Finding success in Bollywood is not easy. People are free to assume that star-kids have it easy because of their super influential parents, but not every star-kid gets his first film offered on a platter. Some star-children work hard to make it happen, just like any other regular outsider.
Vardhan Puri, the grandson of renowned Hindi film actor Amrish Puri, had to go through the same grind. After facing a lot of struggle, the young actor is finally set to enter showbiz with the upcoming suspense thriller Yeh Saali Aashiqui. In a candid conversation with Eastern Eye, Vardhan Puri opens up about his fascination for acting, how his late grandfather shaped the actor in him in his formative years, and much more.
Who inspired you to take a plunge into show business and when did you think of becoming an actor?
My grandfather, Amrish Puri, has always been my inspiration, and the other one is Charlie Chaplin. I have been watching his movies since childhood and he inspires me a lot. From the age of five, my grandfather put me into theatre. I have been the student of Pandit Satyadev Dubey. I was his assistant writer, and I used to observe his plays. I used to work with senior actors, used to assist them. Right from serving tea and coffee to people to handling the backstage, I have done all kinds of work. I was the lighting in-charge too.
When did you start acting in plays?
The first role that I received in theatre was at the age of eight. So, from the age of 5 to 8 years, I just helped Mr Dubey and his team. I used to do small roles like that of a bhel-puriwala, sweeper, etc. Then I played a saint. At times I used to be Gandhiji’s soul. I used to play minor roles. I have done many plays of Munshi Premchand. I had never been the lead actor. I was just a character.
At the age of 14, I did my first lead role as a theatre actor, which was my dream. My childhood dream was not to become a film actor but to become an actor. Be it film, TV or stage, I only wanted to become an actor because my grandfather had told me that nobody can make you an actor. You are already an actor if you enact by looking into the mirror in a room. People can only give you work. Like when a writer writes something on a paper, he already has become a writer but then work is necessary and now you should work hard to get work. Since childhood, I always had fascination towards cinema. I remember I used to wear my grandfather’s wig and his costume and used to try saying all his dialogues. So, my family had understood that this child is a born entertainer, but then my grandfather said, “Though he is an entertainer, I don’t want him to be a filmy actor. If he feels he is entitled and that he is special than the other kids, then he will lose his mind and he won’t be able to do anything in his life. Put him in theatre under the scrutiny of Satyadev Dubey because he will make sure that he breaks his ego, train him properly and make him an actor”.
You have also been an assistant director on some of Yash Raj Films’ movies, right?
I did stage shows till the age of 21 and, at one point, wanted to work with Yash Raj Films as an assistant director. I became one for Habeeb Faisal Sahab, did three films and after that started auditioning for films. I did two films with Habeeb Faisal Sahab and did one film with Manish Sharmaji. I did Ishaqzaade (2012), Shuddh Desi Romance (2013) and Daawat-e-Ishq (2014) in between 2011 to 2015 and after that started auditioning. Whenever I used to meet the casting directors, they would say, “You are a good actor but you are a theatre actor and you do not understand camera”. They said that either I should only do theatre or get trained for films. I said I wanted to act for films too. They said that I should train myself. So, I took training from four people and after that I again came for auditions and it was at that time one of the casting directors said that now you have learnt film acting.
My grandfather also faced the same problem. When he started acting with Girish Karnad and Shyam Benegal, he was told that you have to remember the nuances. When you are acting for camera, you cannot project yourself like that of a theatre actor. You have to act differently for close up shots and differently for wide shots and mid-shots. So, I learnt these techniques and then went on giving auditions. I gave almost 1200 auditions. I pestered all well-known casting directors like Mukesh Chhabra, and many other for work. So, this was all about my journey.
How did you manage to bag your first role as the lead actor in theatre?
A person gets to play a lead role in theatre after working for years, but I got a very good opportunity because a senior most actor’s family shifted to Jaipur, so he had to go and I was the second choice. And somehow, I got to play Thuglak at the age of fourteen and that too in a play popular across the world. It is a very celebrated play, so that was my first play as a lead, directed by K Kasi, a student of Dubeyji.
How did you think of making a film and introducing yourself?
