Rajinikanth reveals how Andhaa Kaanoon makers reacted when he initially declined the offer: “Murali Mohan said, ‘Is he MAD? He’s getting such a big opportunity with Amitabh Bachchan and he’s saying No?’”; opens up on distributors reactions, “They said, “’Who is this hero? Who will accept him?’”

Rajinikanth was the chief guest at the grand inauguration of the Greenpark Resort & Spa in Madikeri (Coorg), Karnataka and the 90th birthday celebration of its owner, the veteran filmmaker, Atluri Purnachandra Rao. The superstar attended the event to honour the producer who introduced him to Hindi cinema. Also present at the event were Murali Mohan, M Venkaiah Naidu and others.

In his speech, Rajinikanth said, “I was actually introduced to the Tamil film industry by K Balanchander. It was Purnachandra Rao garu who introduced me to Hindi cinema in 1983. At that time, my manager Murali Prasad came and told me, ‘Purnachandra Rao garu of Lakshmi Productions is asking for your dates. I was extremely busy then. I had no time and no dates at all. There were many Tamil productions lined up; how could I suddenly do a Telugu film? I clearly told them that I didn’t have the dates. Then he said, “Not Tamil; it’s a Hindi film.” I wondered, ‘Hindi film? Somehow, by luck, Tamil audiences have accepted me as a hero. There’s no chance for me in Hindi’ (laughs). Hence, I declined the offer.”

He added, “But they kept on insisting. Murali told me, ‘I should at least meet them as it’s a big production house’. I agreed to meet them, though I wasn’t interested at all. Sri Purnachandra Rao garu and T Rama Rao garu came to meet me. They asked me, ‘Have you seen the Telugu film, Chattaniki Kallu Levu (1981)?’. I said, ‘No, sir’. They revealed, ‘It was remade in Tamil (Sattam Oru Iruttarai; 1981) and was a big hit. When we made it in Telugu with Chiranjeevi as the lead, it was a huge hit as well. You should do it in Hindi’. I informed them, ‘Sir, I can speak Hindi and Marathi, but that’s not proper Hindi. Even my Tamil isn’t perfect yet (laughs)! Hence, I cannot accept the offer’.”

Rajinikanth continued, “Around that time, Kamal Haasan’s Ek Duuje Ke Liye (1981) had become a massive hit; in fact, it was a blockbuster. If that film hadn’t succeeded, I doubt whether I would have even considered the offer. Yet, I refused the offer. They requested me to reconsider. They revealed, ‘Hema Malini will play the hero’s sister, while Reena Roy will essay the role of the heroine. There will be three villains. Pran garu will be returning to films with this project after a long break. Danny Denzongpa, a great actor who rarely accepts films, will play a villain. Also, Amitabh Bachchan will appear in a guest role’.”

The hall erupted with laughter as the star confessed, “I thought they were just exaggerating! When they mentioned Hema Malini, I became a little doubtful. Yet, I continued listening to whatever they were saying. The moment they mentioned Amitabh Bachchan sir’s name…I concluded that continuing the discussion felt like a waste of time. We left and I scolded my manager, Murali, ‘What is all this? (They are claimed to have signed) Amitabh Bachchan, this person, that person…no no’!”

Rajinikanth then said, “While I was leaving after declining the film, T Rama Rao garu said, ‘What is all this? Is he mad? He’s getting such a big opportunity with Amitabh Bachchan and he’s saying No? Has he lost his mind?’ However, Purnachandra Rao garu remarked, ‘Wait, it hasn’t been explained to him (Rajinikanth) properly’. Later, he sent someone else to speak to me. That person told me, ‘I think you’re underestimating this offer. Amitabh Bachchan is confirmed. Everything is ready. They are even considering Mithun Chakraborty. But Purnachandra Rao garu feel that since Kamal Haasan has already become a hit, you will suit this role very well’. He’s very particular about it. Hence, please agree to do the film’.” He also said, ‘Chiranjeevi is waiting, wondering whether he would get a call from Purnachandra Rao garu since he had a hit with him in the form of Chattaniki Kallu Levu’. (laughs). That’s when I believed it and I signed Andhaa Kaanoon (1983).”

Rajinikanth added, “You all already know how big a film Andhaa Kaanoon was. However, after watching the film, distributors said, ‘Everything is fine, but who is this hero? Who will accept him?’. Nobody bought the film. So, Purnachandra Rao garu himself distributed it all over India. It became a super-duper bumper hit (smiles).”

