Ranbir Kapoor left this legendary singer's biopic for Ramayana; Anurag Basu says it was a ‘tough choice'
It was very difficult choice for Ranbir, says Anurag Basu
Director Anurag Basu, who was slated to direct the biopic, confirmed in a recent interview with BBC News that Ranbir had to choose between the two projects due to scheduling conflicts. 'Ranbir had a tough choice in life — Kishore Kumar or Ramayana. It was very difficult for him. In the end, he chose Ramayana, and I think it was the right decision,' said Basu.
Ranbir and Basu have previously worked together on critically acclaimed films like Barfi (2012) and Jagga Jasoos (2017). Both have expressed a strong desire to collaborate again, but their packed schedules have made it difficult. 'We keep trying to work together, but it's just not happening,' Basu added.
With Ranbir stepping away from the biopic, reports suggest that Aamir Khan is now being considered for the role of Kishore Kumar. However, Anurag remains cautious, stating to Mid-Day, 'Until everything is finalised and the contract is signed, I don't think I should speak on it. This project has seen many ups and downs over the years. So, I'm keeping my fingers crossed that it happens this time and I go on set with the story, which I've been trying to tell for the last decade. I won't jinx it by speaking about it."
Anurag Basu's latest
Anurag Basu directed Metro... In Dino premiered theatrically on July 4 to positive responses for its ensemble cast and layered storytelling. Anurag's next film starring Kartik Aaryan and Sreeleela, tentatively titled Aashiqui 3, was originally aimed for Diwali 2025, but now looks more likely for early 2026, according to industry reports.
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India Today
3 hours ago
- India Today
Ramayana, The Odyssey, and the return of the epic soul to world cinema
The announcement of Christopher Nolan's 'The Odyssey' and Nitesh Tiwari's 'Ramayana', slated for release around 2026, heralds a global revival of ancient epics in cinema. These ambitious projects echo a bygone era when films like 'Jai Santoshi Maa' (1975) and director William Wyler's 'Ben-Hur' (1959) mesmerised movie-goers. As Tiwari and Nolan's films are still under production, delves into the potential of these films to restore the grandeur of mystical cinema. Experts weigh in on how the retelling of these stories helps in bridging cultural heritage with modern cultural awakeningThe origins of Indian cinema began with films like 'Raja Harishchandra' (1913), 'Lanka Dahan' (1917), and 'Shri Krishna Janma' (1918). These weren't just devotional films linked to religion and spirituality, but a wake-up call to the conscience of a nation. With these stories, the father of Indian cinema, Dadasaheb Phalke, inspired a national renaissance and unity during the British colonial rule. Hemal A Thakkar, who had co-produced 'Oh My God' and 'Oh My God 2', films reflecting a perception to look at God and her creations, spoke about the impact of such films on the culture of storytelling. He said, "When this noise of content becomes overwhelming, the audience returns to stories that have some eternal truth. 'Ramayana' and 'The Odyssey' are the DNA of storytelling. Bringing them back is less about the past and more about the future of cinema. These are stories that outlive trends."The producer further said, "For the Indian audience, it is a good thing that these epics are put on celluloid to last forever. What happened in the '50s and '60s cinema has disappeared. Now, with new technology and narratives, the younger audience is going to be very kicked about this. If you look at the South, there are the right kinds of producers with entrepreneurial skills who have come up [to support such cinema]. This is a nostalgia and renaissance of meaningful cinema."Resurgence of epic storytellingAmerican actor-director Cecil B DeMille made films such as 'Samson and Delilah' (1949) and 'The Ten Commandments' (1956), narrating the holy scriptures of Christianity and Judaism. 