'How did Shah Rukh Khan win Best Actor?': Urvashi questions National Awards jury's ‘fairness' towards Vijayaraghavan
Urvashi questions Shah Rukh Khan's National Award win
In conversation with Asianet News, Urvashi asked, 'Vijayaraghavan is such a great actor. What exactly did the jury consider to distinguish between Vijayaraghavan's and Shah Rukh Khan's performances? How did one become a supporting actor and the other the best actor? On what criteria? We should raise such questions, as we too are taxpaying citizens. Kutettan (referring to Vijayaraghavan) has decades of experience in cinema. The film wasn't a big-budget, 250-day shoot kind of project like those in other languages.'
She further added, 'I was initially approached to play his pair in Pookkaalam. Still, I declined because the role required me to undergo a significant physical transformation, for which I would have had to be in the makeup chair for several hours. I told them, even if you pay me crores, I wouldn't do it. But he, at his age, endured all of that and performed. That alone deserves at least a Special Mention. How is he only a supporting actor? On what basis was that decided? That's all I'm asking — there must be some fairness.'
Shah Rukh Khan shared the Best Actor honour with Vikrant Massey, who won for 12th Fail. Vijayaraghavan, meanwhile, was awarded Best Supporting Actor for his portrayal of a 100-year-old man in the 2023 Malayalam film Pookkaalam, where he starred opposite K. P. A. C. Leela. Urvashi shared the Best Supporting Actress award with Janki Bodiwala, recognised for her performance in the Gujarati film Vash.
About Urvashi
Urvashi is one of the most celebrated actors in the South Indian film industry. With a career spanning over four decades, she has appeared in more than 700 films across Malayalam, Tamil, Telugu, Kannada and Hindi. She began her journey as a child artiste at the age of 10 and has since won two National Film Awards, six Kerala State Film Awards, and two Tamil Nadu State Film Awards. Some of her acclaimed works include Kazhakam, Achuvinte Amma, and Charles Enterprises, among others.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Indian Express
13 minutes ago
- Indian Express
Su From So director JP Thuminad: ‘Raj B Shetty taught me how to engage with cinema'
The world seems to have changed overnight for JP Thuminad, the man behind the latest Kannada sensation Su From So. Describing the experience as anireekshithe — Kannada for 'unexpected' or 'unprecedented' — the actor-writer-director is trying to process the overwhelming rush as he promotes his debut across India. Released in theatres on July 25 and co-produced by Raj B Shetty, the Kannada comedy-horror film has exceeded all expectations. Fuelled by glowing reviews and audience love, Su From So offered the Kannada film industry a much-needed morale booster before it was quickly dubbed and released in Malayalam and Telugu. And to everyone's delight, it currently shows no signs of slowing down. SCREEN caught up with JP Thuminad himself to discuss the love and frenzy around his film, its making, and also his own journey to reach this point of glory. Edited excerpts: There's a fascinating story behind how Raj B Shetty came to know about the storyteller in you. Can you tell us a little about it? I have always had a passion for telling stories. There was a time when I spun my own stories and shared them with friends and family, pretending they were scenes from films I'd just supposedly watched. My formal education was discontinued quite early on, and I entered the painting profession, but my love for storytelling never ceased. It also helped me with scripting theatre plays over the last 14 years. After I began working with Raj (B Shetty) sir, the word somehow reached him that I have countless stories up my sleeve, and he was interested to know if I'd ever direct a film. I had already been wanting to direct a short (not really knowing how a screenplay is to be written), but for some reason, I could never get Raj sir to like any of my stories! There'd be 60-70 of them in my mind, but he didn't find much merit in any of them. So that's when I decided that I would simply make a short film and show it to him, and that's how it all started. He watched it and was very impressed, even saying that if he made a film on the same story, he would make it similarly. For me, who only wanted to impress Raj sir, getting that feedback was a big boost. You say you weren't sure how a film's structure worked – was it difficult to convert Su From So from idea to script? Yes, especially for a full-length feature. Raj sir would tell me that I had to first get everything in my mind out on paper, and the rest could be figured out later. Simultaneously, Rishab Shetty sir, with whom I worked in Garuda Gamana Vrishabha Vahana (2021), watched my short film and told me that a screenplay's three-act structure was ingrained in me, even though I wasn't aware of it consciously. These inputs, and my own clarity regarding how the film must be told, helped me put it together. What kind of clarity are you talking about? I knew that the storytelling had to be different here, and I wanted each character to tell the story in their own way. And a clash of egos among those characters or personalities was as important, because that's how I've seen a community function around me. All the characters – Ravi, Yadhu, Sathisha and so on – in my film are innocent at heart, but there's an endearing, comical play of egos among them that takes the story forward. Directing a film of this kind, where almost every scene is exuding