EXCLUSIVE: Vishal Rana calls Tu Hai Meri Kiran “our answer to Obsession”; reveals why he didn’t remix Shah Rukh Khan’s iconic Darr song: “Don’t want people to compare the two films”

Vishal Rana is all set to release his next film, Tu Hai Meri Kiran, this Friday, October 23. In an exclusive interview with Bollywood Hungama, the producer spoke about the film’s casting, its catchy title, the crowded release date and a lot more.

The first thing that stands out about Tu Hai Meri Kiran is that real-life couple Sonakshi Sinha and Zaheer Iqbal are seen in a completely different dynamic. How did that come about? The script came to me, and I found it interesting as it had a lot of twists and revolved around an obsessive lover. We approached Sonakshi first, and she really liked the story. We wanted an actress in the 25-30 age group, and she fit the bill.

Then it became a challenge to find an actor opposite her who could match her personality, aura, and demeanour. At the same time, the actor had to look more powerful than her, as he plays an obsessive, creepy stalker. We auditioned several actors, but we couldn't find the one we were looking for.

One day, I happened to meet Zaheer and felt that he should audition. When he tested for the part, my director Karan Rawal and I were both surprised. He brought the required intensity to the character of an obsessive lover. The character is a creep with grey shades who derives sadistic pleasure from troubling people. That came across very well during his audition.

I then realized that people would love to see Sonakshi and Zaheer pitted against each other rather than being together. That was the idea, and we are very happy with the casting, which happened quite unexpectedly.

The other catchy aspect of the film is its title, which is also a classic song from the Shah Rukh Khan-starrer Darr (1993). Tell us how you locked the title. Also, was it difficult to secure the title rights? Not really. We were looking for a suitable title. Since it’s the story of an obsessive person, one of the names that came to our minds was Darr. However, it was Zaheer who told us that he had narrated the film’s story to a friend, and she suggested the title Tu Hai Meri Kiran.

As you rightly said, even we thought that we might not get the rights. But we were pleasantly surprised when we approached IMPPA (Indian Motion Picture Producers' Association) and discovered that the title had not been registered by anyone!

The title works because it has strong recall value, but the film has nothing to do with Darr. It is neither similar to Darr nor a spin-off. It’s a completely different film, though the title gives you the vibe of a story revolving around an obsessive stalker.

Nowadays, remixes of old classics are in vogue. Did you consider acquiring the rights to the song ‘Tu Hai Meri Kiran’ from Darr? No. As I said, there are no similarities between the two films, and I don’t want people to compare them. We chose the title because the song ‘Tu Hai Meri Kiran’ has been strongly etched in people’s minds for years. We felt that the title itself was enough to give audiences an idea of what our film is about, without drawing direct comparisons. Hence, we didn’t acquire the rights to any song.

Globally, there has been a rise in films featuring dark and twisted themes, and many of them are working big time. The success of Obsession (2026) is a major example. Do you feel the timing is just right for Tu Hai Meri Kiran?

When I received the script, I liked it because it was different from the kind of films we usually make. As time passed, almost everything working in theatres was about obsessive lovers!

Obsession was released when we were completing our post-production. The film was a huge success, and we felt that the timing was perfect, as Tu Hai Meri Kiran could be our answer to Obsession.

We rarely make these kinds of films in our cinema. I hope people turn up in large numbers because the film will surely surprise them. Youngsters love stories packed with twists, and our film falls into that category. So, I believe the timing is right. Sometimes, you end up making the right film at the right time!

Tu Hai Meri Kiran releases on October 23, alongside six other films. Did you ever consider postponing its release? When I announced October 23 as the release date, only Luv Ranjan’s Pehla Pyaar Doosri Baar and one more film were scheduled to release that day. Gradually, more films joined the line-up. Then Udta Teer shifted to the same date at the last minute. By then, we had already begun our promotional campaign, so pulling back made no sense.

There have been instances where a small film has worked despite clashing with three big films. That happens when the content connects with the audience. Whichever film has better content will succeed, whether during the opening weekend or in the subsequent weeks. Hanuman Ansh was released between two big films. Yet, it managed to hold its own and make a mark. Likewise, we believe in our content.

Also, we genuinely feel that October 23 is a very good release date for our film. The other films releasing that day are mostly mid-sized or small productions. There’s no major event film clashing with us or releasing around the same time. This gives us some breathing space and allows word of mouth to build. From next month onwards, big films will release back-to-back. Had we postponed our release, we probably wouldn't have been able to bring the film to cinemas until next year.

What is the screen count for Tu Hai Meri Kiran? We are targeting a release across 500 screens with approximately 1,500 shows. Since so many films are releasing simultaneously, it’s difficult to secure screens. However, I believe that the number of screens doesn't necessarily matter.

Several films have opened on a slow note but gradually picked up, prompting theatres to increase their shows. On the other hand, many films have opened across a huge number of screens, only to collapse by Monday because the content was weak. Hence, I am hoping that our film speaks for itself and earns additional screens on merit rather than us having to push for them.

