
‘Jhootha aadmi': Anurag Kashyap claps back at Vivek Agnihotri for saying his alcoholism disrupted Dhan Dhana Dhan Goal shoot
Filmmaker Vivek Agnihotri, who worked with Anurag Kashyap on the 2007 film Dhan Dhana Dhan Goal, recently alleged that the Gangs of Wasseypur director's alcoholism created a lot of trouble for the team. He also alleged that Anurag palmed off all his writing work to Vikramaditya Motwane. Now, Anurag has reacted to these claims and called Vivek Agnihotri a 'big-time liar,' stating that he was never even on set. 'He took his own writer to write that crappy script,' said Anurag in an Instagram Story.
Anurag Kashyap shared a screenshot of an article published by SCREEN, and wrote, 'Kitna jhootha hai yeh aadmi. Shooting London mein hui thi and I was in India (He is such a liar, they shot in London and I was in India).' Anurag added, 'He didn't want the script by Motwane or me. He wanted to make Lagaan of football and took his own writer to write that crappy script. Neither me nor Motwane went on the set ever.'
In a recent interview with Digital Commentary, Vivek recalled working with Anurag and said, 'We worked together on Goal. He was writing the movie. Saif Ali Khan and Priyanka Chopra were supposed to do it, but Saif had some personal issues at the time, so he left. Then we got John and Bipasha. Anurag was a heavy drinker back then, and he couldn't be trusted with time. He brought Vikram Motwane on board, who is very talented guy. Anurag told me, 'Mera naya ladka hai woh help karega.''
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Vivek Agnihotri then accused Anurag of palming off his work to Vikram. 'They had a different version of the film, which didn't match with mine. Ultimately, we were at loggerheads. The production house had a word with Anurag. He became difficult to handle professionally, because only an alcoholic knows what an alcoholic goes through.' Vivek, in his interview however, never claimed that Anurag or Motwane came to set.
Previously, in an interview with Mid-Day, the Motwane shared his experience of working with Vivek. He said, 'UTV was producing the film, and Vivek had approached them with this story idea that he wanted to do about football, and they said okay. But he wanted a really good writer, so they called up Anurag. He said, 'Look, I know nothing about football, but this guy (Motwane) knows everything about football. So, I wrote it, and they were happy.'
Motwane shared that the film got made, but not in the way he or Anurag wanted. 'At that time, it was like beggars can't be choosers, you got paid for work. I still believe the original script of mine is one of the best things I have written.'
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Indian Express
12 minutes ago
- Indian Express
Raajneeti turns 15: Prakash Jha says Katrina Kaif learnt her speech for 40 days, Anjum Rajabali had his doubts about Ranbir Kapoor
Aamir Khan may be planning to make a film series on the Mahabharata and then hang up his boots. But filmmaker Prakash Jha and screenwriter Anjum Rajabali did that 15 years ago. Their 2010 political drama Raajneeti was a modern adaptation of the epic, yet they maintain it never started off as that. 'Unlike Gangaajal (2003) or Apaharan (2004), Raajneeti didn't happen after witnessing a specific incident. It was a broader socio-political drama based on reality, but resonating with the Mahabharata. The characters are all the same everywhere, as they were back in the epic,' Prakash Jha tells SCREEN. 'There's something for everybody — drama, crisis, highs, lows — everything you can think of about human existence, it's all there capsuled in the Mahabharata. So every Indian creator keeps drawing from it,' he adds. 'We didn't start out by wanting to adapt the Mahabharata. We just allowed it to enter our script. It's a sprawling epic. But you're not writing an epic, you're writing a screenplay,' Rajabali points out. After serving as a script consultant on Jha's last two films, he was approached by the director to co-write a film on electoral politics. 'I wasn't interested in that,' recalls Rajabali. But he proposed to Jha that the filmmaker visits him every evening from 7:30 pm to 10 pm. They'd brainstorm over 'two shots of vodka' for seven days, in the middle of which Rajabali recalled they began veering towards the Mahabharata. The idea of power conflict and cousins competing with other brought them closer to the broad strokes of the epic. But Rajabali was dead sure he didn't want Karna to be the hero, much to the surprise of Jha. 