The shadow of Basanti still looms large and Hema Malini, who references her role as the feisty tonga puller from the 1975 classic Sholay in many of her rallies, says candidly she may never come out of it.
The cinema icon and BJP MP is currently seeking a third Lok Sabha term from Mathura.
“I will never come out of the Basanti shadow. It will always be there. I was born with that. I have done 200 films and people still remember me as 'Sholay ki Basanti' or from Seeta Aur Geeta, and Baghban,” she said.
“I tell everyone that I am three in one -- a film artiste, a dancer, and a politician,” Malini told PTI in an exclusive interview.
Forty-nine years after it was released, Ramesh Sippy's Sholay continues to be a massive draw with its ensemble cast and characters living on in celluloid memory. There was Jai (Amitabh Bachchan), Veeru (Dharmendra), Gabbar (Amjad Khan), Thakur (Sanjeev Kumar), and Basanti, one of Malini's best-loved characters.
Malini, 75, is also a Bharatanatyam exponent and continues to perform at live shows.
"I am dedicated to my classical dance... I am thankful to God that I was given the opportunities at the right time,” she added.
The veteran actress, whose last film appearance was 2020's romance drama "Shimla Mirchi", also with Sippy, said she is waiting for the right script to come her way.
"If there are any good roles in films, I will also do that. If somebody offers me a nice role that suits me in today’s time, I definitely will do it. But nothing is in the pipeline as of now," she said.
Malini, who has acted in over 200 films in a six-decade career, also directed two films -- Shah Rukh Khan starrer Dil Aashna Hai (1992) and Tell Me O Kkhuda (2011) featuring her daughter Esha Deol.
Asked about her directorial plans, she said simply, "It will take time."
Malini, who practises yoga regularly, said she believes in staying healthy.
"You should have the intention to look good and the intention to keep your health well... Be a little spiritual... I have all these things with me,” she added.
Mukerji parts ways with YRF’s Dhoom 4 after reported creative disagreements.
Decision said to be amicable, with Aditya Chopra and Ranbir Kapoor supportive.
Director shifts focus to Brahmastra: Part Two – Dev, expected to begin filming in 2026.
Filmmaker steps away from YRF’s action franchise
Filmmaker Ayan Mukerji has stepped away from Yash Raj Films’ (YRF) highly anticipated action project Dhoom 4, reportedly due to creative differences. According to Bollywood Hungama, Mukerji’s vision for the film did not align with the studio’s direction, prompting him to withdraw from the project.
Mukerji, who was in discussions to direct the next instalment of the hit franchise—expected to star Ranbir Kapoor—was said to have limited control over the script, which was reportedly written by Shridhar Raghavan. The director, best known for Yeh Jawaani Hai Deewani and Brahmastra, was keen on shaping the film creatively rather than simply executing an existing plan.
A source quoted in the report said, “Ayan didn’t have much say in the screenplay and didn’t want to embark on another journey of just execution.”
Amicable parting after discussions with Aditya Chopra
Before stepping away, Mukerji is believed to have held several discussions with YRF head Aditya Chopra and actor Ranbir Kapoor. Both reportedly supported his decision, with insiders describing the split as “completely amicable.”
The director’s departure does not mark the end of Dhoom 4, as YRF plans to continue with the project under a new director. The studio may also reconsider casting options, despite earlier reports that Ranbir Kapoor had set aside dates for the film.
Focus returns to the Brahmastra universe
Following his exit from Dhoom 4, Mukerji has shifted attention back to his passion project—the Brahmastra series. The filmmaker is currently developing Brahmastra: Part Two – Dev, the sequel to the 2022 fantasy epic.
The film, initially expected to begin production earlier, is now likely to go on floors in 2026. Sources suggest Mukerji intends to expand the Astraverse with more depth in storytelling, combining elements of mythology, drama, and spectacle.
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