Also Read: Bombay High Court directs makers of Tu Hai Meri Kiran to deposit Rs. 8.85 crores before release

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Police Company release date: Ram Gopal Varma’s crime saga starring Harshvardhan Rane to hit theatres on June 4, 2027

Filmmaker Ram Gopal Varma is returning to the Mumbai underworld with Police Company, an upcoming crime saga that will explore the city’s turbulent gang wars from the perspective of law enforcement. T-Series, in association with RGV Company Production, has officially announced the theatrical release date of the action thriller. Starring Harshvardhan Rane in the lead role, the film is scheduled to arrive in cinemas nationwide on June 4, 2027.

Known for exploring the underbelly of Mumbai through films like Satya and Company, Ram Gopal Varma is revisiting familiar territory with a narrative that shifts the focus from gangsters to the police officers who confronted them. In Police Company, Harshvardhan Rane will portray Daya Nayak, the Mumbai police encounter specialist whose operations became a significant part of the city’s underworld history.

Inspired by true events and real-life police officers who operated during the late 1990s and early 2000s, the film will delve into the functioning of Mumbai’s encounter squad during a particularly volatile period. The narrative is expected to explore the circumstances, aggressive policing tactics and high-stakes operations that shaped the battle against organised crime in the financial capital.

The film will revisit an era when gang-related violence and the underworld’s influence formed a significant part of Mumbai’s crime landscape. According to the film’s announcement, the story will trace the operations through which the encounter squad neutralised around 300 gangsters, eventually dismantling the underworld’s terror network in the city. By placing law enforcement at the centre of the narrative, Police Company aims to offer a different perspective on a chapter that has frequently inspired crime dramas in Hindi cinema.

Alongside Harshvardhan Rane, Police Company features Fardeen Khan, Fatima Sana Shaikh, Paresh Rawal, Saurabh Shukla, Makarand Deshpande and Ashwini Kalsekar in pivotal roles. The ensemble brings together several established performers, including actors who have previously been associated with Ram Gopal Varma’s distinctive brand of crime cinema.

 

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The casting also marks a creative reunion for several veteran actors whose work has contributed to Varma’s crime-film legacy over the decades. Their presence adds to the film’s focus on an intense, character-driven narrative set against the backdrop of Mumbai’s underworld and the police operations mounted against it.

Presented by Gulshan Kumar and T-Series, Police Company is directed by Ram Gopal Varma and produced by Bhushan Kumar, Krishan Kumar and Ram Gopal Varma. The film is being made under the banners of T-Series Films and RGV Company Production.

With its real-life inspiration, portrayal of a defining period in Mumbai’s underworld history and Harshvardhan Rane stepping into the role of Daya Nayak, Police Company marks Varma’s return to a genre closely associated with his filmography. The crime drama is slated for a nationwide theatrical release on June 4, 2027.

Also Read: Harshvardhan Rane on working with Ram Gopal Varma: “If you love geniuses, you won’t consider Sir a taskmaster”

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Ayushmann Khurrana enters the spy universe with Udta Teer and does the exact OPPOSITE of what every other hero does

For much of the past decade, whenever Hindi cinema discovered a successful genre, the instinct was understandably to make it bigger. Romances became glossier, action films became louder, and spy films steadily evolved into enormous spectacles filled with international missions, elaborate stunts and heroes capable of taking on entire armies.

Ayushmann Khurrana's career has usually moved in the opposite direction. Instead of asking how a familiar genre can become bigger, some of his most successful films have asked a more interesting question: what happens if you put a completely unexpected protagonist or problem inside it?

With Udta Teer, Ayushmann may now be applying that philosophy to one of Hindi cinema's most commercially attractive contemporary genres: the spy movie.

The basic idea itself announces that this isn't business as usual. Ayushmann plays a Pakistani spy, but the complication is deliciously unusual: he loses his memory. Suddenly, the man who is supposed to know everybody else's secrets is struggling with the most fundamental mystery of all: his own identity. The trailer consequently treats espionage not merely as an excuse for action but as the foundation for comedy, mistaken identity, satire and chaos. This is classic Ayushmann territory, but there is an important distinction.

Ayushmann hasn't simply spent his career choosing unconventional subjects. He has repeatedly taken recognisable Hindi-film genres and altered the way the protagonist is allowed to behave within them.

Consider the romantic comedy. When Ayushmann made Vicky Donor, the central romantic hero wasn't defined by the usual obstacle of family status, an ex-lover or parental opposition. He was a sperm donor trying to navigate romance, secrecy and an unconventional profession.

With Shubh Mangal Saavdhan, the traditional question of whether the boy and girl would get married was replaced by a far more intimate complication surrounding male sexual performance. Yet the treatment remained accessible, humorous and deeply rooted in family dynamics.

Bala took a familiar story about romance and self-confidence and placed premature baldness at its centre. Dream Girl transformed a comedy of mistaken identities into something even more bizarre through a man whose female voice creates a parallel persona desired by multiple strangers.

Then came Andhadhun, where even the protagonist's relationship with the truth became slippery. Ayushmann's apparently blind pianist wasn't the conventional morally uncomplicated hero Hindi thrillers had conditioned audiences to expect.

