Basking in the London sunshine ahead of the release of Indian 2, Grover spoke about the lack of great Bollywood villains today
By Asjad NazirJul 12, 2024
PLAYING decidedly dark villains across different decades hasn’t dampened Gulshan Grover’s passion for dastardly roles. The legendary actor adds to his considerable body of work by playing an antagonist in this week’s megamovie release Indian 2.
He stars opposite cinema icon Kamal Haasan, who reprises the elderly heroic role he played so brilliantly in 1996 movie Indian.
The big budget blockbuster directed by acclaimed filmmaker Shankar sees Haasan’s character take on a new wave of evildoers working against his country.
Grover enjoyed playing an antagonist opposite Haasan and discussed the new film with Eastern Eye.
Basking in the London sunshine, he also spoke about the lack of great Bollywood villains today, secret of a good performance, importance of believing in what you do and his film producer son.
What did you like about Indian 2?
Firstly, it was a pleasant surprise to get a call that director Shankar wants me to play an antagonist opposite Kamal Haasan. Kamal has always been a dear friend of mine. We had first worked together in Sadma (1983), with Sridevi, where I played the bad guy. After that, we had done a few films, but this was a great chance of working together again. Shankar is a very passionate director, who makes mega movies. The role they offered me is wonderful.
On the sets of Indian 2
What did you like about the role?
It is really well-written and part of a great story. The climax twist, which I cannot reveal, is fantastic. There is also a spectacular song shot in Bolivia on me, and about 200 models. That song’s situation and Kamal’s participation in it is so unique. Indian 2 has a flair and flamboyance that perhaps wasn’t there in the first film. There are subtle touches the director has given to my character, which I love. There is a great conflict between mine and Kamal Haasan’s character.
How does Indian 2 compare to the first film?
This is definitely made on a much bigger scale. Kamal plays the same character, but off course older.
He is ridiculed by those younger, who feel that ‘what will this old man do to me? He can’t protect himself. I’ll give him one slap and he’ll fall down’. But he has a strength and tremendous ability to handle any situation, which is fascinating.
Are there any stories from the set you can share with us?
Kamal Haasan and I were shooting on one of the biggest sets for about 20 days in Chennai, with green screen technology, and multiple monitors. We had such an interesting time, because we have been friends for so long. We had that comfort level to have open discussions about how the scene should be performed. He got the best out of me because of that collaborative effort.
What do you like about Kamal Haasan as an actor?
He is one of the greatest actors India has ever produced. He has the kind of tremendous diversity that no other actor has. He can play an old man or a younger protagonist, in any genre, from an emotional film to a big action entertainer. His versatility is remarkable and that shows in his incredible body of work.
What’s it like playing a villain again in a huge film?
Well, it’s interesting and I’m happy to do that. It’s right in my zone as an actor. I love it. I was particularly happy to work with a visionary director like Shankar. He’s very passionate. He will view what has been shot multiple times and if it’s not technically perfect, he has no qualms about recreating that moment and reshooting the entire scene. If something needs to be added to elevate a scene, he will do that. It was absolutely fantastic watching him work.
What’s the secret to playing a great villain on screen?
I think you have to believe in the wrong that you’re doing. Like, if the hero believes what he’s doing is right and will do anything to achieve his goal, including getting killed, the villain needs to believe what he’s doing is completely right. That belief brings out the best performance, even if it goes completely against what you think in real life.
In the past Bollywood has had iconic actors like Pran, Prem Chopra, Amjad Khan, Amrish Puri and yourself playing great villains. Do you think Bollywood is lacking those memorable villains or specialist actors able to play them?
There are none. It all ended with me. They stopped casting actors who specialise in villain roles and took something away from Hindi cinema. They started casting actors to generate headlines. Once they even cast Karan Johar as a villain and even director Anurag Kashyap. This has become gimmicky, as opposed to the past when you had great actors, who could add weight to the antagonist, to make it more believable.
So, do you feel like you are the last of the great villains?
Grover with Kamal Haasan
Unfortunately, yes. The great villain roles are now not being written. They are more grey characters. Indian cinema needs great villains, and it will come back like everything else, like how certain kinds of old music is back. I feel hopeful there will be a new generation of actors, who will see the value in playing antagonists well and giving those definitive villains that are missing now.
What keeps your passion for cinema alive after hundreds of movies?