Also Read: Anil Kapoor calls daughter Rhea Kapoor a “creative force” in birthday note: “You make our home brighter”

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‘I won’t record songs like that now’, Shreya Ghoshal revisits Chikni Chameli

Veteran playback singer Shreya Ghoshal has addressed the online reaction to her recent comments about Chikni Chameli, the hugely popular song from the 2012 film Agneepath. While she stressed that she is “not embarrassed” about having sung the track, she also made it clear that she wouldn’t choose to record similar songs today,  a stance that has sparked debate among fans.

In a conversation on entrepreneur and podcaster Raj Shamani’s show, Shreya explained that her outlook on song choices has evolved over time. The singer said that after Chikni Chameli became a hit, she was offered a number of tracks with lyrics she felt were overtly objectifying. She revealed that, on one occasion, a composer friend suggested lines such as “make me into chicken and eat me” or “hold me like this,” which made her uncomfortable enough to turn them down.

Reflecting on her experience with Chikni Chameli itself, Shreya said the version that made it into the film was more subtle than earlier drafts, but she admits she didn’t fully grasp the meaning of some lines at the time. Despite that, she said, “Yes, I did perform it. I like that song. I think it’s good. But I won’t record songs like that anymore.” She emphasised that she isn’t ashamed,  the song is part of her body of work and something she continues to “own.”

Shreya’s comments have ignited discussion online because she reportedly still performs Chikni Chameli at concerts, including in front of young audiences. Addressing that, she acknowledged that hearing little girls dance to its lyrics can feel awkward, but maintained that the song itself has artistic value and remains one she is connected to.

Also Read: Raja Hindustani tracklist revealed: King teams up with Kumar Sanu, Shreya Ghoshal & more

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Dia Mirza calls for protection of tigers on World Wildlife Day; says “Children understand something many adults forget”

Indian award-winning actor, producer, and UN Goodwill Ambassador Dia Mirza marked World Wildlife Day with a heartfelt call to protect tigers and the forests they inhabit. Sharing a message from Tiger Fest with the Kids For Tigers initiative, she reflected, “When young voices rise together, something shifts. The tiger becomes more than a symbol, it becomes a reminder that forests birth rivers, hold our soil, steady our climate, and quietly protect every breath we take.”

She further added, “These children understand something many adults forget: clean air, clean water, healthy soil and a safe climate are not luxuries they are life itself.”

She also mentioned “Saving the tiger is not about saving a species alone. It is about protecting the delicate web of life that protects us.”

 

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A long-standing advocate for conservation, Dia Mirza has been associated with Sanctuary Nature Foundation for nearly two decades, with the Kids For Tigers programme remaining especially close to her heart. The actress also serves as a United Nations Environment Programme Goodwill Ambassador and United Nations Secretary-General’s Advocate for the Sustainable Development Goals. She is also Ambassador for the Wildlife Trust of India, an eco-investor, and a committed voice for climate action and biodiversity preservation.

Also Read: Dia Mirza reflects on ‘Homecoming’ at Spoken Fest, opens up about nature, loss and finding purpose

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After concert mismanagement row, Karan Aujla hints at second Mumbai show

Punjabi star Karan Aujla has found himself at the centre of an unexpected controversy after his recent India concerts, with fans criticising the organisation and management of his P-Pop Culture India Tour shows in New Delhi and Mumbai.

The tour kicked off on February 28 at Delhi’s Jawaharlal Nehru Stadium with a massive crowd,  reportedly over 75,000 fans, and a high-energy performance that included Aujla ziplining across a 50-foot-high custom stage and performing hits like Softly, Tauba Tauba and Boyfriend. However, the excitement was overshadowed online by videos showing chaotic scenes at entry gates, long queues without clear crowd direction, and even a violent brawl in a VIP lounge, fuelling complaints about poor planning and safety lapses at the Delhi show.

The controversy deepened with Aujla’s March 3 Mumbai Holi Edition concert at MMRDA Grounds, where several fans took to social media to describe near-stampede conditions, lack of basic amenities such as water and shade, and confusion over band scanners and viewing areas,  leading some attendees to label it the “worst concert ever.”