The pattern becomes difficult to ignore. Ayushmann does not necessarily reject mainstream genres. He seems to enjoy entering them through the side door. That makes Udta Teer particularly intriguing because few Hindi-film genres currently carry as many established conventions as the spy film.

The contemporary cinematic spy is usually hyper-competent. He remembers licence plates, faces, codes, weapons, escape routes and confidential information with machine-like precision. His appeal comes partly from the fantasy that he is always three steps ahead of everybody else. Udta Teer appears to begin by taking away exactly that advantage. Ayushmann's spy cannot even completely depend on his own memory.

It is a small creative inversion with potentially enormous comic possibilities. Instead of asking audiences to marvel at how much the hero knows, the film can derive its entertainment from everything he doesn't. Instead of an invincible secret agent controlling his surroundings, the protagonist can find himself responding to a world that knows more about him than he does.

That reversal also happens to play directly into one of Ayushmann's most effective qualities as a performer. He is exceptionally comfortable playing men who do not have control of the room. Across his career, his characters have panicked, lied badly, been humiliated in front of their families, worried about what society thinks of them, battled insecurities and occasionally found themselves trapped in situations they cannot possibly explain without making matters worse.

For another kind of star, appearing constantly in control might be essential to preserving the hero image. Ayushmann's screen persona has frequently benefited from losing control. And that may be exactly what makes his entry into the spy space interesting.

The genre does not need another Ayushmann Khurrana pretending to be somebody's version of a conventional action star. It becomes potentially far more distinctive when the genre itself bends around what Ayushmann does naturally.

Indian audiences have seen several different interpretations of espionage in recent years, but the broad popular image remains connected to danger, patriotism, intelligence agencies and large-scale action. Udta Teer appears willing to retain the stakes while removing some of the solemnity.

The result could be the emergence of something Hindi cinema has rarely attempted at this scale: the genuinely mainstream spy patriotic comedy where the central joke isn't that the protagonist is incompetent, but that circumstances have robbed a potentially capable spy of the one thing every agent requires - certainty about who he is.

That is also why Ayushmann's casting seems less like an actor being inserted into a genre and more like the genre being recalibrated around an actor. This has been one of the fascinating constants of his career.

He doesn't necessarily reinvent genres by demolishing their rules. He does it by introducing one disruptive variable.

If Udta Teer succeeds in doing the same, Ayushmann Khurrana won't simply have entered the spy genre.

He may once again have done something that has quietly defined his most interesting work: entered a familiar Bollywood genre, rearranged its rules and walked out leaving behind a version that looks distinctly his own.

Also Read: The Ayushmann Khurrana genre is BACK: Udta Teer sees Bollywood’s king of crazy concepts return to his sweet spot

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EXCLUSIVE: Himesh Reshammiya to compose music for Veer Pahariya’s Naam - To Live Is War; reunites with Mahesh Bhatt after 16 years

One of the most awaited films of 2027, Naam - To Live Is War, has just got bigger. Presented by Mahesh Bhatt, the film was announced in June and stars Veer Pahariya in the lead. Varun Sharma of Fukrey fame will be seen playing a negative role for the first time in his career. Last week, the makers announced that Prashant Narayanan, Vijayant Kohli and Shefali Bagga had joined the cast. Now, Bollywood Hungama has exclusively learned that another prominent name has come on board – Himesh Reshammiya.

A source told Bollywood Hungama, “Naam - To Live Is War is an intense film and the makers wanted someone who could do musical justice to its subject and theme. They felt Himesh Reshammiya would be the right choice. Himesh was impressed with the film's plot and the passion of the team and hence, he readily came on board. He was also excited about collaborating with Mahesh Bhatt after a long time.”

Interestingly, Himesh Reshammiya and Mahesh Bhatt go back a long way. Himesh composed the song 'Soorat Pe Teri Pyar Aave' for Footpath (2003), starring Aftab Shivdasani and Emraan Hashmi. Mahesh Bhatt was associated with the film as a writer. Later, Mahesh Bhatt wrote the story and screenplay of Kajraare (2010), which starred Himesh Reshammiya in the lead. Himesh also composed and sang all the songs of the film.

Naam - To Live Is War, hence, marks their reunion after nearly 16 years. Although they haven't collaborated during this period, the mutual respect has remained intact. After the release of Himesh Reshammiya's 2014 mystery thriller The Xposé, he revealed in an interview with The Times of India that Mahesh Bhatt had personally called to congratulate him. Himesh had said, “Bhatt sahab called to congratulate me and that was an emotional moment for me. His praise means a lot.”

Himesh Reshammiya is on a roll. Besides Naam - To Live Is War, he has several interesting films in his pipeline, including Sooraj Barjatya's Yeh Prem Mol Liya, the Emraan Hashmi-starrer Gunmaaster G9, Anil Sharma's Arjun Naga and Vikram Bhatt's horror film, 1920: Cold Winter.

The source further revealed, “Like these upcoming films, the music rights of Naam - To Live Is War have also been acquired by Himesh Reshammiya's music label, Himesh Reshammiya Melodies.”