'Ben-Hur', about the life story of Judah Ben-Hur, a Jewish prince in the times of Jesus Christ, won 11 Oscars in 1960. In a civilisation dealing with post-World War II recovery and Cold War tensions in the late 1940s and early 1950s, the depiction of faith in cinema was not just escapism but a beacon of in the later years, both the Indian and Western film industries stayed away from stories based on ancient epics. Apart from the Indian television show 'Ramayan' and Wolfgang Petersen's 'Troy', there weren't any milestones as far as mystical storytelling is concerned. At a time when the world is grappling with uncertainty and crisis, stories that travel beyond time are more likely to resonate with a universal video here: Retelling Ramayana in a global landscapeRamanand Sagar's 'Ramayan' created a sense of community viewership. As 'Ramayana' is scheduled for a global release, it is going to reach out to the Indian diaspora in different countries. The film does not just have the potential to be a soft-power force to reckon with, but also reminds and realigns Indians living abroad with their cultural heritage. What Phalke and Sagar contributed in the past could be recreated to shape the prospects of India in the global amid the hype about producer Namit Malhotra's Prime Focus-owned Double Negative (DNEG) being involved in the VFX of 'Ramayana', there is a concern about how the mystical aspect is balanced alongside creating a visual spectacle. 'Maharaj' director Siddharth P Malhotra, while expressing his views, said, "We have seen 'Ramayan' when it came on television. When 'Sholay' came, a film called 'Jai Santoshi Ma' was also a box office success. We are the land of culture and religion. VFX is a tool to create advanced storytelling. But how you use it is what matters. When we see the film, we will realise, 'Kya aapke dil ko chhui, kya aapko bhakti ka ehsaas hua, kya aapko Shri Ram waala emotion laga ya nahi (Did it touch your heart, did it make you feel the emotion for Lord Rama)? These emotions are core."advertisementMalhotra, who is helming the Meena Kumari biopic, also stressed the need for prior research for actors while working on epic dramas. He said, "Both my actors, who play Kamal ji and Meena ji, are going to do workshops. They will be given the time to research and understand who these people are. If you want real emotions, then you will have to work and get everybody to that point."Epic storytelling requires authenticityAt a time when there is a discourse about the enriching cultural legacy of India's sacred texts, do artists also have certain responsibilities while attempting such themes? Actor Nitesh Bhardwaj, who played Lord Krishna in BR Chopra's 'Mahabharata', said, "The biggest responsibility they have while dealing with stories from history and Puranas is the authenticity. Enough research must be done by the writer and director first. The director is the captain of the ship. So he must be completely steeped in that period in order to guide the entire team."advertisement"Historical characters are inspirational, so there has to be all-around projection instead of merely presenting them as action heroes. The difference you see while watching a Hollywood film like 'The Ten Commandments' is that the stars give enough time to study those characters. Cinema is an art that requires passion. You have earned your Rs 5000 crore, now do something worthwhile that people will remember you for. Everything cannot be viewed through the lens of commercial viability," he curiosity remains about whether 'Ramayana' will be able to revive the golden age of cinema, like Phalke, who made films like 'Mohini Bhasmasur' (1913) and 'Kalia Mardan' (1919). Bhardwaj reflected upon the same and said, "The Golden Age of cinema is when well-researched films impact audiences. Earlier, everyone not only saw cinema as a medium of entertainment but also as a source of education and information. That is why Bimal Roy and V Shantaram made such films in a purely commercial mode. The way some of the recent films on Ramayana and other sacred texts were made, they were not truthful about people's pulse and emotions. That is why I hope that Nitesh Tiwari, who comes from the hinterland of India, will do a much better job, and I look forward to that film. Even though our stars are very anglicised, it doesn't matter as long as they give enough time to understand the role. Which I believe Ranbir (Kapoor) will do because he is a very committed and brilliant actor."advertisementCinematic wave of epic revivals'Ramayana' and 'The Odyssey' are not just movies but philosophical invitations to the world. They explore Lord Rama's Dharma (duty) and Karma (action) as well as confront ego, time, and homecoming from the life story of Odysseus. Nolan is likely to treat the story as not just a myth but a metaphysical journey on the lines