shared that, 'I've learnt to understand people better. I've cleansed myself out. I'm looking for a different person now. I've grown up now'. Has Sara Ali Khan used dating apps ? Has the 'Simmba' actress been using dating apps? The answer is no. Khan talked about how she has not yet experienced the use of dating apps, even though they have managed to become a part of the modern-day dating scene. She shared that 'I've never used a dating app. Some people use it and it's fine, but I feel that mil kar hi pata chalta hai. In a world where everything has become so digital, if meeting a partner also becomes digital, it won't be fun for me'. Tired of too many ads? go ad free now Red flags? Or not? While talking about the topic of red flags, Sara shared how some of the so-called 'red flags' that may be considered an issue for most people do not stand out that much to her. The 'Kedarnath' actress shared that 'If my partner isn't willing to acknowledge our relationship, I'll give him 108 green flags. It sounds amazing to me because it's a very rare situation (laughs). I also don't believe in the guy always paying the bill. I believe in splitting it. Also, if they ask me about my whereabouts very frequently, I'm okay with it as long as they're not tracking me through GPS or ask me to prove where I am'.
Scroll.in
3 hours ago
- Scroll.in
‘Metro...In Dino' review: A hot mess of mostly cold sentiment
For his anthology film Metro…In Dino, Anurag Basu revisits his similarly structured Life in a Metro and Ludo while throwing in a musical element from Jagga Jasoos. Metro in Dino has four principal couples in different locations, sundry supporting characters and frequent cutaways to tracks by composer Pritam to allow the characters' thoughts to be expressed in the manner of a musical. The result is something of a cacophony, with far too many melodic lines for any single one to stand out. Written by Basu with dialogue by Sandeep Srivastava and Samrat Chakraborty, Metro in Dino has its share of charming moments and good-natured asides about contemporary relationships. But the Hindi film is also a hot mess of mostly cold sentiment. Three of the four plot strands revolve around Shivani (Neena Gupta) and her daughters Kajal (Konkona Sensharma) and Chumki (Sara Ali Khan). The most promising and memorable story examines the disgust that consumes Kajal when her husband Monty (Pankaj Tripathi) decides to stray from their marriage. Kajal's plan for revenge resembles a classical Italian farce, the kind that starred Sophia Loren and Marcello Mastroianni. While Kajol's rage is very real, Monty's goofy attempts to win her back – and Pankaj Tripathi's superb comic timing – get the laughs. The marital union between Shruti (Fatima Sana Shaikh) and struggling singer Akash (Ali Fazal) is similarly on shaky ground. Akash is too self-absorbed to understand Shruti's choices, leading to arguments and tears. Fatima Sana Shaikh ably conveys Shruti's anguish and forbearance. Marriage is clearly a recipe for trouble, if not disaster. Shivani and Sameer (Saswata Chatterjee) are stuck in a rut. Shivani grabs the opportunity to meet her long-lost love Parimal (Anupam Kher), but has to contend with his devoted daughter (Darshana Banik). Parimal's solution for this situation is as cruel as it is implausible. It's clearly incorrect to assume that a widower and his daughter have enough of a bond to be able to communicate with each other like adults, rather than resorting to a childish ruse. The fourth strand is the flimsiest. Although Chumki is in a committed relationship, she begins to waver after meeting the commitment-phobic Parth (Aditya Roy Kapur). Parth's infectious sangfroid prompts Chumki to have second thoughts. In terms of its plotting, Metro…In Dino is a lot like Basu's Mumbai-set Life in a Metro (2007). Both films also share the band of troubadours led by Pritam who turn up regularly to emote on behalf of the characters. Life in a Metro was not only geographically tethered but also had light humour, sweeping romance and gentle observations on urban relationships. The spiritual sequel is all over the place. Metro…In Dino is notionally set in Mumbai, Kolkata, Bengaluru and Delhi, but only Mumbai and Kolkata get prominence. In any case, neither city lends any real flavour to the stories. Pritam's music was one of the highlights of Life in a Metro, and is the mainstay in Metro…In Dino – even though it has to compete with poor lip syncing, Pritam's own background score and dialogue laid over the songs. The movie is attention-deficit in other ways too, wandering off just when the stories begin to achieve emotional truthfulness. The 162-minute hodgepodge is held together by a few sharp performances, Pritam's soaring music and scattered moments of acuity. Basu doesn't judge his characters. They are flawed in relatable ways. However, a paternalistic cloud hangs over many of the incidents. A recurring visual motif is of women passed out senseless on the shoulders of their partners. Whether awake or asleep, the women of Metro in Dino are in more peril than the film cares to admit. The light-hearted tone has hints of darkness and the stench of compromise. At least in this regard, Metro in Dino leavens its insistent banality. Play