Coming back to Naam - To Live Is War, the film is presented by Mahesh Bhatt under Utsav Entertainment and Productions. Directed by Sidhaant Sachdev, it is produced by Utsav Upadhyay and Riddhi Chawda.

Naam - To Live Is War marks Veer Pahariya's third film after the Akshay Kumar-Sara Ali Khan co-starrer Sky Force (2025) and the recently released romantic comedy Prem Keetanu (2026).

Also Read: Himesh Reshammiya, Shilpa Rao, Anu Malik and others to perform at Bollywood Music Project’s 10th anniversary in Mumbai

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EXCLUSIVE: Shefali Shah recalls first turning to therapy; says, “I wasn't equipped to handle it”

Actor Shefali Shah has spoken about her experience with therapy, recalling how she first sought professional help after struggling to manage certain aspects of her life. In an interview with Bollywood Hungama, the actor discussed her journey with mental health professionals, the importance of finding the right therapist and how therapy has helped her recognise emotional lows before they become overwhelming.

Shefali, who recently made her debut as an author with The Audacity of Being: A Sort-of Memoir, published by Bloomsbury on October 1, 2026, has been discussing personal experiences as part of conversations around her book. During the interview, she explained that her decision to seek therapy did not stem from one major incident but from a growing realisation that she needed professional guidance. Shefali Shah recalls how she first sought professional help Shefali traced her first experience with a mental health professional to a visit to her children's school, where a psychiatrist had spoken about attention deficit disorder and attention deficit hyperactivity disorder (ADD and ADHD). At the time, Shefali believed her son might have the conditions and approached the psychiatrist with her concerns.

Recalling the incident, she said, “My children's school had a psychiatrist who came and spoke about ADD and ADHD. So I went to her one day saying, ‘My son definitely has ADD, ADHD, everything.’ She asked me to bring him in, but after meeting him, she said he was fine. Then she asked me, ‘What is your problem?’”

Shefali said the exchange eventually became a joke between them. However, she later approached the psychiatrist again when she was struggling with sleep.

“I remember once going to her saying that I cannot sleep. I need something to sleep. She asked me how long it had been since I had slept, and I said around 22 hours. I had come from the gym and hadn't eaten anything,” she recalled.

The experience prompted Shefali to consider that she might need help managing her own concerns. “I just thought that I wasn't equipped to handle it,” she said, explaining that she gradually began seeing the psychiatrist. “I have to go to a dermatologist” Shefali said her decision to continue therapy was not necessarily linked to a single life-changing event. Instead, she came to understand that professional support could help her navigate difficult periods.

“I don't remember if anything happened which was earth-shattering. But things happen in your life and, at some point, I hope people realise that you need a third person who's a professional, who knows this better than me,” she said.

Comparing mental health support with seeking treatment for a physical condition, Shefali added, “I can't keep putting a cream on an allergy rash. I have to go to a dermatologist.”

She also acknowledged that, initially, she would turn to therapy mainly when she was going through a crisis, such as a period when work was scarce and she was feeling depressed. After some years, however, she felt that her existing approach was no longer helping her in the same way. Shefali Shah on finding the right therapist Shefali eventually met Dr Vishal Sawant after someone introduced them. She said one of the things that stood out about their first interaction was that he did not rely on her previous assessments to define her experience.

“When I told him what I thought was happening and showed him my report, he said, ‘I don't want to look at it.’ He never labelled me, which was fantastic,” she said.

According to Shefali, the therapist helped her understand that people experience emotional highs and lows differently, and that she might feel certain emotions more intensely than others.

“He said everybody goes through a low phase or a high phase. You might feel it more acutely than somebody else. That's how it started, and he's been a huge support, somebody who's made my life so much simpler,” she said.

Shefali added that therapy has gradually become less about seeking help only when something goes wrong. There are times when she meets her therapist simply because she feels the need to check in.

She recalled one of his early goals for her: “One of the first things he told me was that he wanted to reach a point where I didn't need him.”

Learning to recognise emotional lows Shefali said she has become more aware of her emotional state and can increasingly recognise when she is beginning to feel low. While she is unsure whether she has reached the point her therapist hoped for, she believes the process has helped her develop a better understanding of herself.

Discussing the role of therapy amid the pressures of everyday life, she explained that a therapist does not necessarily tell someone what decisions to make. Instead, the process can help a person understand their situation and decide how to respond.

“This person is not the one who will tell you what to do. He will just tell you, ‘This is what it is. Now you figure what you want to do.’ You have to choose your way, which is what you need anyway in life,” she said.

Shefali added that gaining perspective can sometimes mean stepping back emotionally and assessing a situation before deciding whether it deserves further attention.

Her account highlights how her understanding of therapy has evolved over time, from seeking help during difficult phases to developing greater awareness of her emotional well-being. Through her experience, the actor has also underlined the value of professional support in navigating life's pressures.

