Boney Kapoor has had a successful ride as a Hindi film producer in a career spanning over four decades with smashing hits like Hum Paanch, Woh 7 Din, Mr. India, Loafer, Judaai, Pukar, No Entry, and Wanted among others.
Kapoor, known as one of the biggest crossover producers who had earlier tasted success working with South directors, is now foraying big time in the South film industry in all languages. His Telugu courtroom drama Vakeel Saab with Pawan Kalyan, and Nerkonda Paarvai in Tamil [both remakes of Bollywood film Pink] with Ajith Kumar were big hits. He is now basking in the success of action thriller Valimai, which marks his second collaboration with the Tamil superstar.
This is also a crucial time for Kapoor as he wrapped up five films in the thick of the pandemic — Valimai', Ajay Devgn-starrer sports film Maidaan, Udhayanidhi Stalin-starrer Nenjuku Needhi [Tamil remake of Article 15], Veetla Visheshanga (Tamil adaptation of Badhaai Ho], and Mili, remake of Malayalam film Helen, and his first with his daughter Janhvi Kapoor.
Not just that, Kapoor, who was seen in a small cameo in Netflix India's AK vs AK, is all set for acting debut in Luv Ranjan’s upcoming family romantic comedy, fronted by Ranbir Kapoor and Shraddha Kapoor. He plays the role of Ranbir’s father in this yet to be titled film, which is gearing up for a March 2023 release. The veteran producer opens up on the various facets of the film industry in a chat with Firstpost. Edited Excerpts below:
The response for Valimai so far has been outstanding. Can you tell us about your association with Ajith Kumar?
It started with Nerkonda Parvaai. No, actually it started with English Vinglish, in which Ajith had a cameo. Me and my wife [Sridevi] were very impressed by Pink, and we decided to do the film in the South. He readily agreed to do it. When we decided upon Valimai, he was also excited as we were. Unfortunately, by the time the whole thing got in place, Sri left us. Ajith was open to working with us because of his respect for my wife. Also, his wife had worked with Sri in many films in the earlier years. My journey with him continues. We have finished our second film, and now, we are working on the third film, which we will start sometime in March. He is a very dedicated actor, very professional, and very sincere.
Valimai is a huge canvas. There are so many characters, and a lot of action. How difficult was it to shoot the film in the times of a pandemic?
It has elaborate action, thrills, chases, for which we needed a sufficient number of dates. We patiently waited for the COVID wave to end. We had stuntmen from overseas, and we were looking at shooting in Spain, France but we finally shot in Russia. The shooting period has stretched over two years. The film was completed in November last year, and we wanted to announce the release on Pongal but again, restrictions happened due to Omicron, and we had to hold back. Vinoth [director H Vinoth] and Ajith were holding the fort on the creative side in this traumatic phase. It was a big challenge for the entire crew. We defied all odds, and continued shooting whenever it was allowed. Two actors backed out of the film after shooting for a few days. There was a change of casting but the spirit was positive. We have shot most of the film in Chennai and Hyderabad. Valimai will be Ajith’s first pan-India theatrical release. We are trying to reach out to the Hindi audience but it all depends upon the merit of the film.
How did the team go about shooting the bike stunt sequences, which many say are be a highlight?
We waited for over a year to shoot this six-day-long sequence. Ajith was most excited about it, and we did not want to compromise on its quality. We roped in one of the best stunt teams from Russia, and shot the sequence in a place 300 miles from Moscow.
It is a wholesome entertainer. The subject has family emotions, friendship, a lot of action, good versus evil, a hero working towards cleansing the evil in society. These are all the elements that make commercial films very interesting. I have solid partners in Zee Studios, and they back me with all my vision. In a short span of time, we have done almost seven films together, and the eighth one will go on floors too.
How do you look back at your journey? What does it take to be in demand and stay relevant for so many years?
You need to be focussed. You should know what kind of subject has the potential to connect with the audience, which is not easy all the time. We made Roop Ki Rani Choron Ka Raja keeping in mind the pan-India audience but it didn’t work. There is never a fixed formula. There are films like Loafer, Sirf Tum, Judaai, Wanted that worked. Attempts should be to satisfy all age groups in all regions.