Well, the thing is, I’m not an actor by chance or fate. I’m an actor who has passionately worked hard because I love my craft. I love doing what it takes to be an actor. I constantly work on my craft. Having had exposure to global cinema and worked in it, I am still looking for ways to bring new elements into my performances, after so many decades of working in cinema. So, my passion grows with every project, even now, as I look for new challenges.
You have played hundreds of characters, but do you have a dream role?
I still have hundreds of characters I would love to play, not just one. So, there are many dream roles, because for many years, the villains have not been either portrayed well or they have not been there in the movie. There is a lot left to do.
Your son Sanjay Grover is now a respected movie producer. You must be proud that his movie Dear Jassi has won multiple awards?
I’m a proud father. My son’s first film produced by him with a Hollywood director, Tarsem Singh, won a prestigious award at the Toronto International Film Festival. Dear Jassi has won multiple awards in different festivals and international platforms. He is working on different projects and concentrating on global films.
What’s the best advice you have given to your son?
In today’s time, I don’t think youngsters need advice. He knows the importance of being passionate, true to your craft, true to your work and constantly evolving. You know, he sees that in his father. This has come to him by not preaching, but by him observing. You are technically a very good actor. But what do you believe is the secret of a good performance? A good performance isn’t about technology, technique, what has been taught in the acting school, written in the books or what’s on the internet. You just have to feel from within, really believe in the part and give your 100 per cent.
Does it sadden you that Bollywood films have not been doing well in recent years?
Oh, yes, it’s really disturbing that Bollwood films are not doing as well. And I think we’ve got swayed somewhere and took away the essence of entertainment in Hindi cinema. The industry will rise back up again.
But on the flip side, pan-Indian films like Indian 2 made in the south are doing brilliantly. Yes, absolutely.
It is great to see Tamil, Telugu, Kannada and other industries doing well. Indian 2 has been made with a tremendous amount of passion and it is aimed at all audiences. Kamal, aged nearly 70, starred in the biggest Tamil film hit last year. What he does is remarkable. For Indian 2, he would spend half a day getting into that look with all the prosthetics.
So overall, I think Indian cinema as a whole is in a good place. Do you think it will appeal to everyone?
Yes. You see, everyone feels a little disheartened and discontented because of how things are around the world, with certain people exploiting the system and robbing the country. Here is an old traditional man played by Kamal who says, no, don’t do this to the country. This is about trying to right some of those wrongs. So, it’s a universal subject.
How do you now feel before a film is released, after all these years?
I would say less worried. Just excited for the audiences to experience it.
Why should we watch Indian 2?
I think it’s the coming together of two geniuses. Genius actor, Kamal Haasan and genius director, Shankar. These are two reasons.
For decades, Shah Rukh Khan’s ocean-facing mansion, Mannat, stood as the pinnacle of Bollywood royalty. Located in Mumbai’s upscale Bandra area, the house wasn’t just a home—it was a symbol. Fans from around the world still gather outside its gates, hoping for a glimpse of the man often called the “King of Bollywood.”
But the crown for the most expensive celebrity-owned home in India has now passed on.
Kapoor-Bhatt mansion takes the lead
Ranbir Kapoor and Alia Bhatt, one of Bollywood’s most celebrated couples, have completed work on a sprawling new bungalow in Bandra, reportedly worth over ₹250 crore—approximately €27 million. This figure eclipses the estimated value of Mannat, which stands around ₹200 crore or €22 million.
This isn’t just a luxurious residence. It’s a bold statement of the couple’s rising status in the industry. Their new property signals that a new generation of Bollywood royalty has arrived.
Personal touches and prime location
The Kapoor-Bhatt bungalow blends cutting-edge architecture with personal design choices. Both actors were deeply involved in shaping the interiors and layout, working closely with architects to ensure the space reflected their tastes and lifestyle.
Ranbir Kapoor and Alia Bhatt outshine Shah Rukh Khan Getty Images
The home’s location adds further weight to its emotional and symbolic value. It is situated close to Krishna Raj Bungalow, the former home of Ranbir Kapoor’s late father Rishi Kapoor, preserving a connection to the actor’s heritage and childhood memories.
A shift in Bollywood’s property powerhouses
While Mannat remains an iconic destination undergoing renovation, it no longer holds the top spot in Mumbai’s ultra-premium celebrity housing market. Other high-profile residences, like Amitabh Bachchan’s Jalsa in Juhu, are estimated at around ₹125 crore (€13.5 million), making Ranbir and Alia’s mansion the clear front-runner in terms of value.