'Karna has the usual characteristics of a hero: he's the underdog who comes up fighting against injustice. But I told Prakash you must not look at only as destiny, but also in terms of the choices he made. He wholeheartedly went with Duryodhana, knowing fully well he's an evil guy. That lends the story a dystopian end — who do we side with, because they're all evil,' reasons Rajabali. Enter: Arjuna. 'Prakash said Arjuna is a boring character, who's a good family member and a good warrior. But I brought his attention to Arjuna's arc — he doesn't want to enter the war, but Krishna gives him the perspective on why he should fight for a cause. Then their dark deeds begin to surface. So I asked Prakash, 'What if Arjuna begins to revel in that?' Because he's suddenly a demon who has been unleashed,' says Rajabali. The Arjuna of Raajneeti — Samar Pratap Singh — is the proverbial outsider. The youngest son who comes back from his school abroad for a few days, only to get caged in the politics of his family and that of the state. 'His father is killed, brother is jailed, so he has to enter politics out of anger. Then the guy who's researching Victorian poetry begins to do one dark deed after another. If you notice, even the topic of his research has to do with violence in the 18th century. So there's a fascination with violence, which was already coming out via academics,' underlines Rajabali. He recalls the time when he got a call from Jha who said they've found their Arjuna: Ranbir Kapoor. 'Who, Rishi Kapoor's son? That's how I knew of him,' says Rajabali, reminding us that Ranbir's debut film, Sanjay Leela Bhansali's Saawariya (2007), hadn't released then. 'Have you seen it? Can he perform?' 'I haven't, but my instinct says he can.' 'I trusted his instincts, but I had my doubts,' reveals Rajabali. A few days after Jha began filming in Bhopal, Rajabali visited the set. Jha showed him the scene in which Ranbir is just sitting on a chair and looking at the television news of his father's death and brother's arrest. The camera goes from right to left on his face. 'That boy was speaking volumes with his silence. There was no prep. He's an intuitive actor, a complete natural. I was completely convinced. Ranbir had very few lines, but boy, did he leave an impact! He's the best actor we've had in more than a decade now,' says Rajabali. If Ranbir was a revelation, Katrina Kaif wasn't far behind. 'We couldn't pick Draupadi's angle as it is because the fight between husbands for her and all that jazz doesn't quite work today. But it stayed with me after reading the epic that Draupadi loved Arjuna, but he was too focused on ambition. So there was an unrequited love,' recalls Rajabali, who again was concerned if Kaif would be able to pull off the Hindi heartland dialogues with the right accent. 'Once again, Prakash was convinced she'd deliver,' he adds. 'Katrina is a very hardworking actor. She worked with so much dedication. She learnt her lines for 30-40 days so she could deliver them confidently,' Jha recalls. Rajabali did find issues with her accent during the filming, but changed his mind during the dubbing sessions. 'The amount of effort that the girl put in… she managed to deliver word to word in near-perfect diction,' says Rajabali. It's been 15 years, the party in power has changed, so it makes sense for us to pose the question to Rajabali: Was Katrina Kaif's character inspired by Sonia Gandhi? He refuses, but sees the parallels. 'There are various archetypal characters in life and in good literature and cinema. Rajiv Gandhi was the proverbial outsider. He didn't want to join politics. But then he did, and he won. Then he gets killed. There's a widow. Katrina looks half white. I wasn't concerned, but I anticipated such allegations,' says Rajabali. He then reveals that as the Congress party got concerned closer to the film's release, they inserted their representative in the Central Board of Film Certification. 'This was an open secret. There was no contention with the film though, except one word. When two people at a chai shop are discussing election results, a laconic man, buried in the newspaper, says, 'Le jaegi vidhwa sab samet kar.' They objected to 'vidhwa' because that might be confused with Sonia Gandhi. I didn't agree with it, but Prakash said we'd have to remove it. So the word was changed to 'bitiya,'' says Rajabali. Other changes in translating the Mahabharata to the world of Raajneeti included eliminating Nakul and Sahadeva because they're quite similar, and choosing Arjun Rampal's character Prithvi as Bhima over Yudhishthira. 'Prakash recommended we take Bhima because there's an innocence to him. He loves his family. He's loud and uncouth, but there's an endearing quality to him too. He's gullible so can get tricked very soon, so you need to protect him,' says Rajabali. Another change was to make their Krishna far more quieter than he's in the epic. In fact, Nana Patekar is the only actor in the ensemble who doesn't get a monologue. Even Naseeruddin Shah does, within a cameo. 