Also Read: EXCLUSIVE: Shefali Shah reveals Vipul Shah advised her against doing Waqt; says, “He told me don’t do it”

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20 years of Don EXCLUSIVE: Cinematographer KU Mohanan recalls Shah Rukh Khan driving through fire in chase scene: “There was no duplicate. He will do anything you tell him”; also shares why the film’s twisted climax added to its success

Farhan Akhtar’s Shah Rukh Khan starrer Don: The Chase Begins Again (2006) completed 20 years today. The film was a remake of Chandra Barot’s Don (1978), starring Amitabh Bachchan. Produced by Excel Entertainment and also starring Priyanka Chopra Jonas, Om Puri, Boman Irani, Arjun Rampal and Isha Koppikar, the action flick became a success at the box office. It was a major moment for mainstream Hindi cinema as sequels weren’t a regular feature back then.

 

Even after two decades, Don doesn’t appear old. A major reason for this is the visuals provided by cinematographer KU Mohanan. Interestingly, this was the first time he had worked in a mainstream commercial film. Mohanan revealed that there were apprehensions because of this before he came on board in an exclusive interview with Bollywood Hungama.

He said, “At that time, I was mainly doing advertising work. I was quite big in advertising films. Maybe, that’s why Farhan got an idea about my work. But he knew I hadn’t done any big feature film before. He was a little apprehensive also in the beginning if I would be able to pull it off. This was a huge film. He expressed his concerns and asked me if I would like to do it. I said I will try because even I was not very sure about myself. But I took it as a challenge and accepted the film.”

Challenges of shooting action sequences

Mohanan faced that challenge of shooting high-octane action sequences for the first time. “It was very challenging,” he said. “But we had a good team, like the second unit director and the action team. The main person was from Australia. He had worked in many Hollywood and international films. We really wanted to make it look world class. Most of the action scenes were done in real. The chase sequences were done in that speed. There wasn’t too much of cheating. Certain things which we couldn’t do in real were done with a little VFX. At that time, VFX was not very popular. It wasn’t easy to do VFX.”

Shah Rukh Khan’s daredevilry made things easier

Mohanan shared that SRK made things easier and he was amazed by his commitment towards shooting action scenes. “He will do anything you tell him,” he recalled. “He used to get very excited for action, even at times when I used to get scared. I was sitting behind him in the car with the hand-held camera during a chase scene. He was driving the car and hitting the water barrel that was coming on the windscreen and then hitting a road roller. Everything is done by him. There was no duplicate.”

One particular scene involving fire astonished Mohanan about the kind of risks Khan was ready to take. “There is also a scene where the car is going through a fireball. That car is driven by Shah Rukh Khan. It wasn’t a stunt double. There was a camera mounted in front of the car, so you can see the actor. He did it twice. He is the greatest star I have worked with. He is a such a great, gentle and warm human being. He is a very hardworking actor and very supportive to everybody. He is a dream to work with. More than a star, I am a huge fan of Shah Rukh Khan as a person,” he said.

Don started a good professional bond between Mohanan and SRK, which continued in various projects in the years to come. “Shah Rukh is very fond of me maybe because of the quality of work I come with. He really appreciated the way I worked in Don. That’s the reason I did Raees (2017) and Jab Harry Met Sejal (2017). After that, I did innumerable TV commercials with him,” he recalled.

The end twist played a major role in Don’s box office success

Interestingly, KU Mohanan is a big fan of the original Don. It released when he was a school student in Kerala. He was glad to know that Farhan Akhtar’s remake threw in a major twist in the end. “It was so exciting for me to re-do that film as a cinematographer,” he said. “When I read the script and saw the twist, I felt it was very interesting. Otherwise, what is the point of making it exactly like before? That’s a great twist that Farhan brought in. Maybe that’s one of the reasons why the film worked at the box office. We had a very strong team along with the great vision of Farhan Akhtar. He is very supportive as a director and a great producer, along with Ritesh Sidhwani.”

Don’s international look was an effort to break the existing pattern in Bollywood back then

Don had an international look to it. Mohanan said that this is what they always aimed for. “We were trying to break the regular pattern of Bollywood cinema existing at that time,” he said. “Anyways, I am exposed to international cinema. Actually more than Hollywood, I am exposed to other kind of cinema – the cinema from Europe, Japan, etc. So, I have a different kind of way of looking at things. Maybe that worked in the film actually. That’s why it looks different.”

Mohanan made it clear that despite taking inspiration from international cinema, his aim was never to copy anything from foreign films. “You can get inspired by someone else’s work. You can get influenced by people who worked before us. It’s like carrying a baton forward. I tried to make it look very unique and our own. To an extent, I think, I succeeded in doing Don. It wasn’t a copy of Hollywood. But it also wasn’t like the regular Hindi cinema of that period,” he said.

The green colour palette

One can easily notice the green colour palette to the film right from the onset. Sharing the thought behind this, Mohanan said, “When we did the camera and look test, Farhan, myself, the production designer Aradhana Seth and the costume designer Aki Narula discussed decided that we will go with one particular colour palette. It’s a collaborative work, actually. We also decided that we will cut off certain type of a colour. For example, there are no warm colours in the film; it’s a very cold film. You have shades of blue, green and black. We thought this looks like a good colour palette for the film. Otherwise, Hindi cinema was not doing any colour palette at that time. There wasn’t a properly paletted film. It was all haywire. There is only one song (‘Yeh Mera Dil Pyaar Ka Deewana’) where there is a lot of warmth, like red, orange, etc.”