Mannat remains an iconic destination undergoing renovationGetty Images
This €27 million investment isn’t just about luxury—it marks a turning point in how star power is defined in modern Bollywood. Kapoor and Bhatt, both at the top of their careers, are not only dominating cinema but also influencing lifestyle trends and property benchmarks.
A family home for the future
The couple are reportedly planning to make the mansion their permanent residence, raising their daughter Raha in one of Mumbai’s most exclusive neighbourhoods. The property offers them privacy, security, and all the comforts needed for their growing family.
The design also reflects a desire for permanence—this isn’t a status symbol to flip or rent, but a long-term home meant to reflect their legacy.
A new chapter in Bollywood’s legacy
The purchase of this home is being seen as symbolic of the shifting tides in Bollywood. While Mannat and Shah Rukh Khan continue to command respect and fan devotion, there’s no denying that the torch is being passed.
Ranbir Kapoor and Alia Bhatt’s new home is not just Mumbai’s most expensive celebrity bungalow—it’s also a sign of the generational shift taking place in Indian cinema. The glamour, wealth, and global reach once associated with SRK are now being matched by the power couple of the new era.
This isn’t just a real estate story. It’s a reflection of changing icons, growing ambitions, and the evolution of stardom in Bollywood.
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Wilson built bridges between styles that rarely met
Brian Wilson, who died this week aged 82, is best remembered as the sonic architect of the Beach Boys and the laid-back "California sound" that swept the world in the 1960s. But to stop there would be to miss the scale of his ambition. Behind the striped shirts and sun-soaked harmonies was a composer and producer who transformed pop music, often by refusing to stay in one genre.
From symphonic pop to soul and psychedelia, Wilson built bridges between styles that rarely met. Here’s a look at six genres that define his legacy and show how much more there was to the man who gave us Good Vibrations.
1. Surf music – but deeper than it seemed
Wilson may have helped define surf rock, but his early work was far from novelty. Tracks like Surfer Girl and In My Room carried emotional weight and complex arrangements, showing Wilson’s desire to blend catchy hooks with rich harmonies. The Beach Boys' 1963–65 catalogue offered a polished, heartfelt counterpoint to the rawness of garage bands and early rock’n’roll.
2. Baroque pop – Pet Sounds and pop perfection
If one album changed the idea of what pop music could be, it was 1966’s Pet Sounds. Incorporating strings, woodwinds and intricate vocal layering, Wilson created a lush, introspective masterpiece that directly influenced The Beatles’ Sgt. Pepper. God Only Knows is still considered by many, including Paul McCartney, to be one of the greatest songs ever written.
3. Psychedelic experimentation – Smile and beyond
If one album changed the idea of what pop music could be, it was 1966’s Pet SoundsGetty Images
Wilson’s most ambitious project, Smile, was meant to be a “teenage symphony to God”. Though shelved for decades, its fragments (like Heroes and Villains and Surf’s Up) revealed a composer playing with modular recording, avant-garde techniques, and surreal lyrical structures. When Wilson finally completed it in 2004, it was hailed as a lost classic of psychedelic pop.
4. R&B and soul – stripped back and heartfelt
By the late 1960s, the Beach Boys had shed their surfboards. Albums like Wild Honey (1967) reflected Wilson’s love for rhythm and blues, with tracks like Darlin’ showing a rougher, more soulful edge. The stripped-down production was a deliberate pivot away from the excess of Pet Sounds, but still brimming with melody and feeling.
5. Americana – the spiritual core of Smile
Even as he experimented, Wilson remained fascinated by America’s musical past. Smile included references to spirituals, cowboy songs, and folk traditions, blending them into a surreal journey through the country’s cultural memory. Cabin Essence and Wonderful offer glimpses into a deeply introspective version of American identity, filtered through Wilson’s fragile genius.
6. Adult pop balladry – the gentle strength of Love and Mercy
As dementia affected his final years, it’s this kind of understated emotional honesty that enduresRolling stone
In later years, Wilson’s solo work embraced vulnerability. His 1988 single Love and Mercy has become his personal anthem—gentle, aching, and hopeful. As dementia affected his final years, it’s this kind of understated emotional honesty that endures. “There’s a lot of people out there hurting,” he once said. “And it really scares me.”