But yes, my journey has been challenging. I have seen highs like nobody’s business, and lows as bad as down in the dumps. Somehow, I have managed to overcome the hurdles, and have resurfaced from the hardships. It has been 42 years. I bought the rights for Hum Paanch in 1979, when I was in Chennai. I travelled to Bangalore by bus, standing, to buy the rights, and before that, I assisted my father [Surinder Kapoor] in the production of Ponga Pandit and Phool Khile Hain Gulshan Gulshan.
But immediately after college, I started out by assisting one of our top editors, Kamlakar Karkhanis, who used to edit Manmohan Desai’s films. For six months, I assisted Kamlakar on about six films. After that, I was assistant director with Shakti Samanta on films like Anurodh, Mehbooba, The Great Gambler. In fact, in The Great Gambler, I even stood up as Amitabh Bachchan’s duplicate because he had a double role in the film. Whenever you see two of Amitabh's backs, one facing the camera and one back to the camera, that is me standing there [laughs].
That brings us to your acting debut as Ranbir Kapoor’s father in Luv Ranjan’s next. What do you have to say about that?
My children pushed me into acting. In fact, Luv Ranjan came up to me, and said he has written the role of Ranbir Kapoor's father, inspired by my personality, and he wanted me to do it. I refused, saying I am not an actor. Then he went to my son, and all my children and brother Sanjay [Kapoor] got together. They told me I must do it. That is how I took the plunge, and I enjoyed the journey. I shot the film for 40 days, and had perhaps 40 lines or 40 words to speak. The film is basically a North Indian world on the lines of Hum Aapke Hain..Koun!. Ranbir is too good. I really enjoyed working with him. Ranbir, Dimple [Kapadia], and Shraddha are the known actors but the rest of the cast is new. Some of them are from Punjabi films, some from television, and I am absolutely raw. I did one bit in AK vs AK. Perhaps that gave some confidence to Luv Ranjan that I can face the camera.
Looking at the box office numbers, why do you think South film industry is attracting more footfalls in the theatres than Bollywood movies? Why are they outperforming big-budget Hindi films?
Most of the big-budget South Indian films are made for the Indian palette, and that is the reason even the dubbed films do well not just here but also up North. These films have a mix of everything that the Indian audience would enjoy. Whether it is a family drama which is easily identifiable or whatever the story is, the hero remains a hero, plus music plays an important part. Then they have action thrown in, they have got comedy.
Today, some of the Mumbai filmmakers serve McDonalds, KFC, pizza where you get only what you order, whereas, the South offers you thali with roti, dal-chawal, sabzi, chicken.
It is a mix of everything. That is what the audience wants, a bit of everything, and everything should gel together. The world that the South Indian makers create is something accepted and liked by most.
Today, we are talking about RRR, Pushpa, Robot because they made a mark in cinema halls but most of the satellite channels run only dubbed films in the afternoon and midnight. Now, the market for dubbed films, even on satellite, has shot up. I saw this coming. When the dubbed version of films of South stars like Allu Arjun, Mahesh Bab was sold for Rs 15 to 20 to Rs 25 crore to satellite channels, I felt this is the way to go. Even Hindi films are not sold for this amount. This means they were making films that were palatable or else why would the channels pay such a humongous amount?
For the first time, when I saw a hand-to-hand fight in a Bond film, Casino Royale, I decided to make Wanted. I thought if Bond can do hand-to-hand action then why can’t Salman [Khan]? He can do better because he had done that earlier in Garv. But in between, in the late '90s and early 2000s, people went more for the look and gloss. Everybody was influenced by some of the successful glossy films like Hum Aapke Hain..Koun!, Dilwale Dulhania Le Jayenge, Kabhi Khushi Kabhie Gham. But they didn’t realise that these films worked mainly because of Indian stories and Indian content.
So what do you think ails the Hindi film industry?
Most of the Hindi filmmakers are making films to compete with Hollywood films, and are aiming for an Oscar. But what goes to Oscars is not what you can plan. Mehboob Khan didn’t plan to make Mother India to send it to Oscars. I don’t think Aamir Khan planned to send Lagaan to Oscars. If you see the earlier successes of producers, directors like Manoj Kumar, Raj Kapoor, they dealt with Indian social problems. They made Indian films that had Indian content. Whether it was Shri 420 or Jaagte Raho or Jis Desh Mein Ganga Behti Hai, Awaara, or Bimal Roy’s films. Why would Baahubali be such a success? Because it is folklore, which is part of Indian culture. There used to be a story book called Chandamama printed in the South. What Archie was to Western world, Chandamama was for the Indian world. Somewhere, people have forgotten all this.