I am not introducing myself. It was my grandfather’s dream to produce a film in 2001. But that film did not happen due to various reasons, one of them being that the writing lacked something. My grandfather passed away in 2005. My family and I wanted to make his dream come true and produce something. So, my father started meeting various people. He started meeting writers but was not getting any exciting script.
Since I am a trained writer, I keep on writing. There is not a day in my life where I do not write. Whether it is good or bad, I write on a daily basis. Even though it is for five minutes, I write it and make sure that I don’t lose practice.
I was writing with my director Cherag. I told him that since he was in search of a story, we might pitch in together. I then narrated a page and he liked it. He then asked me for a detailed 4 pages. He liked them all. He then asked me to do a proper screenplay as it was the difficult of all. And then I told him that I would keep the screenplay ready in 3 months but as I started writing, I could only write 3 pages and it took me 14 months for the whole screenplay. I took it to my dad and presented it. I told him that production is such a complex thing that if something goes wrong, our name will be tarnished. He said that he really liked it and that is when we took it to the PEN studio and spoke to Dr Jayantilal Gada. He called for a meeting immediately as he found the screenplay very exciting, and that is how the film was locked. So, my father never thought of launching me as I was certain of doing films in my life.
Earlier, you were about to debut with some other film, right?
I had done a film, a romantic drama where I was replaced after 6 months. Now when I think of it, I feel happy that the film didn’t happen. Then I was about to do a film called Sultana with Mahesh Bhatt. It was based on dacoits and was an amazing film. It was an 80-crore film and I was very happy. It was about to be release after Padmaavat (2018) but then looking at the Padmaavat controversy, the studio backed out. I went into depression. Then my parents told me that my grandfather Amrish Puri had dreamt of cinema in his 20s and that got fulfilled at the age of 40. I got super motivated and the next morning I got up and went to people and said that no problem that it didn’t work out, we will start working on the next. I was getting offers even then but nothing was clicking and that was the time I thought of writing the film.
Did you write the film imagining yourself as the lead?
No, I didn’t. I can never write a story keeping an actor in mind. I then become indulgent. If I keep someone in mind, a lot of limitations come to the fore. So, the script becomes corrupt. I never thought about it. It was my director who said, ‘Bro, you are correct for this’. I said that I had never done film acting but I loved this script very much and hence we must not take the risk. He said that he was sure and everyone also thought that I was perfect for it. I said, ‘I might be sounding stupid but please take my audition’. So, the auditions went on for a week and after the auditions we done, we viewed them in a studio in Bandra. And after everyone saw it, they thought that I was perfect. And then I felt that yes, I have to do it.
At a time when the world feels chaotic and heavy, Disney Pixar’s Elio arrives with a message that couldn’t be more relevant: kids matter, and they’re stronger than they realise.
The animated film, which had its star-studded premiere in Los Angeles this week, follows an 11-year-old boy who accidentally becomes Earth’s ambassador in outer space. Directed by Madeline Sharafian and Domee Shi, Elio is Pixar’s first feature with a Mexican-Dominican lead, voiced by Yonas Kibreab. His character’s journey from an outsider on Earth to a confident connector among aliens mirrors what many young people feel today: lost, overlooked, and searching for belonging.
Elio’s release comes as immigration protests sweep through Los Angeles and the Latino community finds itself under pressure. For co-director Sharafian, the film taps into a very current feeling of hopelessness.
“At the start, Elio sees the world in a bleak way, and a lot of us feel that,” she said on the red carpet. “But through space and friendship, he sees Earth a bit differently by the end. That shift, that spark of hope, is what we want to pass on.”
Zoe Saldaña, who plays Elio’s aunt, added that the film encourages children to express vulnerability and parents to respond with understanding rather than control. “A child knows who they are. Our job as adults is to love them unconditionally as they figure it out,” she said.
Yonas Kibreab and Jameela Jamil attend the World Premiere of Disney and Pixar's "Elio" Getty Images
Jameela Jamil: ‘The world feels broken, but kids can fix it’
British actress and activist Jameela Jamil, who voices Ambassador Questa in the film, didn’t hold back when describing the film’s importance.
“We need hope, because the world is a dumpster fire right now,” she said. “Young people are constantly told they have no power. But this film reminds them that they do.”