'He doesn't pick up any weapons, but only operates on plotting. So that's how I asked Nana Patekar to be in his body language,' says Jha. 'He's a thinking person, a strategist. He'd just process everything and come up with just one line that Samar catches up on. He's the man to watch out for. He forces you to pay attention to him precisely because he doesn't speak much. So you always wonder what he's up to,' argues Rajabali. He quotes the example of the scene in which Patekar's character comes up with the perfect candidate to compete with Surya (Ajay Devgn's character based on Karna). 'It's obvious he's the natural choice to win in a Dalit constituency. Nana Patekar doesn't say anything, but he just goes there and announces their candidate as Surya's father. That's a masterstroke,' points out Rajabali. Jha recently admitted that he has the story for the sequel ready. 'I have an idea with me. But we just haven't gotten to it yet because other commitments keep coming up,' says the filmmaker, who's been busy with his MXPlayer show Aashram, his next film Janadhish, and other projects as a producer. 'It can be quite rich because it can reflect today's challenges for politicians. The Mahabharata is infinite so there is a lot of potential,' argues Rajabali. Jha points out that most characters from the first part, including those of Devgn, Manoj Bajpayee, and Arjun Rampal, are dead. So would the sequel continue where we left the other characters? Also Read — Dune director Denis Villenueve was impressed by Ranbir Kapoor after watching Raajneeti on a plane: 'He stood out among such an ensemble' 'It may start from there or once we work on it, it may be something completely new,' says Jha, with a shrug. But where would Samar, Indu, and Mama be today? Or what would their Arjuna, Draupadi, and Krishna up to to now? 'I can't possibly answer that because I may give you the idea Prakash and I just end up doing. So I have to be a little discrete about it,' says Rajabali, in true Krishna fashion.


Time of India
16 minutes ago
- Time of India
Kamal Haasan's Thug Life outpaces Akshay Kumar's Housefull 5 in advance bookings — A clash of genres and star power
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Indian Express
21 minutes ago
- Indian Express
‘My father died doing Amitabh Bachchan's haircut': Celebrity hairdresser Aalim Hakim reflects on losing dad at age 9
Celebrity hairdresser Aalim Hakim reflected on losing his father at the tender age of nine. He said that his father was working on the Amitabh Bachchan film Mard when he went into cardiac arrest, and died shortly afterwards. Aalim comes from a long line of barbers, and has worked with some of the biggest names in the film business. In an interview, he spoke about carrying forward his father's legacy, and said that his dad performed tonsures for the likes of Abhishek Bachchan and Sanjay Dutt. Now, Aalim counts them both as his clients. In an interview with Bollywood Bubble, Aalim said he feels deeply emotional whenever he gets the opportunity to style Amitabh Bachchan, as he was the final star that his late father worked with. 'My father, before dying, did his last haircut. My father died doing his haircut. He'd gone to Mysuru to work on the film Mard, and he felt some pain in his chest while working. He died the next day. So, his last haircut was Amitabh Bachchan's haircut. I feel very emotional when I do Amit ji's look,' he said. In a previous interview, he'd said that there was only Rs 13 in his account when his father died. Also read – 'Amitabh Bachchan changed after getting success; Rajesh Khanna was an egoist': Moushumi Chatterjee Aalim added that the legacy goes back five decades. 'After Reshma Aur Shera, every film that Amit ji did, my dad was the hairdresser. In Reshma Aur Shera, he was the official hairdresser. He styled everyone, including Vinod Khanna, to Sunil Dutt sahab, to Amit ji. It was actually Sunil Dutt who introduced my father to Vinod Khanna and Amitabh Bachchan… My father did mundans for many actors, Abhishek Bachchan, Sanjay Dutt, Akshaye Khanna, Rahul Khanna, Zayed Khan…' Aalim admitted that people could call him a product of nepotism as well, but, he said that only talent and hard work have helped him survive in the industry. Aalim said that he charges Rs 1 lakh per session, regardless of who the client is. Unless the client is a close friend, he said that his price remains fixed. When he's working on movies, he charges Rs 1 lakh per sitting. In an interview with Maniesh Paul, Aalim had reflected on the ridicule he faced while in college.