Irrfan Khan would have been my first choice to play Osho: Italian director Lakshen Sucameli
A decade after his dream project of making a feature film with Irrfan Khan as Osho Rajneesh fell through, Italian filmmaker Lakshen Sucameli has made a documentary on the controversial spiritual guru.
A decade after his dream project of making a feature film with Irrfan Khan as Osho Rajneesh fell through, Italian filmmaker Lakshen Sucameli has made a documentary on the controversial spiritual guru.
A compressed version of the docu-series “Ten Thousand Shades of Osho”, titled ‘Osho the Movie’ (of one hour and 40 minutes) was screened recently at Yashwant International film festival organized by Maharashtra Government. The series will be released sometime later.
Sucameli said if he had his way, he would have made the film with Irrfan, who according to him was the apt choice to play Osho.
“I was doing a feature film more than ten years ago but that didn’t materialize so I switched into this one (docu-series), which took five years. Irrfan Khan was my first choice, and he liked Osho.
"And if I was the producer and if he was still alive, he would be the first choice,” the director told PTI in an interview.
The Italy-born filmmaker had travelled to India in 1978 to meet Osho, then considered one of the most controversial spiritual figures of the world. The director had lived in Osho's ashram in Pune, and Oregon, US.
Sucameli, who was given the name Lakshen by Osho, said it was his desire to make a movie on him.
“The first time I met Osho was in 1978. Since then, I have had two purposes in life — to know myself and to share his vision. When I started working as a filmmaker, I knew that one day, I would make a film about him,” he added.
Sucameli claimed he met Indian producers such as Subhash Ghai, Pritish Nandy, and Bobby Bedi and among actors, he approached Irrfan Khan, Sanjay Dutt, Kamal Haasan, besides writer Kamlesh Pandey of “Rang De Basanti” fame.
Ghai had also announced a project on Osho but that has not materialised.
According to Sucameli, the Indian producers were not serious about an international co-production back then.
“The Indian producers are not really open to an international film. They are so satisfied with Bollywood. Even if they know Osho, and even if they saw the potential, they didn’t really warm to the idea of doing an international co-production,” he added.
The director said the key difference between the feature film and docu-series is that, he could play more with imagination while making the movie but with the latter he has stayed closer to reality.
The docu-series is structured into five episodes of sixty-minutes each. The documentary contains previously unreleased footage of Osho recorded across the world and it will also explore different periods of spiritual guru’s life through the stories of people, who were associated with him.
“This is about his life, his experiences of people who are with him. The film is more of a story with some drama, something added to give the possibility for the audience to also follow something.” Sucameli, who himself is an insider of the Osho movement, said the docu-series is not a propaganda and added that it offers a wider perspective than Netflix's “Wild Wild Country”, which released in 2018.
“This docu-series is not a propaganda piece. On the contrary, it examines all elements of Osho’s life, including the contentious ones, like his return to India, the mysterious three days that he spent in an Oklahoma jail cell, incarcerated under a false name and allegedly poisoned, and other things,” he said.
Speaking of the release of the docu-series, Sucameli said, “At the moment, we are trying to take it to different festivals and cut a deal with Netflix, Amazon Prime or Disney+ Hotstar).”
So, Kajol and Twinkle Khanna’s show, Two Much, is already near its fourth episode. And people keep asking: why do we love watching stars sit on sofas so much? It’s not the gossip. Not really. We’re not paying for the gossip. We’re paying for the glimpse. For the little wobble in a voice, a tiny apology, a family story you recognise. It’s why Simi’s white sofa mattered once, why Karan’s sofa rattled the tabloids, and why Kapil’s stage made everyone feel at home. The chat show isn’t dead. It just keeps changing clothes.
Why Indian audiences can’t stop watching chat shows from Simi Garewal to Karan Johar Instagram/karanjohar/primevideoin/ Youtube Screengrab
Remember the woman in white?
Simi Garewal brought quiet and intimacy. Her Rendezvous with Simi Garewal was all white sets and soft lights, and it felt almost like a church for confessions. She never went full interrogation mode with her guests. Instead, she’d just slowly unravel them, almost like magic. Amitabh Bachchan and Rekha, they all sat on that legendary white sofa, dropping their guard and letting something real slip out, something you’d never stumble across anywhere else. The whole thing was gentle, personal, and almost revolutionary.
Simi Garewal and her iconic white sofa changed the face of Indian talk showsYoutube Screengrab/SimiGarewalOfficial
Then along came Karan Johar
Let’s be honest, Karan Johar changed the game completely. Koffee with Karan was the polar opposite. Where Simi was a whisper, Karan was a roar. His rapid-fire round was a headline machine. Suddenly, it stopped being about struggles or emotions but opinions, little rivalries, and that full-on, shiny Bollywood chaos. He almost spun the film industry into a full-blown high school drama, and honestly? We loved it up.
Kapil Sharma rewired the format again and took the chat show, threw it in a blender with a comedy sketch, and created a monster hit. His genius was in creating a world or what we call his crazy “Shantivan Society” and making the celebrities enter his universe. Suddenly, Shah Rukh Khan was being teased by a fictional, grumpy neighbour and Ranbir Kapoor was taunted by a fictional disappointed ex-girlfriend. Stars were suddenly part of the spectacle, all halos tossed aside. It was chaotic, yes, but delightfully so. The sort of chaos that still passed the family-TV test. For once, these impossibly glamorous faces felt like old friends lounging in your living room.
Kajol and Twinkle’s Amazon show Two Much feels like friends talking to people in their circle, and that matters. What’s wild is, these folks aren’t the stiff, traditional hosts, they’re insiders. The fun ones. The ones who know every secret because, let’s be honest, they were there when the drama started. On a platform like Amazon, they don’t have to play for TRPs or stick to a strict clock. They can just… talk.
People want to peep behind the curtain. Even with Instagram and Reels, there’s value in a longer, live-feeling exchange. It’s maybe the nuance, like an awkward pause, a memory that makes a star human, or a silly joke that lands. OTT gives space for that. Celebs turned hosts, like Twinkle and Kajol in Two Much or peers like Rana Daggubati in Telugu with The Rana Daggubati Show, can ask differently; they make room for stories that feel earned, not engineered.
How have streaming and regional shows changed the game?
Streaming freed chat shows from TRP pressure and ad breaks. You get episodes that breathe. Even regional versions likeThe Rana Daggubati Show, or long-running local weekend programmes, prove this isn’t a Mumbai-only appetite. Viewers want local language and local memories, the same star-curiosity in Kannada, Telugu, or Tamil. That widens the talent pool and the tone.
From White Sofas to OTT Screens How Indian Talk Shows Keep Capturing HeartsiStock
Are shock moments over?
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