In response to the backlash, Aujla took to Instagram Stories with a photo outside his private jet, writing: “Bombay I think we need to add a night concert. Team Innovation, y’all coming back stronger or what??”, seemingly hinting at a second show to make amends with disappointed fans. The event organisers, Team Innovation, responded with optimism, promising something “bigger and louder.” Amid the uproar, Aujla’s image also drew positive attention in Mumbai when he was seen paying off auto-rickshaw drivers’ fines totalling around ₹22,000, a gesture that went viral and was widely praised by fans across social platforms.

The India leg of the P-Pop Culture Tour will continue with shows scheduled in Ahmedabad, Chandigarh, Indore, Bengaluru, Kolkata, Jaipur, Lucknow and Ludhiana over the coming weeks,  leaving organisers and audiences alike hoping for improved experiences ahead.

Also Read: Karan Aujla announces 6-city India leg of P-POP CULTURE world tour for 2026, with debut stadium shows in Delhi and Chandigarh

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EXCLUSIVE: Mandana Karimi plans to return to Iran if regime changes amid conflict; says, “I feel like I don’t have a voice in India”

Actor and model Mandana Karimi has spoken about the ongoing situation in Iran, sharing her concerns about the country’s political future and revealing that she intends to return if there is a change in regime.

In an exclusive conversation with Bollywood Hungama, Karimi was asked about her assessment of developments in Iran and what she foresees in the coming days. “Well, what’s happening? I think 24 hours ago, they actually brought someone to put in the place of Khamenei,” she said.

Karimi expressed hope for a different future for her home country. “And what I see for Iran is a free Iran, where women can do whatever they want, wear whatever they want, and go to whatever university they want to study. And I see Iran, which has a great relationship with the Middle East, that we are not a threat to people, but we are a nation that actually builds the Middle East, and what I see for Iran is the death to this regime, and they have to go,” she added.

When asked if she would consider returning to Iran, Karimi responded decisively. “The moment that they announce that this regime is gone, I’ll go, anyway, my bags are packed, I’m leaving India as well.”

She further confirmed that relocating is part of her immediate plan. “That is the plan because I feel like I’m breaking up with India. It’s very difficult for me, because I came to India when I was really young. India has given me everything, my modelling career, my acting career, and the loves that I had here, the friends that I have, but I feel like I don’t have a voice in India, and this past two months, I’ve never felt so homesick and lonely in Bombay,” she said.

Karimi also stated that her participation in protests and her outspoken stance on Iran have affected some of her relationships. “Unfortunately, because I went to protests, and I was talking about Iran so openly, I lost a lot of so-called friends, and I feel like India has betrayed me in a way. I feel like India has given me what it was supposed to give, now it’s time to move on, and hopefully I’m going to move to Iran.”

Karimi, who built her modelling and acting career in India, said her decision comes after months of emotional strain, as she balances her professional journey with concern for her homeland.

Also Read: Ammy Virk says UAE situation “weighing heavily” as wife, 6-year-old daughter remain there amid Iran-Israel crisis

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Sooraj Barjatya says Prem and Kabir Singh are “two sides of the same coin” as he shares thoughts on “power of love”

Filmmaker Sooraj Barjatya has weighed in on the ongoing debate around portrayals of masculinity in Hindi cinema, stating that his idealistic romantic heroes and the more intense protagonists seen in recent films are “two sides of the same coin.” In a conversation with Hindustan Times, Barjatya compared characters such as Prem — a recurring figure in his films — with leads from films like Kabir Singh and Animal.

“They are representations of the same men. Itna pyaar to kare koi (Someone must love this passionately). If you look at it, whether it is Kabir Singh, Animal, Prem, or the protagonist from Sangamarmar (his next web series), but itna pyaar to kare. All of them have come through the journeys of their soul. They have their own upbringing and values. But essentially, it is the power of love. I feel they are two sides of the same coin,” he said.

The reference to Kabir Singh and Animal points to a contrast often drawn between Barjatya’s soft-spoken, family-oriented heroes and the more volatile romantic leads of recent years. However, the director maintains that the emotional core — intense, unwavering love — remains central across portrayals.

Barjatya also addressed criticism that his male protagonists are overly idealistic or disconnected from contemporary realities. “Every two to three weeks, people tell me such a world does not exist. Don’t give us this wrong hope. Girls tell me that their parents want this sort of guy for them, and yeh banne band ho gaye hain (These don’t exist anymore). But I say jitne pehle the aaj bhi hain (they exist today too). You just have to find them,” he said.