of 'Interstellar' and 'Inception'.Dipankar Mukherjee, Co-Founder & CEO of the AI firm Studio Blo, also weighed in on balancing the sanctity of cultural heritage through advanced technologies. He said, "AI and VFX are tools to enhance human imagination. Since you have grown up with these stories, there is this impulsion to narrate the 'Ramayana', 'Mahabharata', and 'Bhagavad Gita'. That's the same thing Nolan is doing with 'The Odyssey'. Homer and these epics are beautiful on a magnificent scale.""In terms of balancing, it comes from sensitivity as a storyteller. You have seen examples in 'Adipurush' and other films where storytelling was done in a way where the epic figures were made to turn into commercial heroes and heroines. There are different perspectives the creators can take while representing these characters in their full glory. As Indian creators, we must think globally. Somebody born in Bolivia, the US, China, or a Jew doesn't know about Lord Rama. So, it is important to treat them as great stories and not just religious lore. Once you start telling the epics more universally, then you will get a global audience," Mukherjee epics to youth and pop cultureIn the present scenario, the Instagram trends would often reflect the interest of Gen-Z and Gen Alpha in ancient texts, spiritual scholars, and sages. Their curiosity towards Yoga, Ayurveda, meditation, and the metaphysical concept of time and space in various YouTube podcasts is a testament to why 'Ramayana' is pivotal in today's times.'Ramayana' could introduce characters like Lord Rama, Goddess Sita, and Lord Hanuman to global pop culture, much like Thor or Zeus from Western epics. Merchandise, comics, or spin-off series could follow, embedding Indian mysticism in the global consciousness. 'The Odyssey' could make Odysseus a legendary icon akin to modern superheroes, inspiring memes, fan art, and adaptations in gaming or literature. Both films could foster cross-cultural fandoms with ancient heroes becoming as recognisable as Marvel or DC human consciousness through visual storytellingThe worldwide release of 'Ramayana' and 'The Odyssey' could spark renewed interest in Indology, Sanskrit literature, and Greek studies in academic circles. These films could inspire translations, adaptations, or interdisciplinary research combining literature and cinema. Both the movies would likely bridge academia and entertainment, making ancient texts more accessible to younger generations through cinematic upcoming works of Tiwari and Nolan shouldn't be just seen as a VFX renaissance or a cinematic interpretation of civilisations. 'Ramayana' and 'The Odyssey', if well-executed, might have a larger impact across cultural, academic, and geopolitical weighing on the impact of epic storytelling on geopolitical narratives, Bhardwaj shared, "If the 'Ramayana' goes global, considering the geopolitical situation of chaos, it has a strong message to give to world audiences about restraint. But that doesn't mean someone can walk over you. So, while facing evil, you must fight with the help of everyone. 'Ramayana' has bear clans, monkey clans fighting. It conveys to global leaders to gather and accumulate the positive forces to fight the negativity. A very strong message for the world audiences.""The stories of the Bhartiya (Indian) diaspora have always had a moral for mankind beyond religion. So, we have enough ancient and modern literature in Bharat to tell stories which will benefit the world," he the global community seeks wisdom amid chaos and conflict, Tiwari and Nolan offer an exploration of heroism and humanity. The time is ripe to let the world hear the echoes of eternity.- Ends IN THIS STORY#Ranbir Kapoor
Hans India
4 hours ago
- Hans India
Debina Bonnerjee shares glimpse of what her life is like these days