Don started a healthy working relationship between KU Mohanan and Excel Entertainment

Don was a pleasurable experience for KU Mohanan. It became a start to a long collaboration with Excel Entertainment, with movies like, Talaash: The Answer Lies Within (2012), Fukrey (2013) and Raees. He laughingly said, “Most of my filmography is produced by Excel Entertainment. They are very good producers. They are very straightforward and very quality conscious. That’s the reason I did most of my films with them. Ritesh Sidhwani is a very great producer.”

Surprisingly, Mohanan wasn’t a part of Don’s sequel Don 2: The Chase Continues (2011). When pointed this out, he said, “I was busy with some other work actually.”

Also Read: EXCLUSIVE: Shah Rukh Khan’s birthday to witness a KING-sized BLAST; Siddharth Anand gears up to launch EXPLOSIVE teaser on November 2

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EXCLUSIVE: Ayushmann Khurrana-Sara Ali Khan starrer Udta Teer DENIED release permission in Nepal

In recent times, several Hindi films, including Dhurandhar, Border 2, Fighter, Sky Force, Article 370, Tiger 3, etc, have reportedly been denied a release in certain Middle Eastern markets. However, the upcoming Ayushmann Khurrana-Sara Ali Khan starrer Udta Teer has now faced a roadblock closer to home, in the neighbouring country of Nepal.

Bollywood Hungama has learned that Udta Teer has not been granted permission for public screening in Nepal. Bollywood Hungama is in possession of a copy of the official order, which was communicated to the makers by Bishal Bhandari, Section Officer, Ministry of Communication and Information Technology, Government of Nepal.

The letter further stated that permission was denied as the film falls under the subject matter prohibited by Section 5(3) of the Film (Production, Exhibition and Distribution) Act, 2026 B.S.

The letter was issued on Ashwin 30, 2083, as per Nepal's Bikram Sambat calendar, which corresponds to Friday, October 16, 2026, in the Gregorian calendar.

Udta Teer stars Ayushmann Khurrana, Sara Ali Khan, the late Mukul Dev and several others. Written and directed by Akash A Kaushik, the film is produced by Karan Johar, Adar Poonawalla and Apoorva Mehta's Dharma Productions, along with Guneet Monga Kapoor and Achin Jain's Sikhya Entertainment.

The film tells the story of a Pakistani spy who infiltrates India but ends up losing his memory. In an unexpected turn of events, he begins believing that he is a hardcore Indian patriot, leading to chaos and madness.

Also Read: Ayushmann Khurrana promises unexpected twists and laughter in Udta Teer; says, “Just when you think you know where it’s going, it takes another turn”

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Tiger Shroff Shooting Incident: Eknath Shinde visits actor’s residence after gunfire in Juhu; Police launch manhunt

Mumbai witnessed a shooting incident in suburban Juhu on Sunday evening, October 18, after unidentified assailants allegedly opened fire at Tiger Shroff’s car. Following the incident, Maharashtra Deputy Chief Minister Eknath Shinde visited the actor’s residence late at night to check on his well-being and review the situation. The visit came as the Mumbai Police and Crime Branch began investigating the attack and searching for those responsible.

Visuals shared by news agency ANI and circulated on social media showed Eknath Shinde meeting Shroff at his residence. In the footage, the actor appeared with dressings right below the neck, on his arm, and a crepe bandage too around his arm. Shinde has not yet addressed the media about the incident. According to the information available, the state government has indicated that the matter is being treated seriously, while the police continue efforts to identify and apprehend the assailants.

#WATCH | Mumbai | Visuals from inside the residence of Tiger Shroff as Maharashtra Dy CM Eknath Shinde arrived to visit him following an incident of firing at his car, injuring his driver The actor is safe and has not sustained any gunshot injuries, as per Mumbai Police

(Visuals source: Shivsena PR)

— ANI (@ANI) October 18, 2026

According to preliminary reports, the incident took place at around 7 pm on Sunday near Pushpa Park in Juhu, when Shroff was returning from a football session. The assailants reportedly arrived on a motorcycle and fired multiple rounds at the actor’s BMW. Shroff is said to have escaped without sustaining any bullet injuries, although the vehicle was hit during the firing.

The Mumbai Police and the Crime Branch subsequently cordoned off the area where the firing took place. Investigators reportedly recovered empty bullet shells from the scene, while forensic teams were mobilised to examine the evidence. The investigation is also focusing on CCTV footage from the surrounding area to establish the sequence of events and identify those involved. Reports indicate that the police are examining available evidence and pursuing leads as the search continues across the city.

Shortly after the incident, a message circulating on social media allegedly claimed responsibility in the name of the Lawrence Bishnoi syndicate. However, the claim remains unverified. Senior police officials have reportedly indicated that all angles are being examined as part of the ongoing investigation, and no conclusion has been established regarding the identity or motive of the assailants.