On the professional front, Barjatya last directed Uunchai, featuring Amitabh Bachchan, Anupam Kher and Boman Irani. His next directorial venture is Yeh Prem Mol Liya, starring Ayushmann Khurrana.

He is currently promoting the romantic drama series Sangamarmar, which streams on JioHotstar from February 26. Backed by his banner Rajshri Productions and directed by Vikram Ghai, the show follows Amrita, played by Sheen Das, as she places family responsibilities above her relationship with Aditya, portrayed by Sourabh Raaj Jain.

Also Read: Sooraj Barjatya opens up on JioHotstar series Sangamarmar: “Family stories are our legacy”

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Sushmita Sen and her mother to earn Rs 73.76 lakhs from 3-year Mumbai rental agreement: Report

Bollywood actress Sushmita Sen and her mother, Subhra Sen, have given their apartment on rent in Mumbai, with a starting monthly rent of Rs. 1.95 lakh, according to property registration documents reviewed by Square Yards on the website of the Inspector General of Registration (IGR) at https://ift.tt/vgCL76t. The deal was officially registered in February 2026.

Goregaon is regarded as one of Mumbai’s fastest-growing and strategically positioned real estate destinations, known for its balanced mix of residential comfort, commercial growth, and long-term investment potential. The locality offers a diverse range of housing options, including modern high-rise apartments, integrated townships, and premium gated communities, attracting working professionals, business owners, and upwardly mobile families. Goregaon benefits from excellent connectivity via the Western Express Highway, SV Road, and the suburban railway network on the Western Line, along with seamless access to the Mumbai Metro.

It also enjoys proximity to key business districts such as Andheri, Malad, and the Bandra Kurla Complex, making daily commutes convenient for corporate executives and entrepreneurs. The presence of major commercial hubs like NESCO IT Park, Mindspace Malad, and Film City further strengthens its appeal as a residential hotspot for professionals across industries. Over the years, several members of the entertainment and business fraternity have also chosen Goregaon and its surrounding areas as their preferred residential base due to its connectivity, infrastructure, and evolving urban lifestyle.

According to property registration documents accessed by Square Yards, the apartment in Oberoi Exquisite, Goregaon, was rented, with a carpet area of 92.5 sq. m. (996 sq. ft.) and a total area of 115.29 sq. m. (1,241 sq. ft.). The deal also includes two car parking spaces and was registered with a stamp duty of Rs. 18,900, registration charges of Rs. 1,000 and a security deposit of Rs. 6 lakhs.

As per Square Yards’ analysis, the lease tenure is set for a period of 36 months. The agreed monthly rent commences at Rs. 1.95 lakh for the first year and increases by 5% to Rs. 2.04 lakhs in the second year. In the final year, the rent rises by a further 5% to Rs. 2.14 lakhs. Accordingly, the cumulative rental value over the entire three-year term is Rs. 73.76 lakhs.

Also Read: Farah Khan reveals she first wanted Sameera Reddy for Sushmita Sen’s role in Main Hoon Na

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Photos: Ranbir Kapoor snapped at ISGL launch

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EXCLUSIVE: TVF’s Arunabh Kumar states, “Background of students portrayed in Hello Bachhon is going to completely surprise and astound people”

The Viral Fever (TVF) has partnered with Netflix for their upcoming education based show Hello Bachhon. The series gives a message that education, especially higher education, should be a right of every child and should not be limited to the rich. The show stars Viineet Kumar Siingh in the lead and it starts streaming from March 6. In an exclusive interview with Bollywood Hungama, TVF’s founder Arunabh Kumar got talking about Hello Bachhon, their strategy and more.

TVF has consistently captured youth culture with authenticity. What emotional core drove Hello Bachhon?

So, I think when it comes to young adult stories, when you look at the library in India, there’s a lot of stories being told in crime, a lot of this across the genre. But when it comes to this age group of telling stories of, let’s say, 13-year-olds to 20-year-olds, we have had a few of them, some of them we have been fortunate to be part of. But I think coming of age, growing up during adolescence, the kind of emotional complexities that one comes across, the kind of ambitions that one is burdened with, whether it is from the parents, whether it is from their teachers, whether it is themselves sometimes, and I think that has always been a recurring theme. And this story actually combines all of them together with the true story of a teacher who made this possible for so many of them.