Mumbai: Actress Debina Bonnerjee, who is gearing up for her upcoming show 'Pati Patni Aur Panga', has showcased a glimpse of what her life is like these days. Debina took to Instagram, where she shared a picture of herself and alongside it, she gave a list of things that are keeping her busy. She wrote: 'Life Lately Shoot, Sleepless nights, Mommy duties, Dressing up & showing up, Tired? Yesss, Excited? Always, Grateful? Super Check.' Debina and her husband Gurmeet Chaudhary first got married in 2011 and then tied the knot again in 2021. They had their first child, a daughter, in April 2022, and their second daughter in November 2022. The two will be seen in the upcoming couple reality show, "Pati Patni Aur Panga" hosted by actress Sonali Bendre and comedian Munawar Faruqui. The show is all set to premiere on Colors TV on August 2, featuring a diverse mix of celebrity couples as contestants. The lineup includes Hina Khan and Rocky Jaiswal, Rubina Dilaik and Abhinav Shukla, Avika Gor and Milind Chandwani, Debina Bonnerjee and Gurmeet Choudhary, Sudesh Lehri and Mamta Lehri, Geeta Phogat and Pawan Kumar, along with Swara Bhasker and Fahad Ahmed. Debina and Gurmeet opened up to IANS about why they agreed to be part of the reality show 'Pati Patni Aur Panga.' Debina said: 'For me, the reason was that I don't usually get the chance to work with Gurmeet daily. Right now, Gurmeet is away from television, so at least we are together on this show, working with each other. That was the sole reason—we get to spend time together and have so much fun.' Gurmeet and his wife Debina Bonnerjee rose to prominence after portraying Rama and Sita in the 2009 television epic 'Ramayana'. He then participated in the reality show Pati Patni Aur Woh with his then fiancee, Debina. The actor then worked in shows such as 'Geet-Hui Sabse Parayi,' 'Punar Vivah', 'Jhalak Dikhhla Jaa', 'Nach Baliye 6,' 'Fear Factor: Khatron Ke Khiladi (season 5)'. Gurmeet's first film in Bollywood was in 2015 when he was cast as the character of Jaidev in the psychological thriller 'Khamoshiyan'.
Indian Express
6 hours ago
- Indian Express
As Ranbir Kapoor reveals he doesn't like getting wet, netizens ask: ‘Nahata hai ki nahi fir?'
We've all got pet peeves — getting sand between the toes, leaving the toilet seat up, different foods mixing on the plate — some particularly annoying habits leave us bothered beyond reason. Ranbir Kapoor is no different, and in a recent interview, he shared that he absolutely hates getting wet. 'There are so many films I have rejected because there were underwater scenes, or there were a lot of scenes in the rain. I just don't like getting wet. I don't know why or what's wrong. Even if I wash my hair, I have to immediately dry it,' the Tu Jhoothi Main Makkar actor told Mashable India. Speculations ran amok, with netizens trying to guess the reasoning behind Kapoor's pet peeve. From 'Nahata hai ki nahi fir?' to 'Could be because he is bald and if he goes in the water it will expose his baldness', witty barbs crowded the comment section of the Instagram post. Curious, we reached out to an expert to try to understand the science behind this behaviour: Sakshi Bahmani, a natural language processing (NLP) Expert, told that while it might seem quirky or even irrational, Ranbir Kapoor's aversion to being wet isn't just a random dislike—it could be a deeply wired sensory or psychological boundary. Let's unpack that: 1. His body might just be wired differently – Some people have heightened sensory processing sensitivity—their nervous system reacts more strongly to certain physical sensations. Wet clothes clinging to the skin, water trickling down the body—what others may dismiss as mildly annoying, their brain processes as deeply uncomfortable. For Ranbir, the experience of being wet might trigger a visceral 'nope' before logic even enters the picture. 2. Early conditioning can leave lasting traces – Sometimes, we carry aversions shaped by moments we barely remember. Maybe it was a fall in the shower, a scolding after getting soaked, or just an early discomfort in water that never entirely left. Over time, these micro-moments form a subconscious script: 'Wet equals unsafe or wrong.' 3. It could be about control, not just comfort – Being wet often means being out of control—dripping, sticky, cold, unpredictable. On a film set, that discomfort gets prolonged, repeated, and amplified. For someone who values bodily autonomy or stability, this loss of control can feel like a forced surrender. And some people simply don't tolerate that well. 'Only if it's causing distress or limiting life,' said Brahmani. According to her, there are ways to gradually rewire the response—exposure therapy, sensory retraining, cognitive reframing. But here's the thing: not every discomfort is a disorder. 'If it's not disrupting relationships or career (and clearly, Ranbir's doing just fine), then maybe it doesn't need to be solved. Just respected. Its almost like his body says 'no thanks.' And he's not fighting it. That's not dysfunction—it's self-awareness,' she said.