The incident has prompted heightened attention to the investigation, with authorities working to establish the circumstances surrounding the firing and trace those involved. Further details are expected as the police continue their probe into the shooting near Pushpa Park in Juhu.

Also Read: Tiger Shroff safe after firing incident reported under Juhu Police Station

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Amit Trivedi reveals Dev D was initially put on HOLD: “Ronnie Screwvala was not keen on making it”; recalls how he TREMBLED before presenting songs to Anurag Kashyap: "I feared this would be the first and last film of my career!"

Amit Trivedi had a conversation with Komal Nahta in which he revealed that he had no plans of composing songs for films. However, he made independent music with singer Shilpa Rao; the latter made Anurag Kashyap heard those songs and that’s how Anurag got interested to meet Amit Trivedi. This was a time when the acclaimed filmmaker was working on Dev D (2009), starring Abhay Deol.

Amit Trivedi said, “Anurag sir told me that he was doing a modern-day Devdas and that it had a requirement of some 12-15 songs. He shared some ideas and references. All this was very new for me. I went home and started working immediately. I took 6 months to compose 6 songs as my advertising work was also going on. 6 months later, Shilpa asked me for an update. I told her, ‘Are you sure you want to do this? Sir must have forgotten our meeting’. But she insisted that we had to meet him again.”

He continued, “Earlier, we met in Anurag sir’s office. This time, the meeting took place in my studio. Anurag sir came along with Vikas Bahl. Trust me, main kaanp raha tha. I was 26-27 years old. I had not seen Devdas. So, I saw both Dilip Kumar’s Devdas (1955) as well as Shah Rukh Khan’s Devdas (2002). That gave me an idea about the plot. Then, I composed as per what I understood. I feared ki main gaali khaunga and that this would be the first and last song of my career! However, they were so impressed and they liked all the songs.”

Amit added, “The next day, they called me for narration. I didn’t know what that meant (laughs). I heard the story after which I composed two more songs – ‘Saali Khushi’ and ‘Pardesi’. After listening to the tracks, Anurag sir tweaked a bit of the script and reimagined the film. I was like, ‘Wow. Aisa bhi hota hain’!”

He also stated, “Then, something happened. I don’t know exactly, but producer Ronnie Screwvala sir was not keen on making Dev D. So, the film went on hold. Anurag sir met me and said, ‘You have worked enough on Dev D. Tu abhi ruk jaa. Thoda hold pe hain. Meanwhile, I am producing a film called Aamir (2008). Raj Kumar Gupta is directing it. You work on this film while I figure out a way forward for Dev D’.”

Aamir, starring Rajeev Khandelwal, released first and hence marked Amit Trivedi’s debut as a film composer, even though Dev D was the first film he had worked on. Dev D eventually released eight months later.

Also Read: Abhay Deol recalls “creative flow” with Anurag Kashyap in BTS anecdote as Dev D set to re-release on April 24, 2026

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SS Rajamouli cheers for Ramayana Part 1, praises Nitesh Tiwari and Namit Malhotra ahead of November 5 release: "Looking forward"

Filmmaker SS Rajamouli has extended his wishes to the team of Ramayana Part 1 ahead of the film's worldwide theatrical release on November 5. The filmmaker praised director Nitesh Tiwari and producer Namit Malhotra for bringing the epic to the screen on a large scale.

Rajamouli shared his thoughts on X, describing Ramayana as a story that Indian storytellers have long aspired to bring to the screen. He wrote, "It's a joy to see @niteshtiwari22 and @malhotra_namit bring it to the screen on such a grand scale. Each actor brings these timeless characters to life with depth."

Directed by Nitesh Tiwari and co-written by Shridhar Raghavan, Ramayana Part 1 stars Ranbir Kapoor as Prince Rama, Sai Pallavi as Sita and Yash as Ravana. The film also features Sunny Deol, Ravie Dubey, Anupam Kher, Kajal Aggarwal, Rakul Preet Singh, Vivek Oberoi, Kunal Kapoor, Adinath Kothare, Arun Govil, Indira Krishnan and Lara Dutta in key roles.

#Ramayana is a story every Indian storyteller grows up aspiring to tell. It's a joy to see @niteshtiwari22 and @malhotra_namit bring it to the screen on such a grand scale. Each actor brings these timeless characters to life with depth. Looking forward to 5th November. Best wishes to the entire team. https://t.co/zRAQ54SfJm

— rajamouli ss (@ssrajamouli) October 17, 2026

Ramayana Part 1 brings together a large ensemble The film's cast includes actors from different parts of Indian cinema, with Yash making his Hindi film debut as Ravana. The project brings together several performers for a new cinematic adaptation of the epic.

The music for the film has been composed by Oscar-winning composers Hans Zimmer and AR Rahman. The makers are also planning a worldwide theatrical release, including IMAX screenings.

Ramayana Part 1, also referred to as Ramayana: Rise of a Legend, is scheduled to release in cinemas worldwide on November 5.