I think the backgrounds of students whose story we have dealt with in Hello Bachhon is going to completely surprise and astound people that, okay, there are such people too. One of the things that, in fact, we were told that we always speak of middle India. We do not look at India 3 or Bharat, while we have dealt with them in many stories and shows now, whether it is a show on a village that we have done, or whether it is a show based in Delhi.

But I think this time you will see that we have got a chance, thanks to Alakh’s journey, thanks to PW’s journey, we got a chance to dip into the stories of these students from such diverse, such, sometimes, strikingly underprivileged background, sometimes such part of victim of such, I will say, societal norms that, and then they have been able to come out. And these stories are based on actual anecdotes of people who have learned from PW and Alakh. And they have changed their lives. So I think that is what appealed to us. And yeah, I think that something like this, I don’t think together we have ever told that. And we do not hope this story only touches the emotional core of young Indians in India, but across the globe.

Is this show closer to satire, slice of life, realism or aspirational coming of age storytelling?

Of course, it is not satire, I think. But I wouldn’t say it fits completely in either of the brackets. I think it’s a very highly emotional account of, like it’s there in the teaser, inspired by many, many million stories of. So aspiration is a part of it for sure. But I think it’s very deeply emotional. It’s very conflict heavy. It speaks of real India. Like I said, it’s inspired from true stories of teachers and students. So and they’ve gone through so much in their life. So aspiration can be called as well. But I would not like to bracket the much more broader and much. It deals with a lot more emotional aspects of one’s life and what one goes through while trying to chase their dream. So I would like to take it there.

How has your understanding of youth evolved since your early TVF days?

So, I think I’ll humbly accept that I understand them a little less now maybe because I’m not as young as I used to be when we started 14 years back when I could totally get a lingo, the joke and everything. But I think the reason that some of us founding team members, whether it is me or Vijay and Sherry, who have worked on the show and who also used to say that is this going to be another show that we have done so many times? And Vijay and Sherry said, no, this is very, very different because the kind of realities that younger Indians live in today is very, very different from what we were living in.

So I think humbly I accept that, yes, things would have changed in the last 10-14 years and things have changed. But like I always say that emotions do not change. Aspirations, the modality of aspirations changes, but I think aspirations are still there. Dreams are still there. In the history time, people used to dream of conquering a country. Now they dream of conquering a World Cup or in the world of business. So we try to sort of attribute any story to that axis and identify those parts. And at the same time, we have a very young team who is always there at TVF and Netflix also has a lot of younger people and they keep us, giving us their current North Star to follow.

I would say there was a very random study that Gen Zs have less IQ than Millennials. I do not really subscribe to that because maybe this test has been done by the question paper, which was prepared by a Millennial and that is no longer valid. So I feel it is important to accept that time always changes. That’s the rule of law of nature, law of capitalism, law of technology. And we try and be with the times. We try and identify the emotions because they always are there.

And if you are able to anchor your stories, your characters around that, then rest everything can be figured with research. And that’s how we have kind of been viral in 2012, as well as viral in 2026. And thanks to the team, specifically the younger people, Abhishek Yadav, who has written, Pratish, who has directed, Sherry, who’s our head of originals and Vijay. By the way, I’ll tell you Vijay is the oldest man by age, but the youngest when it comes to energy.

Were you consciously trying to avoid tropes that typically define school or college narratives in Indian cinema?

No, I don’t think we are consciously trying to avoid. I think we are just trying to be authentic and true to what we have seen and what we hear of. There is like, everybody says, there are many India’s in our country. There are people of all economic backgrounds walking on the road or driving on the road. So we just try to pick a segment and try to be honest to them. And whether it is Kota Factory or whether it is Hello Bachhon. If you see Hello Bachcho, you will be surprised of the kind of, you know, I was myself very astounded. So to say the least, with some of the stories that people have made, despite what background they come from.

So we’re just trying to be honest. I think we’re just trying to be very diverse and honest. And once you try and research about other segments, other towns, other backgrounds, then automatically you come across newer material, newer research. And that that gives you new writing, new stories, and they become different from whatever maybe a certain segment has done so far.

With Hello Bachhon, we have actually ourselves felt that we have never really told stories of people from this background. And that that makes us very proud to be associated with the show that makes us creatively very exciting, excited that we are telling this. And with Netflix, you know, they supported us to try and tell the story in the best possible way. And I think we have a story which after watching, you will again say that maybe we have tried to be consciously away from the tropes of even TVF’s lens of storytelling.

