Saiyaara director Mohit Suri: ‘No matter what you do online, you still wish to hold someone's hand'

Indian Express

17-07-2025

With Saiyaara, a new romantic movie, you are back on familiar turf. Did it pose any fresh challenges for you?
While working on the movie (a Yash Raj Films production), I was reminded of the time when I was a Class VIII student and watched Dilwale Dulhania Le Jayenge (1995) for the first time in the theatre. I was impressed with its young director Aditya Chopra and wanted to become a director someday. So, my expectations with myself was to live up to this company's bar which has made so many iconic love stories, like Veer Zaara.
How did Aditya Chopra come on board as Saiyaara's producer?
I don't think we make our films, our films make themselves. I had directed the sequel of an action franchise — Ek Villain Returns (2022) — and it had not done well. There were a bunch of big-budget larger-than-life movies being made around then. I was halfway through writing an action movie when I realised that so many films are blowing up helicopters and buildings. I decided to make a romantic musical with newcomers instead. I asked my assistant Sankalp Sadanah to write this movie and got Rohan Shankar to write the dialogues. One day, I bumped into Sumanna Ghosh of YRF and she asked if I've the script of a love story. Within a week, they called me and Adi Sir told me that they were looking for a movie like this.
From the trailer, it seems to be another 'good girl-meets-bad boy' kind of love story.
This is a classic trope. Aashiqui 2's Rahul Jaykar (Aditya Roy Kapur) was a good guy, but Krish of Saiyaara is meaner. In Titanic (1997), Jack is a gambler and brash, while Rose is prim and proper. Even in DDLJ, Raj is a party-going guy while Simran has to return home by a particular time.
Do you like to show the messiness of love in your movies?
In my films, I push the bar a bit. Maybe that's the kind of Krish (Ahaan Panday) I have been; the kind of boy with whom mothers don't want their daughters to be friends with. My life experiences reflect in my stories. I believe the morality of the characters will have shades of the director's. In a deeply emotional scene, when the protagonist of Saiyaara gets violent with his father, I was scared I might be pushing it too far. When I called up Bhatt Sa'ab (Mahesh Bhatt), he referred to my Whatsapp DP image of my son's hand in my hand and said: 'This shows that you have immense faith in the father-son relationship. So, you can't shoot a bad scene.' Those who have watched that scene, love it.
You started working when you were 16. How has that experience shaped you?
While I have been associated with filmmaking, I have not mingled with the industry people much. I party with my unit, but I have not been a part of any social circle. At Vishesh Films (founded by Mukesh Bhatt), we start working on a new film even before the previous one is wrapped up. That's how I worked on 14 films in 20 years. Once I got married (to Udita Goswami), I did not feel the need to be part of any camp or social gatherings.
Vishesh Films had perfected the model of making non-starry cast and moderate-budget movies which turned out to be massy entertainers.
Controlled budget, high-concept movies with great music — that's what Vishesh Films did. Dinesh Vijan is following a similar model successfully.
How did you develop a sense of music?
When we realised that we did not have stars or a budget for promotions, we made sure that the promos that play the film's song make a mark. It became a desperate attempt to make an impression. Saiyaara has got the attention of viewers because of the music. Some of the songs were decided even before the actors were cast. I knew the music had to be the bigger star since the actors are newcomers. Ditto in the case of Aashiqui 2.
Why do contemporary Hindi films not have great music?
Today, a lot of independent music is really good. There is a disconnect between a music composer and a film's director. The composers make music and the music company puts it in a movie. At times, they don't even know in which movie their music is going to be used. The relationship between a music composer and a film director, when they jam together to make music, is quite pure. I love that process.
What's fascinating about working with debutants?
I am more comfortable working with newcomers. I worked with Emraan Hashmi when he was a newcomer. I worked with Kangana Ranaut, Shraddha Kapoor, Sidharth Malhotra and Aditya in the early years of their careers. When I was making a film about young lovers, I always wanted to cast actors of that age-group instead of casting a 40-year-old bankable star.
Of the actors you have worked with, whose journey has surprised you?
Kangana Ranaut. Coming from a small town in Mandi to achieving what she has is amazing. I am proud of Shraddha's film journey too. But Kangana reached where she has, without having any film contacts, and she has done it her own way.
How has the idea of romance evolved over the years?
We have just given more names to it such as situationship, benching. Complications in relationships always existed. The ways of communication have changed. In the end, when the heart breaks, it still hurts. No matter what you do online, you still wish to hold someone's hand.