A final chord
Wilson’s music lives on—not just in sun-drenched nostalgia, but in the emotional complexity he brought to modern music. His impact stretches from the Beatles to Bowie, from punk to dream pop. His life was often marked by personal turmoil, but his compositions soared beyond it.
Brian Wilson didn’t just soundtrack the beach. He gave pop music a soul, a brain, and occasionally, a nervous breakdown. And through it all, he kept writing.
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Weinstein is currently serving a 16-year prison sentence in California
Disgraced Hollywood producer Harvey Weinstein has been found guilty of committing a criminal sexual act against one woman in his New York retrial. The 73-year-old was acquitted of another count of the same charge relating to a second woman.
The jury did not reach a verdict on a third charge of rape involving a third woman. Weinstein had pleaded not guilty to all three charges, maintaining that all sexual encounters were consensual and denying any assault.
Conviction follows overturned 2020 verdict
The retrial followed a decision by a New York appeals court to overturn Weinstein’s 2020 conviction last year. Prosecutors presented three charges during the retrial—two of which were from the original trial, and a third added last year, accusing him of forcing oral sex on a separate woman.
The charges related to incidents in 2013, including the alleged rape of aspiring actress Jessica Mann in a New York hotel room and sexual assaults against two other women.
Courtroom tension as jury deliberates
The partial verdict came after a tense day in court. The jury foreperson asked to speak to the judge privately about an unspecified “situation”. Earlier in the trial, the same juror had raised concerns about pressure within the jury room and discussions straying beyond the scope of the charges.
The 73-year-old was acquitted of another count of the same charge relating to a second womanGetty Images
Weinstein addressed the court directly before any verdict was announced, pleading: “My life is on the line and you know what? It's not fair... It's time to say this trial is over."
This week also saw calls for a mistrial from Weinstein’s legal team after a juror complained another was being treated unfairly. The judge denied the request.
Weinstein is already serving a California sentence
Weinstein is currently serving a 16-year prison sentence in California after being convicted of rape in 2022. He also denied those charges.
The former film producer became a central figure in the #MeToo movement after multiple women came forward with allegations of sexual misconduct nearly eight years ago. Some of these allegations led to criminal convictions on both US coasts.
Weinstein faces further sentencing in relation to the latest New York conviction.
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Ten buzzworthy indie films that could shape the TIFF 2025 conversation
As the Toronto International Film Festival (TIFF) 2025 draws near, a wave of independently made films is already dominating conversations among critics, programmers, and distributors. These are not your typical star-studded blockbusters. In fact, they’re character-driven, stylistically bold, and often politically or emotionally charged stories. Many have already premiered at Cannes or Sundance, while a few are TIFF-bound discoveries. One Indian film, in particular, is catching the attention of international curators with its quiet force.
Here’s a look at 10 indie titles being talked about before the TIFF line-up is even announced.
Kristen Stewart steps behind the camera for her first feature, adapting Lidia Yuknavitch’s emotionally intense memoir. The story centres on a young woman navigating trauma, sexuality, and swimming, all told through a non-linear, stream-of-consciousness narrative. Imogen Poots plays the lead, and the film’s visual style has already drawn comparisons to Derek Cianfrance. It premiered out of competition at Cannes 2025 and is generating serious interest from indie distributors.
Lynne Ramsay’s return after an eight-year hiatus is being hailed as one of the most anticipated auteur-driven works of the year. Jennifer Lawrence stars in this adaptation of Ariana Harwicz’s novel about a woman struggling with postpartum psychosis. The script is by Alice Birch, and early responses from Cannes suggest this is Ramsay at her most unrelenting. A24 and Apple reportedly battled over rights, hinting at serious awards potential.
After Beau Is Afraid, Ari Aster switches tone again with this “modern Western,” featuring Joaquin Phoenix and Pedro Pascal. The film debuted at Sundance 2025 and won the Grand Jury Prize, making it a serious contender for further festival attention. The story follows two estranged brothers forced to reunite in a post-capitalist landscape. It’s moody, slow-burning, and already being called one of Aster’s most emotionally mature works.