During one particular sequence in Wanted, where Salman is bashing 16 people, I went up to Prabhu Deva and action director Vijayan, and asked them how he is fighting so many people and he has no sweat on his face, he doesn’t get hurt, they tell me that our heroes don’t get hurt, our heroes don’t sweat, and therefore they are heroes. South industry believes in heroes, and also content wise, they have been richer. In Mumbai, we have only two to three producers who are successful but they have not even made a fraction of money what South producers have made. Look at the empire they have created over there. They have got studios all over. Manmohan Desai, Manoj Kumar, Prakash Mehra, Raj Kapoor, Mehboob Khan, Mohan Kumar, Shakti Samanta — they were both producer and director and some even producer-director-actor. These are the people who made tons of money, and made a name for themselves. Then, here we lack a good bunch of writers. They try to churn out the same stuff in different forms.
Tell us about your sports film Maidaan, Ajay Devgn is extremely excited about this one.
This is one film which will make the nation proud. It is a story of unheard heroes. It talks about the golden era of Indian football, which this generation is not aware of. India reached the semi-finals in the football Olympics at Melbourne, and this is not known. Youngsters today enjoy football as much as cricket. There is a shift in choices. I have seen the film, and I also spoke to Ajay. I feel this is his best performance till date. I told him that even if you try, you won’t be able to match your performance. I am not a biased producer. I have always been objective. I have told some of my directors when things have not come together, and it has crashed. I have tried to salvage some of them but at times, no amount of reshooting can save the film. I pursue good films while remaining in commercial parameters. I enjoy realistic films as well. Hum Paanch had a realistic approach but commercial parameters, and so did Woh Saat Din. I have distributed over 40 films, and my first film as a distributor was Sparsh, which had Naseeruddin Shah, Shabana Azmi, and Om Puri. Then I acquired Matrabhoomi, which was one of the 10 best films made in that decade. It is not that I only aim at commercial potboilers. I also go for good subjects and aesthetics.
Can you tell us about your other forthcoming films?
My five films are complete. Valimai is out. Maidaan will be released in June. Mili is complete, and it has shaped very well. Director Mathukutty Xavier is from the Malayalam industry, and this is his second film. We are aiming to release the film at the end of April or mid-May. Jahnvi is picking up good subjects, which have got nothing to do with North or South. With Arjun [Kapoor, son], there are two subjects. One is a Hindi remake of Tamil hit Comali. I’m working with Luv Ranjan on that. Then there is F2, which is the remake of a very successful South film. It will be directed by Anees Bazmee. Besides that, I have completed Article 15 in Tamil and the Badhaai Ho remake. Then, on 9 March, we will start a new film with Ajith, our third collaboration, which will be a Diwali release.
How do you look at OTT?
It is good, it will remain, and it is a good source of revenue. When the theatrical business has slumped, OTT has come as a relief. We will have to travel together. The joy and thrill of watching a film at cinema halls will always be there. That cannot be substituted. Star system has not gone but now, there is hope for producers who have good content to make the film because there is this new platform ready to accept such films without the stars. That is the reason every technician, artist, and all the film industries in the country are busy round the clock. They have never been busier. In spite of COVID and lockdown situation, their dates were choc-o-bloc. We will coexist, and it adds to the revenue.
Lastly, when do you think the No Entry sequel will happen? Salman has confirmed that he will do it. What is the equation with him now?
I love Salman. I respect him a lot. Now, when will the film start? He is the best person to answer. I can only say that the script of No Entry sequel is far better than the original. It is funnier, and I can only hope that it happens. But the question should be addressed to Salman first. I will definitely be too keen and happy to be part of the film again.
Valimai is playing in cinemas.
Seema Sinha is a Mumbai-based mainstream entertainment journalist who has been covering Bollywood and television industry for over two decades. Her forte is candid tell-all interviews, news reporting and newsbreaks, investigative journalism and more. She believes in dismissing what is gossipy, casual, frivolous and fluff.
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