Jameela Jamil attends the Los Angeles premiere of Disney Pixar’s ElioGetty Images
She added that Elio speaks to kids directly, urging them not to wait for fame or influence to make a difference. “You don’t need to be a politician or a celebrity to change things. Just care, and act.”
Elio opens in UK and Indian cinemas on 20 June, in English, Hindi, Tamil, and Telugu.
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The new trio cast as Harry, Hermione and Ron step into a world where childhood and fame rarely mix well
As HBO prepares to bring Harry Potter back to screens with a new television adaptation, excitement is high around the casting of Dominic McLaughlin, Arabella Stanton, and Alastair Stout as the iconic trio of Harry, Hermione, and Ron. But amid the buzz, a quiet voice of caution has emerged. Chris Watson, father of original Hermione actress Emma Watson, is urging parents and the industry to tread carefully when it comes to child stardom.
Chris Watson is not speaking as a critic or industry insider but as someone who watched his daughter grow up inside a global franchise. Emma was nine when she landed the role of Hermione Granger, and what followed was a decade of public attention that reshaped her life. Her father remembers the shift vividly. “Her homework would go back to school on motorbikes,” he once said, pointing to the surreal logistics fame forced on them.
Emma, who has since spoken openly about the emotional toll of growing up famous, has described feeling “terrified” and “inadequate,” and even envying her peers for being able to do ordinary things, like knowing their favourite colour or forming friendships without public scrutiny. It’s this experience that Chris is drawing from when he warns: “As a parent, you have to be scared.”
Fame at a young age comes with a price
The context this time is different. The casting process for the HBO reboot reportedly involved sifting through 30,000 applicants. The new trio are young and relatively unknown, just like their predecessors were in 2001. But the digital world they’re entering now is far more invasive. Every post, photo, or comment is dissected in real time, exposing young actors to criticism, trolling, and unwanted attention, far beyond the limited press tours of 2001.
Chris Watson, Emma’s father, and other insiders warn of the emotional toll facing today’s young starsGetty Images
Emma’s journey: Blueprint and cautionary tale
Emma Watson was nine when she won the part of Hermione. Almost overnight, their whole family life bent around filming schedules. Chris Watson deliberately downplayed Hollywood’s glamour at home. He “doesn’t actually watch films” to prevent Emma from believing the character defined her. He insisted Warner Bros. respect her schoolwork and spare time. Yet the pressure still mounted.
Emma later admitted she struggled with guilt in therapy and suffered “vertigo” from constant public attention. At 18, invasive paparazzi shots were published within hours of her birthday, while her co-stars faced parallel battles. Daniel Radcliffe used alcohol to cope, arriving on set "still drunk" and "dead behind the eyes," while Rupert Grint felt reduced: "I felt like I only knew how to do one thing: play Ron."
From online hate to AI threats, the rebooted Wizarding World may be more dangerous than magicalGetty Images
2025’s more perilous journey
The AI Boggart- Generative AI and deepfakes now make non-consensual, manipulated images or videos a real threat. These digital illusions can damage reputations and cause emotional harm in ways the original cast never encountered.
The Rowling Snare- With J.K. Rowling as executive producer, her polarising views on transgender rights hover over the series. Despite assurances they won’t influence the storyline, the new actors will be drawn into cultural debates and pressured to take sides.
Although he never offered a bullet-point plan, his comments cut straight to the heart of what matters:
"As a parent, you have to be scared" “While there are many upsides, nothing is perfect and you have to recognise there are going to be downsides you could not have imagined.” His frank admission underlines the need to stay vigilant and prepared for unexpected challenges.
Keep home life sacred “It certainly helped that I don’t actually watch films... the studio and everybody else knew that this was not Emma’s whole life, and that she had homework to do, she played a little bit of cricket as well.” Here, Watson shows how he maintained normal routines including school, family time and sports to prevent Emma’s identity from merging with Hermione Granger.
Reach out and share hard-won experience “If they want to talk to someone who’s been through this… I would be more than happy.” By offering mentorship to the new parents, Chris emphasises that open communication and shared support are vital tools in safeguarding young actors.