Also Read: EXCLUSIVE: Netflix’s Tanya Bami on Hello Bachhon, “It is an evolution from the Kota Factory space but in a very different way”

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SCOOP: Much-awaited trailer of Dhurandhar: The Revenge to be launched digitally on March 3

In February 2026, Bollywood Hungama had reported that the highly anticipated trailer of Dhurandhar: The Revenge will be launched on March 5 at Mumbai’s iconic Nita Mukesh Ambani Cultural Centre (NMACC). We have now learned that there is a slight change in the plan.

A source told Bollywood Hungama, “Dhurandhar: The Revenge’s trailer will now come earlier than expected. It is now likely to be unveiled on Tuesday, March 3, on the auspicious occasion of Holi. However, no event will take place and the makers will drop the promo digitally.”

The trailer of the first part was also launched at NMACC in the presence of 2000 Ranveer Singh fans. It was one of the grandest events of 2025 and became a huge talking point.

Dhurandhar stars Ranveer Singh, Akshaye Khanna, Sanjay Dutt, R Madhavan, Arjun Rampal, Sara Arjun and Rakesh Bedi. The first part told the story of an Indian spy who infiltrates into Pakistan’s criminal syndicate and political system and creates havoc. It opened well at the box office but, in a few days, it became a sensation. Its second week collections were more than that of the first and the action musical entertainer ultimately emerged as the highest grossing film of Bollywood. As a result, the buzz is tremendous for the sequel, which releases on March 19. Both parts are directed by Aditya Dhar and produced by Jyoti Deshpande of Jio Studios and Aditya Dhar and Lokesh Dhar of B62 Studios.

Interestingly, Dhurandhar: The Revenge will have a gigantic clash at the box office with Toxic: A Fairy Tale for Grown-Ups. Directed by Geetu Mohandas, it marks the return of Yash of KGF fame and also stars Kiara Advani, Nayanthara, Huma Qureshi, Akshay Oberoi and others. The trailer of this mass-appealing flick will be unveiled on March 8 in Bengaluru at a grand event.

Also Read: EXCLUSIVE: Ram Gopal Varma says the success of Dhurandhar means there is room for “intelligent cinema”; praises Aditya Dhar for realistic take on “hero template film”

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Sriram Raghavan reveals he planned roles for Dharmendra and Zeenat Aman in early draft of Agent Vinod

The Screenwriters Association’s (SWA) first event of the year, Vartalaap, opened with an unfiltered and craft-focused conversation with filmmaker Sriram Raghavan, who reflected not only on his films but on the writing decisions, missteps and professional relationships that shaped his journey.

Moderated by filmmaker Satyanshu Singh, the session moved fluidly between nostalgia, practical screenwriting advice and candid admissions, offering members a rare look into the working mind of a director often associated with the modern Hindi thriller.

The event began with a rare screening of Raghavan’s FTII student diploma film The Eight Column Affair. The filmmaker then went on a trip down the memory lane, talking about how long before his breakout directorial debut with Ek Hasina Thi, he was working in Mumbai covering the film industry in his early days. The job took him from Stardust to a trade magazine.

“If you look at the articles today, you can blackmail me! They used to be so bad,” Raghavan joked. While his stint as a journalist didn’t last long, he met filmmaker Mukul Anand and instantly knew he wanted to make movies.

“I had asked Mukul Anand, ‘Should I join the film institute or work with you?’ He told me if I work with him it’ll take me five years to make my first film, whereas it’s be quicker to do the same after FTII. That said, it took me 17 years to make my debut!” Raghavan laughed.

But before his feature directorial materialised, Raghavan worked on TV, writing for shows, especially the long-running CID. He recalled how the show’s producer BP Singh would call him to write episodes for CID and he had to wing a story in one night. “But writing for CID ensured that the next two months’ money would be sorted,” he said.

For a filmmaker widely regarded as a master of the thriller genre, Raghavan surprised many by stating that he never treated logic as his guiding principle. Recalling advice from Ram Gopal Varma during the making of Ek Hasina Thi, he said: “Don’t worry about logic, shoot with conviction.” At the same time, Raghavan was candid about missteps. Speaking about Agent Vinod, he admitted that he made a mistake at the writing table for the big-budget actioner headlined by Saif Ali Khan and Kareena Kapoor.