Also Read: Yash calls himself “Radhikapati” at Ramayana international trailer launch in Bengaluru, credits wife Radhika Pandit for her support

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EXCLUSIVE: Addinath M Kothare reveals 2 out of 5 ACs on Nayyi Navelli sets were reserved ONLY for him: “My sweat was dripping through the prosthetics; andar se mera body melt ho raha tha!”

For many viewers, Addinath M Kothare has emerged as one of the biggest surprises in Nayyi Navelli. An unexpected twist in the story has made his character and performance stand out. In an exclusive interview with Bollywood Hungama, Addinath M Kothare spoke about the response to his role, the challenges of working on the film, his experience with Yami Gautam Dhar and a lot more.

How has the response to your character in Nayyi Navelli been? It's been amazing so far. I am quite overwhelmed with the response that I am getting for my character. It's a festive family entertainer, which has been aptly released during the festive season. Hence, it's lovely to be in this space right now.

The film has a Dussehra connection. Is that why the makers decided to release it during this festive period? Absolutely. This is also why they fast-tracked the entire shoot. It was a very difficult film to make due to the VFX, fantasy elements, ensemble cast, songs, etc. Yet, it was a very well-planned and efficiently executed project. We started shooting in April, and here we are. So, it's amazing!

It's a passionately made film. The kind of detailing that has gone into it and the efforts taken by the team deserve special mention. Ravi Srivastava, who has worked on films like Slumdog Millionaire (2008) and Lion (2016), handled the production design of our film. Rishi Punjabi's cinematography is phenomenal. The whole team worked really hard. As for Aanand L Rai sir and Himanshu Sharma, they are master storytellers, as we all know (smiles).

Horror-comedy has become quite popular now, but you and your family have been pioneers in this genre. Your father, Mahesh Kothare, made the cult film Zapatlela (1993), followed by Pachhadlela (2004), on which you worked as an assistant director. You also acted in Zapatlela 2 (2013). What are your thoughts on returning to this genre?

(Laughs) Quite honestly, you can't plan or even predict these things. I feel blessed that I got a film in this genre. I am also fortunate that two of my films are releasing quite close to each other. While Nayyi Navelli is a fantasy centred around mythology, Ramayana is a historical.

How was your experience of working with Yami Gautam Dhar? It was amazing. Despite being such a big star, she is very grounded and easy to talk to. She was also extremely helpful.

When you begin working on a film, you are still searching for your character, his body language, etc. Moreover, the film is set in Meerut, and I had to work a lot on the dialect, as I was the only non-North Indian actor on the set! Thankfully, I was somewhat familiar with the accent because of the films we watch. So, it wasn't completely alien to me. Also, in Mumbai, you get to hear the UP accent quite often.

Nevertheless, I had to work a lot on the dialect and other aspects of the character. On my first or second day of the shoot, Yami, Balaji Mohan sir and I were having a conversation. Yami cracked a joke, and I laughed. As I laughed, she stared at me for a moment and said, "Adi, this is Raja!" At that point, I was still trying to find the character. I knew I was close, but her observation helped push me in the right direction.

You had to wear extensive prosthetics, and a lot of VFX was also used for your scenes. How challenging was the experience? That was the biggest challenge of the film. I was covered in prosthetics from head to toe. There were prosthetic patches on my face, including my forehead and the veins on my face and neck. From my neck to my toes, I was wearing a complete silicone prosthetic bodysuit. There were days when I had to wear it for 12 hours!

It used to take me four hours to get ready and another one-and-a-half hour to remove the prosthetics. Moreover, we were shooting in May! But the production and direction teams took great care of me. On the sets, we had these anaconda ACs. They consisted of an AC unit with huge tubes that would crawl all over the set, just like anaconda snakes. There were five such ACs in total. Whenever I wore the suit, two of those five anacondas were reserved exclusively for me (laughs)!

I remember that on the first and second days, I became so itchy that I simply couldn't bear it. Thankfully, the direction team asked me to take a break. I got out of the suit, and we began figuring out how to get rid of the itchiness and make it possible for me to wear the suit for longer durations. Slowly, through trial and error, we found a solution. Before putting on the suit, I would cover myself with Abzorb Dusting Powder. There would be a thick layer of powder, almost 2 cm, all over my body! On top of that, I would wear a sweatsuit, like the ones swimmers wear, and then the prosthetics. That made things easier, though it took us two days to figure it out.

Yet, there were challenges. One day, I was wearing the prosthetics and rehearsing with Yami. Suddenly, I noticed that the floor had become wet. I wondered, ‘Yeh paani kahan se aa raha hai?’ Then I realized that my sweat was dripping through the silicone prosthetics! Andar se mera body melt ho raha tha!

How many days did you have to shoot wearing the prosthetics? We shot for around 50 days, out of which I wore the prosthetics for 20 days. I had to perform and get the emotions right while wearing that suit. Hence, it was a physically and mentally challenging process. But the production team was well-equipped to ensure that the actors were comfortable despite these challenges. That's the only reason I could pull it off.

Also Read: Jacqueline Fernandez has a hilarious cameo in Yami Gautam Dhar’s Nayyi Navelli

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