Unlike the early 2000s, today’s child stars face nonstop scrutiny, digital dangers and cultural controversyGetty Images
Alumni perspectives: Lessons from child stars past
Several former young actors have shared insights that accentuate Chris Watson’s warnings. Evanna Lynch (Luna Lovegood) recalls feeling “adored and trapped” when the cameras stopped but expectations didn’t. Jake Lloyd (young Anakin Skywalker) describes how relentless attention led to severe anxiety. Their stories make it clear that the hardest effects often come once filming wraps up.
Behind the excitement of the reboot lies a harsh reality many child stars never escapeGetty Images
The ethical dilemma: Joy versus risk
Prospect Magazine asks whether it is ethical to place children in an environment rife with digital threats and guaranteed controversy. Can the magic of Hogwarts justify this gamble? HBO’s Francesca Gardiner and Mark Mylod praise the trio’s “wonderful” talent, and Rowling herself endorses them. But raw talent alone offers no protection.
Hollywood’s history with child stars reads grimly: Judy Garland fed amphetamines, Macaulay Culkin abused, Star Wars' Jake Lloyd broken by bullying. Can this cycle end? Chris Watson offers more than warnings; he’s extending mentorship to the parents.
Hogwarts is calling but fame’s dangers are louder for Harry Potter’s new trioGetty Images
Real magic: Protecting childhood
The return of Harry Potter also raises broader questions about corporate priorities. With J.K. Rowling returning as executive producer, a figure who now carries both creative authority and controversy, the series enters a more complex media landscape. Will the focus stay on the storytelling, or will the new stars be caught in wider debates?
For now, Dominic, Arabella, and Alastair are at the start of a journey that will define their adolescence. Whether that journey is empowering or overwhelming will depend not just on their talent, but on how well they’re protected behind the scenes. Chris Watson’s voice may not be the loudest in the room, but it carries weight, built on lived experience, and a simple truth: children in the spotlight still deserve a childhood.
With a massive music collection spanning several decades, multi-genre DJ and music producer DJ Funky T found it challenging to narrow down just 10 songs he loves. Also known as Tony Hayer, his favourites range from Michael Jackson, Dr Dre and Fleetwood Mac to Bollywood, Punjabi, Hindi, Sufi and more. Some of these diverse influences feature in his own track Tu Meri Rani Si.
Before revealing his choices, he said: “The following golden tracks have stood the test of time. It was a hard call, as many more songs could have made this list. So, in no particular order from my current conscious memory, I present 10 Indian songs I love. Check them out and enjoy.”
Chand Sifarish from Fanaa: This Bollywood track, headlined by Aamir Khan and Kajol, starts with a cheesy rock guitar but quickly transforms into a dynamic blend of beats, choppy tablas, rich harmonies, sitars and an addictive whistling motif.
Neuke Phadin Jawanan by Panjabi MC: A 2003 hit that borrows rhythm styles and melodies from Maxi Priest’s Wanna Be Close To You. It features lyrics by Lal Chand Yamla Jatt, a classic 1990s urban swing beat, as well as a fantastically groovy chorus built around tumbi plucking melodies.
Indian Dance by Kray Twinz ft Elephant Man: A powerhouse club anthem marked by the Kray Twinz’ signature sound. This thrilling blend of hard bashment and traditional gidha boliyan rides a thunderous bassline and features ragga legend Elephant Man.
Addi Mardi by Malkit Singh: This timeless party favourite tells the story of a man smitten with a girl and wanting to dance with her. From the start, it delivers plucky guitars, a cheeky bassline and a fast reggaetón-tinged rhythm. Guaranteed to lift the mood every time.
Akhiyaan by Vee/Jay Kahn: A beautifully produced love song by the exceptional Vee, younger brother of Hunterz. The track blends a spiritual mood with high production value, hypnotic melodies and subtle Sufi elements that uplift and soothe.
Khwaja Mere Khwaja from Jodhaa Akbar: AR Rahman delivered one of my favourite Sufi songs in this Bollywood film. He composed and sang it himself. The touching song about the relationship with a higher power is picturised beautifully, with dancers reaching up to the sky, as if to be holding God’s hand.
Discovery by Shammi Pithia: Taken from his album Cosmic, this track is very spiritual sounding. The healing song performed and produced by Shammi Pithia has world-class flute melodies. This song can both make or break you, dependent on your mood. But either way, it will leave you feeling touched.