Solondz is back with a genre twist. Dangerous Animals takes on his trademark bleak humour with a surreal, body-horror narrative that drew comparisons to Julia Ducournau’s Titane during early Cannes market talks. It follows a child star turned recluse who becomes the subject of a bizarre suburban experiment. Programmers expect this one to land in TIFF’s Midnight Madness section due to its provocative tone and overall risk-taking structure.
Celine Song’s follow-up to Past Lives is a sharp, darkly comic look at art, commerce and class. Starring Dakota Johnson and Pedro Pascal, Materialists premiered at Cannes 2025, where its razor-sharp satire of luxury culture and beauty standards won Best Screenplay. Industry insiders say its strong aesthetic and festival reaction make it a top Vanguard or Discovery pick for TIFF 2025.
A quiet surprise from India, Sabar Bonda is the first Marathi-language feature to screen in Sundance’s World Cinema Dramatic section. Directed by queer filmmaker Rohan Kanawade, it explores the relationship between a young boy and his teacher in a rural village, subtly exploring themes of gender, caste, and queerness. With TIFF’s history of championing regional Indian cinema, especially post-All We Imagine As Light, this is one of the most likely South Asian entries to break through.
Linklater’s latest film is a love letter to French cinema, both stylistically and thematically. Nouvelle Vague is set in 1960s Paris and follows a young American student who becomes entangled in a world of cinephiles, protests, and fleeting romance. It's less a plot-driven film and more an ode to a particular cinematic moment. Industry insiders say it’s tailor-made for TIFF’s cinephile crowd, possibly as part of a Cinema Makers tribute.
Wes Anderson returns with a twist on the heist genre. The Phoenician Scheme features an ensemble cast trapped in a fictional desert state during a crumbling political regime. It was screened privately during Cannes Village and quickly became one of the most talked-about titles among buyers. TIFF might host its North American premiere, offering a major red carpet moment while still fitting its indie tone due to Anderson’s distinct auteur status.
Scarlett Johansson’s first feature as a solo director was selected for Cannes Jury Screening and was met with strong praise. The story follows a reclusive former stage actor navigating grief and late-life reinvention in New York City. It’s intimate and character-focused, with a restrained visual style that allows its performances to shine. TIFF’s interest in debut directors makes this a strong candidate for a Platform slot.
Trier reunites with Renate Reinsve for Sentimental Value, a film that builds on the emotional resonance of The Worst Person in the World. The narrative centres around a family dealing with the return of a long-absent parent, told with Trier’s signature emotional clarity and subtle humour. It received warm reviews at Cannes and could emerge as one of TIFF’s most acclaimed European entries.
Why this matters?
Unlike blockbuster-heavy seasons, TIFF 2025 is shaping up to be a filmmaker’s festival. From deeply personal stories to hybrid genre experiments, this year's buzzed-about indie titles reflect a shift toward narrative risk and regional specificity. And with the inclusion of Sabar Bonda, there’s a clear sign that Indian independent cinema is no longer confined to the margins. It’s earning its seat at the global table.
TIFF 2025 runs from 4–14 September, with the official lineup dropping later this summer. Until then, these are the names to watch.
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Arjun Rampal says Rauf is the darkest character he has portrayed
Arjun Rampal has stepped into a deeply unsettling place with his portrayal of Rauf in Netflix’s Rana Naidu season 2. The actor, known for playing intense characters, says this role was unlike anything he’s done before.
“He’s the most terrifyingly real character I’ve ever played,” Rampal said. Rauf is unpredictable, violent, and entirely devoid of empathy, yet not completely soulless. What sets him apart is a surprising emotional sliver: the fierce love he holds for his niece. “She’s the only one he protects without question,” he explained. “It’s the only time you see something human in him.”
For Rampal, the challenge wasn’t just about playing a violent man. It was about showing the emotional contradictions buried under that rage. “The fine line between menace and vulnerability is where Rauf lives. That’s what made him so difficult to portray,” he said.
A new layer of conflict in Rana Naidu season 2
In the latest season, Rampal’s character is a new addition to the already explosive dynamic between Rana Daggubati and Venkatesh Daggubati, who play a feuding son and father. Rauf’s entry heightens the emotional stakes, bringing in a cold, calculated energy that shifts the entire tone of the show.
Directed by Karan Anshuman, Suparn Verma, and Abhay Chopra, and produced by Locomotive Global Media, Rana Naidu continues to explore themes of loyalty, power, and personal demons, with Rampal’s Rauf adding a new layer of darkness.