energy, isn't easy. Did it help you that you were working with actors – Shaneel Gautham, Prakash Thuminad, Deepak Rai Panaje, etc. – whom you have known very well? I have worked with these guys for over a decade now, and that helps a lot. The thing about working with people who are also your friends is that it could lead to two extremes: one, everyone comes together saying it's 'our film', and the other, being taken for granted. I was lucky that I got the former, and everyone involved – actors, technicians and crew members – considered Su From So to be their film. The ones whom I met for the first time on the sets also felt that passion, and creating something like this wouldn't have been possible without that sense of synergy. Alongside, we had the clarity about how to make the film and prepped a lot. We preempted things that could go wrong during the shoot, and also prepared ourselves beforehand in a few other areas – certain scenes or songs were meticulously shot on mobile phones first before we went on the floors. Since I was also acting in the film, I needed a strong behind-the-scenes team that could handle it when I was in front of the camera. My direction team, my DOP and many others were very collaborative. More importantly, we had incredible fun making the film, and that shows. The last time a Kannada film received such overwhelming love and helped many of its cast members gain popularity was perhaps Kantara (2022). What do you suppose has worked in your favour? I couldn't pinpoint anything, to be fair, but the same clarity I referred to earlier could have helped us here. I knew from the very beginning that this was a film meant to entertain the masses, and not something for the insiders alone. I wanted to entertain the common folk out there, including my mother, father and relatives. I feel that simplicity, combined with a neatly written and executed film, worked well. Along with the simplicity, there's a strong emotional core in the film that struck a chord with audiences. I speak of the Bhaanu character (played by Sandhya Arekere), which speaks about the treatment of women in a non-preachy manner. Did that portion occur naturally to you while writing? I think I wrote it the way I'd like a film to be, as a good blend of humour, an emotional journey, some action and so on. That's the right kind of film in my eyes, but having said that, Bhaanu is the character closest to my heart. I couldn't say exactly why, but she represents the many women I have witnessed growing up. The plight that she carries with her is common among women across backgrounds, but we find that so many of them are unable to openly address what they are enduring. My short film 'Maa', which impressed Raj B Shetty sir, tackles the same theme, and so do some of my plays – fascinatingly, I was never consciously attempting to discuss this topic. Ravi Anna, the Shaneel Gautham character, is quite the rage now. In this era of franchises and cashing in on repeat values of certain characters, do you suppose there's a sequel/spin-off in store using Ravi Anna and others? At this point, the thought hasn't crossed my mind even once, and I am actually on the lookout for something new and fresh. Who knows, a worthy idea might strike sooner or later, but I have yet to even consider that direction. Do you plan to focus more on direction now? More than direction alone, I am very keen on telling stories. Screenwriting and direction require a lot of time and effort, so I am equally interested in picking acting projects based on good roles. There's the rangabhoomi (theatre) as well, to which I want to dedicate as much time as possible, so it is about balancing everything I can at this point. Also Read | Dhadak 2: Shazia Iqbal destroys ancient Bollywood Dharma in the best Karan Johar production since Jigra You have worked alongside and under credible directors like Raj B Shetty and Hemanth M Rao. Anything you learnt from them? For me, as much as I have learnt about filmmaking from them, what resonated more is the way they live and breathe cinema. If it wasn't Raj sir, I would strongly assume that my journey would have been on a starkly different path because it was he who taught how to engage with cinema – from characters to the form itself – on a deeper level. Outside work, I have rarely discussed films or filmmaking with him – it would mostly be about life or similar reflective conversations. In Hemanth Sir's case, he showed by example how a director must be on the film sets and how to direct one's passion for storytelling. It's only now, having made a film and released it, that I realise how much more I can learn and understand the craft. Now, I have to ask you about your love for actor-director Upendra, because his 'presence' in the film is so vital to the story! (Laughs) I have been a huge admirer of Upendra sir, particularly the writer and director in him. Back in the day, I would embody his style and his mannerisms by constantly reciting his dialogues at home. I was mad about each of his films and have even sold tickets in black for a few of them. I vividly remember getting beaten up by cops when I was selling Naagarahaavu (2002) tickets in black outside a theatre! As far as using him in my film as an element is concerned, it primarily stemmed from creating Ashoka's (his character in the film) personality. Since the story involves him staging a performance of a kind, I wanted the posters in his room to suggest to the audience that he has a liking for cinema and acting. And that's how Upendra sir's 'Kalpana' cropped up, which was originally made in Tamil as Kanchana.