Gutt Sapni by Jhinda Music ft Captain: The fabulous sounding track featuring Punjabi singer Captain has great keys composition, dynamic drum beats and a magnificent mixdown finish. Captain has a similar singing energy to Malkit Singh, but with his own contemporary twist. The track has terrific tumbi melodies throughout.
O Mere Dil Ke Chain from Mere Jeevan Saathi: This 1972 RD Burman composed film song sung by Kishore Kumar is an absolute classic. It personally takes me to my childhood days when everyone’s parents, including mine, played it. A huge all-time classic favourite Hindi song written with sweet, innocent love lyrics.
Tere Liye from Veer Zaara: The late legend Lata Mangeshkar along with top singer Roop Kumar Rathod. Enough said. This classic Bollywood track is an absolutely beautiful piece describing the heartache between two people deeply in love.
Qawwali remains popular with cross-cultural audiences, but very few get the chance to experience one of the world’s oldest music genres in its purest form. Whether it is the diluted style seen in Bollywood adaptations or fusion with contemporary sounds, the tradition is often watered down.
Najmuddin Saifuddin & Brothers Qawwali Group stand apart from that commercialised crowd, presenting the Sufi genre in its most authentic style. The five talented brothers – sons of the late qawwali icon Ustad Bahauddin Khan Qawwal – belong to a remarkable lineage that traces directly back to the first group formed by the genre’s founding father in the 13th century.
Currently on a UK tour, the group delivered a stunning stage performance that confirmed their brilliance. Unlike most qawwali ensembles that rely on one or two lead singers, all five brothers took turns leading, gracefully exchanging vocal passages to produce a timeless, mesmerising sound. The power, passion and grace of their high-energy performance shone through as they delivered beloved classics such as QaulQalbana, Rang and Naat Shareef. The concert opened in high gear and gained momentum with each composition, before culminating in a thunderous rendition of Mast Qalandar.
They also performed khayal and tarana-style qawwalis, alongside pieces deeply rooted in mysticism. Accompanied by a superb percussionist, their sound remained untouched by modern influences, yet felt completely relevant and accessible to audiences of all ages and backgrounds. Their tour continues across the UK until mid-July, and they are certain to keep transporting audiences back in time through a forward-looking, spiritually rich performance – the kind few qawwali acts worldwide can deliver. The only downside? The show had to end. It felt as though the group were just getting started – they could have easily played for several more hours.
They were the nurses, cleaners, activists, and everyday heroes who arrived in Britain with little more than courage and determination. Now in their 80s and 90s, six women who helped rebuild the UK after the Second World War are finally getting their due in Fearless, a powerful new documentary that brings their remarkable stories to the big screen.
Launching on Windrush Day (22 June), the film will tour select cinemas across London through July, with post-screening Q&As featuring the directors and cast. It celebrates the lives of Sheila Daniel, Aileen Edwards, Maggie Kelly, Anne Gaché, Nashattar Kang, and Nages Amirthananthar, women of Caribbean, Irish, and South Asian descent who came to Britain as part of the Windrush generation and beyond.
These women, once young migrants navigating hostility, isolation, and discrimination, found strength through solidarity and built lives that left a lasting impact. From taking part in historic strikes like Grunwick to surviving the aftermath of the Notting Hill riots, their personal journeys are woven into the wider political and social fabric of the country.
Drawing on rare archival footage and emotional interviews, Fearless preserves their legacy. But beyond that, it challenges the invisibility that has long plagued immigrant women in British history books. This is more than nostalgia, it is a necessary act of recognition.
A still from Fearless showing archive footage interwoven with first-person storiesMcasso/ Screengrab
Bold stories told by those who lived them
The documentary comes from husband-and-wife filmmaking duo Damian Paul Daniel, a BAFTA-nominated cinematographer, and Noella Mingo, a director of Guyanese-British heritage passionate about amplifying overlooked voices. Their production company, They’re Watching Us, focuses on stories that defy expectation, and Fearless is no exception.
Screenings are scheduled at The Rio in Dalston (22 June), Bertha Dochouse (29 June), Genesis in Whitechapel (1 July), and The Lexi in Kensal Rise (16 July). Each screening includes a post-film conversation with the team.
At its heart, Fearless is a tribute to courage, resilience, and the quiet force of women who shaped a nation, even when history tried to forget them.