Latest news with #Chakravyuh
Time of India
16 hours ago
- Entertainment
- Time of India
I want to quit, but audience wants me to keep playing Krishna: Nitish Bharadwaj
For over three decades, Nitish Bharadwaj has been inseparable from the image of Lord Krishna, from his iconic portrayal in BR Chopra's Mahabharat in 1988 to powerful stage performances that continue to draw packed audiences. Though he often feels ready to move on, the enduring love from viewers keeps bringing him back to the role. Currently in Hyderabad to perform Chakravyuh this Sunday, the actor reflects on his journey, the timeless appeal of Krishna, and why the Mahabharata's wisdom still resonates today. In conversation with Hyderabad Times, Nitish Bharadwaj reflects on the enduring allure of Krishna, and why the wisdom of the Mahabharata continues to resonate today Excerpts: 'Atul rewrote the script several times to highlight issues still relevant today' Earlier, the play had a different title and narrative. I suggested changes so the story could be told from Krishna's perspective, offering a deeper and more reflective view of life. Director Atul Satya Koushik rewrote the script multiple times, and together we shaped it to highlight themes that still feel relevant today. Chakravyuh has since toured across the country and continues to captivate audiences with over 150 screenings and now, for the first time, it will be staged in Hyderabad, which I'm very excited about. 'The depth of Krishna's role makes it endlessly engaging' At a recent show, I asked the audience, 'I've been playing Krishna since 1988. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Dark spots can age you by 10 years! Just take this from Guardian URUHIME MOMOKO Learn More Undo How long should I continue? I feel like it's time to move on.' But their response was overwhelming, they said, 'No, no, we want you to keep playing Krishna!' Now, I've have been offered another chance to play Krishna, which I might also direct. Krishna's persona remains endlessly fascinating with so many layers and stories to tell, so it's fun to play the character. I'm truly humbled by the continued love from audiences. It keeps me grounded and grateful. 'Today's Adaptations Prioritise VFX and Grandeur, They miss the philosophical core' When I see how Mahabharat is adapted today, I feel the problem is that some versions are made like daily soaps. And I don't mean to undermine that format, but Mahabharat is a layered human drama that needs time and depth. What made BR Chopra's version work was the strong writing and a deep understanding of the characters. Today's adaptations often prioritise VFX and grandeur, but they miss the emotional and philosophical core. - Biswajit Talukdar Check out our list of the latest Hindi , English , Tamil , Telugu , Malayalam , and Kannada movies . Don't miss our picks for the best Hindi movies , best Tamil movies, and best Telugu films .
Time of India
17 hours ago
- Entertainment
- Time of India
‘I want to quit, but audience wants me to keep playing Krishna'
For over three decades, Nitish Bharadwaj has been inseparable from the image of Lord Krishna, from his iconic portrayal in BR Chopra's Mahabharat in 1988 to powerful stage performances that continue to draw packed audiences. Though he often feels ready to move on, the enduring love from viewers keeps bringing him back to the role. Currently in Hyderabad to perform Chakravyuh this Sunday, the actor reflects on his journey, the timeless appeal of Krishna, and why the Mahabharata's wisdom still resonates today. In conversation with Hyderabad Times, Nitish Bharadwaj reflects on the enduring allure of Krishna, and why the wisdom of the Mahabharata continues to resonate today Excerpts: 'Atul rewrote the script several times to highlight issues still relevant today' Earlier, the play had a different title and narrative. I suggested changes so the story could be told from Krishna's perspective, offering a deeper and more reflective view of life. Director Atul Satya Koushik rewrote the script multiple times, and together we shaped it to highlight themes that still feel relevant today. Chakravyuh has since toured across the country and continues to captivate audiences with over 150 screenings and now, for the first time, it will be staged in Hyderabad, which I'm very excited about. 'The depth of Krishna's role makes it endlessly engaging' At a recent show, I asked the audience, 'I've been playing Krishna since 1988. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like 오스템 임플란트 받아가세요 임플란터 더 알아보기 Undo How long should I continue? I feel like it's time to move on.' But their response was overwhelming, they said, 'No, no, we want you to keep playing Krishna!' Now, I've have been offered another chance to play Krishna, which I might also direct. Krishna's persona remains endlessly fascinating with so many layers and stories to tell, so it's fun to play the character. I'm truly humbled by the continued love from audiences. It keeps me grounded and grateful. 'Today's Adaptations Prioritise VFX and Grandeur, They miss the philosophical core' When I see how Mahabharat is adapted today, I feel the problem is that some versions are made like daily soaps. And I don't mean to undermine that format, but Mahabharat is a layered human drama that needs time and depth. What made BR Chopra's version work was the strong writing and a deep understanding of the characters. Today's adaptations often prioritise VFX and grandeur, but they miss the emotional and philosophical core. - Biswajit Talukdar
India Gazette
22-05-2025
- Politics
- India Gazette
"There is no blood flowing in Modi's veins, but hot Sindoor": PM Modi at Bikaner
Bikaner (Rajasthan) [India], May 22 (ANI): Prime Minister Narendra Modi on Thursday asserted that India, after Operation Sndoor, made it clear that Pakistan will have to pay a heavy price for every terrorist attack and said that 'there is no blood flowing in Modi's veins, but hot Sindoor.' 'Pakistan has forgotten one thing: that now Modi, the servant of Mother India, is standing here with his head held high. Modi's mind is cool; it stays cool, but Modi's blood is hot. Now there is no blood flowing in Modi's veins, but hot Sindoor. Now there will be neither trade nor talk with Pakistan. If there will be talk, it will only be about Pakistan Occupied Kashmir (PoK),' PM Modi said at a public rally in Bikaner. 'Now India has made it clear... Pakistan will have to pay a heavy price for every terrorist attack. And this price... will be paid by Pakistan's army... will be paid by Pakistan's economy... Ye shodh pratishodh ka khel nahin, ye nyay ka naya swaroop hai, ye Operation Sindoor hai. This is not just an agitation; this is the 'Raudra Roop' of a strong India. Ye Bharat ka naya swaroop hai. Pehle ghar mein ghus ke kiya the vaar, ab seene pe kiya prahar hai. (First, we entered their house and attacked; now we have attacked them on their chests)... This is the policy and the strategy to destroy the fangs of terrorism... This is new India,' PM Modi added. The PM said that those who had shed the blood of innocent Indians had now been accounted for. 'Today, with your blessings and the valour of the country's army, we have all lived up to that pledge. Our government gave a free hand to all three forces... Together, the three forces created such a Chakravyuh that Pakistan was forced to kneel down. Today, from the land of Rajasthan, I want to humbly tell the countrymen that those who had set out to wipe off the Sindoor have been reduced to dust. Those who shed the blood of India have been accounted for every drop. Those who had thought that India would remain silent are hiding in their homes today. Those who were proud of their weapons are buried under a pile of rubble,' he said. In reference to the abeyance of the Indus Water Treaty following the Pahalgam terror attack, PM Modi said, 'India has made it unequivocally clear that Pakistan will bear a heavy cost for every terrorist attack. This cost will be paid by Pakistan's military and its economy. If Pakistan persists in exporting terrorism, it will find itself begging for every last penny. Pakistan will not receive a single drop of water from India's share. The days of playing with the blood of Indians are over - it will now come at a steep price. This is the policy; this is the method to crush terrorism. This is India, the new India,' he added. Operation Sindoor was launched on May 7 in response to a terror attack in Jammu and Kashmir's Pahalgam, which claimed 26 lives. (ANI)
Forbes
14-04-2025
- Entertainment
- Forbes
India's Shruti Mahajan Decodes The Magic Of Casting Against Stereotype