India.com
13 minutes ago
- India.com
Language Row: Singer Kumar Sanu Bats For Freedom Of Work Beyond Linguistic Boundaries
Mumbai: Veteran playback singer Kumar Sanu has weighed in on the ongoing language debate, emphasising that talent and adaptability matter more than language proficiency when it comes to professional opportunities. Speaking exclusively to IANS, the singer shared his thoughts on the language row, saying that everyone should have the freedom to work across the country, regardless of linguistic differences. Sanu remarked that the ability to pick up a language depends on an individual's capacity and interest, and that it should not become a barrier to professional opportunities. He shared, 'I don't want to say anything about the language. The national language of our country. Everybody has the right to work in any place. Language should come or not depends on their quality…how much they grab it. It depends on how much they can speak or not. I think it's okay.' As discussions around linguistic freedom gain momentum, National Award-winning playback singer Sonu Nigam was embroiled in the center of controversy after a video from his Bengaluru concert went viral. The singer came under fire following an incident at his recent concert held at East Point College in Virgonagar, Bengaluru. The controversy erupted after he declined a fan's request to sing a Kannada song, citing the manner in which the request was made as inappropriate. What further stirred the debate was Nigam's comparison of the situation to the Pahalgam terror attack in Jammu and Kashmir, a remark that drew sharp criticism. His comments sparked outrage within the Kannada-speaking community, with a pro-Kannada organization filing a formal complaint, accusing the singer of promoting linguistic discord. The incident added fuel to the ongoing national conversation around language and regional identity. In December last year, acclaimed Bengali singer Iman Chakraborty sparked an online debate after a video from her concert in Rajarhat, West Bengal, went viral. The footage showed her firmly addressing an audience member who had called for a ban on Bengali songs during the event. In April, the Maharashtra government made Hindi a compulsory third language in state-run primary schools, alongside Marathi and English—stating it aligned with the national three-language policy. The move triggered mixed reactions, particularly among those concerned about linguistic imposition. Adding to the unrest, videos of Maharashtra Navnirman Sena (MNS) workers targeting non-Marathi speakers also surfaced on social media.
India Today
30 minutes ago
- India Today
Malayalam director Jeo Baby questions National Film Award for The Kerala Story
Director Jeo Baby, who has helmed films like 'Kaathal - The Core' and 'The Great Indian Kitchen', recently reacted to the 71st National Awards winners. While mentioning 'The Kerala Story', he emphasised how National Awards have lost their value over the in a recent interview with Hindustan Times, stated that films that "back the agenda of the ruling parties", are given preference at the National Film Awards. He said, "For the past 10 years or so we have seen this pattern. Movies that seem to back the agenda of the ruling parties have won awards at the national level. These awards seem to have no significance now, as they are encouraging plots and scripts that only the people in power believe in. Why have these awards when the movies cannot be treated on merit? What's the value of these awards?"advertisementThe 'Kaathal - The Core' director also stated that 'The Kerala Story' not just misrepresented facts, but also its "script, direction and acting" were not at par with National Film Awards standards. "No. Personally, I've no such disappointment. But the awards given to 'The Kerala Story', a movie that misrepresented facts, is hugely disappointing. Not only was the movie full of lies, it was also shoddily made. The script, direction and acting were below par. Such misrepresentation of facts is quite scary," he added. Recently, Kerala Chief Minister Pinarayi Vijayan also criticised the National Award win for 'The Kerala Story'. The Kerala CM in his X post wrote, "By honouring a film that spreads blatant misinformation with the clear intent of tarnishing Kerala's image and sowing seeds of communal hatred, the jury of the #National FilmAwards has lent legitimacy to a narrative rooted in the divisive ideology of the Sangh Parivar (sic)."He further wrote, "Kerala, a land that has always stood as a beacon of harmony and resistance against communal forces, has been gravely insulted by this decision. It is not just Malayalis, but everyone who believes in democracy, must raise their voice in defence of truth and the constitutional values we hold dear. (sic)"The film's director, Sudipto Sen, in an interview with India Today said, "I have, I have a mixed bag reaction. Number one, I'm sure he did not see the film. I would request, he's a very, very senior politician and a very, very revered politician, so I would request him to watch the film."'The Kerala Story' won two awards at the 71st National Film Awards - Best Direction, and Best Cinematography. The film follows a group of Kerala women who are coerced into embracing Islam, sexually abused and are eventually made to join from 'The Kerala Story', there were also mixed reactions to actor Shah Rukh Khan winning Best Actor for 'Jawan'. Director Blessy also expressed disappointment over 'The Goat Life' being snubbed by the 71st National Film Awards were announced on August 1, 2025.- EndsMust Watch