“I focused more on individual sequences rather than the whole story and a solid character, which would have been the spine of the film,” he said, noting that a strong, cohesive narrative must anchor even the most stylish set pieces. The lesson, he emphasised, was one he carried forward into later projects.

A highlight of the evening was Raghavan’s recollection of his creative equation with Dharmendra. “Dharamji was among the first people I narrated Ikkis to and he loved it unconditionally,” he said, referring to his war-drama that marked the final screen appearance of the legend.

He also revealed that during the writing stage of Agent Vinod, he had conceived a role for the head of RAW with Dharmendra in mind. The film, he explained, initially had younger and older narrative tracks, and discussions were held at the scripting stage — including meetings with Zeenat Aman for a key part in the Russia portion. The track was eventually not pursued.

The conversation also turned to the industry’s shifting landscape and the oft-repeated anxiety around theatrical decline and creative relevance, a concern Raghavan dismissed with characteristic ease.

“I don’t have that fear. There are many films today that I don’t want to make, can’t make or don’t even enjoy. But every year I find five or ten films I love. Sometimes you wish you had got that story. That happens to me a lot. I watched Marty Supreme. I loved it, but it’s not a story I would tell. I don’t feel irrelevant.”

He acknowledged that he has seen ups and downs in his career but stressed the importance of maintaining meaningful relationships with producers. “It is important to develop this bond with producers. They are the ones putting money behind one’s craft.”

For writers navigating an unpredictable industry, his advice was pragmatic: in times when films may not work commercially, a “fabulous script” will always hold a screenwriter in good standing. “No producer will say no to it,” he said, urging writers to keep honing their craft.

The session was attended by SWA President Charudutt Acharya, Lyricist Raj Shekhar (General Secretary, SWA), filmmakers Hitesh Kewalya, Anu Singh Chaudhary, Hardik Mehta, Arati Kadav, Amrit Raj Gupta & writers Arshad Syed, Gunjit Chopra, Vibha Singh, among several members of the writing community.

Also Read: Sriram Raghavan BREAKS silence on ‘Pakistan is not trustworthy’ disclaimer in Ikkis: “I was personally NOT happy with it”

The post Sriram Raghavan reveals he planned roles for Dharmendra and Zeenat Aman in early draft of Agent Vinod appeared first on Bollywood Hungama.

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KGF, Kantara makers Hombale Films announce major global expansion; step into overseas distribution

In a significant development for the Indian film industry, leading banner Hombale Films has officially announced its entry into the overseas distribution arena. Known for backing some of the most successful pan-India blockbusters in recent years, the production house is now expanding its footprint with a structured international distribution strategy aimed at taking Indian stories to a wider global audience.

Over the past few years, Hombale Films has redefined commercial Indian cinema with large-scale spectacles such as KGF: Chapter 1, KGF: Chapter 2, Kantara, Kantara: Chapter 1, Salaar and Mahavatar Narasimha. These films not only performed strongly at the domestic box office but also built substantial audiences overseas, reflecting the growing appetite for Indian cinema across markets.

With this new vertical, the company aims to establish a focused and professional international distribution network. The move is being positioned as a strategic evolution rather than a limited in-house extension. Importantly, the overseas distribution initiative will not be restricted to films produced by Hombale Films. Instead, the banner plans to collaborate with filmmakers and production houses across India, facilitating the global release of diverse stories spanning languages and genres.

Announcing the development on Instagram, Hombale Films shared a statement that read, “Cinema connects hearts beyond every distance. From India to the world, our stories travel far and wide. With gratitude and quiet excitement, Hombale Films steps into Overseas Distribution carrying the spirit of Indian cinema beyond borders, across industries, and into hearts everywhere”.

 

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The expansion signals a broader ambition — to strengthen the global positioning of Indian cinema through streamlined distribution strategies and deeper market penetration. As international audiences continue to engage with Indian films across theatrical and emerging markets, this move places Hombale Films at the forefront of shaping how Indian stories travel worldwide.

By entering the overseas distribution space, the banner reinforces its commitment to scaling Indian cinema globally, ensuring that stories rooted in local culture continue to find resonance across continents.

Also Read: Hombale Films’ Kantara: Chapter 1 completes 50 days in theatres

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