Having started her journey with stalwarts like Sanjay Leela Bhansali and Prakash Jha, Indian casting director Shruti Mahajan has worked on many projects. In an exclusive interview, Mahajan explains the process of casting for films and shows; recalls her early days in the industry and reveals both Bhansali and Jha are open to creative suggestions. Apart from the recent period drama Heeramandi The Diamond Bazaar, Mahajan has worked on the casting for various popular Bollywood projects including Bajirao Mastani, Gangubai Kathiawadi, Mary Kom, Chakravyuh, Lipstick Under My Burkha, Padman, Satyagraha, Ghoomer, The Big Bull, and Lust Stories 2. Mahajan believes that empathy helps in casting actors against stereotypes - a major factor that improves the experience of films and shows. The ensemble cast of Sanjay Leela Bhansali's digital debut, Netflix original Heeramandi: The Diamond Bazaar, was one that she brought on board. In her exclusive interview, Shruti Mahajan claims casting Alia Bhatt for Gangubai Kathiawadi was the shortest time ever that she took to finalize a lead actor for any Sanjay Leela Bhansali project. Ever since her debut project, Goliyon Ki Raasleela Ram-Leela (2013), Mahajan has worked with Bhansali for more than a decade. Recalling her initial projects, Mahajan says, 'My first film as an independent casting director were with Sanjay Leela Bhansali (Goliyon Ki Raasleela Ram-Leela), and parallelly I got Prakash Jha's Chakravyuh. They were both my first films because I got them simultaneously. Imagine somebody as new as me getting to work with these two legendary directors. I was this baby, just out of the school, totally in awe of the world of casting. My real challenge was that I was a newbie and had to live up to their expectations. I got to learn a lot from them.' Adding that she never had self-doubt even when starting in the industry, Mahajan recalls the 15-minute-long interview with Bhansali. 'I clearly remember those 15 minutes were life-changing moments for me, the turning point in my life. The questions that Bhansali asked had me introspecting whether I was worth the opportunity. I was extremely nervous sitting in front of the director I had always wanted to work with. Perhaps, he saw my sincerity, passion and honesty, that's why he hired me.' She reveals: 'Gangubai Kathiawadi was the fastest film that I have cast with Mr Bhansali, for him. It took us just one and a half month, which is unlike Bhansali.' She adds that the casting of Alia Bhatt for Gangubai Kathiawadi happened so fast, because the sets were ready, and Bhatt's dates were also available. Asked to explain how one functions as a casting director, Mahajan emphasizes on the need for empathy. 'Not many of us have the ability to see and hear people. Women, naturally have empathy. We are able to listen and look at people for what they are. Empathetic reading of characters helps you understand them better, enabling you to scout for the perfect cast. Storytelling gets better when you cast people against the stereotypes. And that can only happen when you know a person and empathize with their journeys. Only an empathetic person can see a person's potential beyond what meets the eye. It is important for casting directors to see people not only as actors but as individuals. It helps them cast against stereotypes, offering fresh perspectives and performances onscreen.' Mahajan says that giving actors a comfortable space by being empathetic to them helps them perform their best in auditions and further for the projects. She adds that aspiring casting directors must work with some senior casting directors to learn the ropes. Mahajan believes casting against stereotypes always works wonders. "For example, if I get a brief to 'cast an urban working woman', the stereotype casting would be a very strong, independent and modern woman who wears shades and drives a car. Having met so many people and having seen their journeys, I know that is not the only type of strong woman in urban setups. An urban woman is very honest and is working every morning. She's working to do a good job, not just to look good. When I cast Pooja Bhatt for Bombay Begums, it wasn't for her fluent English but because of how she has evolved through the various phases and challenges of her life. You can feel her struggles." Mahajan says that she prefers to make notes for the scripts she gets before she even meets the director to understand their vision. She adds that the budget often becomes a major factor in deciding the cast. 'Once my lead is sorted, that defines the level of the grandeur for the film (or show). We have multiple rounds of auditions, screening, shortlisting, and jamming. I have a database of actors, and we also keep scouting for fresh talent. Once the shortlist is done, then we share it with the director and discuss with them. The top few are then finalized and introduced to the director. It is then a discussion between the director and the casting director to take the final call.' (This conversation has been edited and condensed for clarity.)
