Priyadarshan’s film is a remake of the 1998 Iranian movie “Children of Heaven” that underlines a poignant relationship between siblings. The Indian version of the film will be released early next year and is expected to be shown in several foreign film festivals, a publicist told IANS Wednesday.

The actress to play Darsheel’s sister is yet to be chosen.

Meanwhile Priyadarshan’s forthcoming venture “Kanchipuram”, a celluloid diatribe against communism woven around the silk trade in Kanchipuram, 60 km from Chennai, is scheduled to be shown at the Toronto Film Festival next month.

The director, known for his situational multi-star-cast comedies like “Bhool Bhulaiyaa”, “Garam Masala” and “Hera Pheri”, had told IANS earlier that he is branching out into meaningful cinema to fulfil a dream.

History was made at the 02 Arena in London Sunday when the Bachchans performed along with stars like Shilpa Shetty, Preity Zinta and Riteish Deshmukh as part of their ‘Unforgettable’ world tour - the 20,000-strong audience was on their feet most of the time!

“What you’ve heard is absolutely right. This is unprecedented and overwhelming. I’ve never gone through this experience before. Throughout my performance at the 02 Arena, the audience didn’t sit at all. All 20,000 of them stood on their feet while I performed,” Amitabh told IANS on phone from London.

“It was a deeply moving and humbling experience. I’ve never been in a performance like this ever. And perhaps the audience too had never felt like this before. The entire venue was sold out. We all got standing ovations. The audience just freaked out,” he added.

In every city that the Bachchans performed in the US, the West Indies and Britain, the Big B was by far the main attraction with Abhishek and Aishwarya forming the sidelights.

Said Preity Zinta: “Let’s admit it, the crowds came in such huge numbers mainly to see the Big B. We were the side attractions. The way the audiences everywhere reacted to him had to be seen to be believed.”

Even Shilpa, who joined the Bachchans in London, agreed, saying: “The Big B is such a rock star. Performing with him was an eye-opener.”

She is the protagonist of independent filmmaker Nupur Basu’s “No Country for Young Girls”, a 25-minute documentary on female foeticide and the status of women in India. The movie is part of the BBC documentary series, “Life on the Edge” that was telecast this month.

Basu, a former journalist, takes the 27-year-old Vaijanti to places across India where daughters are a curse. The latter discovers that patriarchy prevails and a family without a son is considered incomplete even in the educated echelons of society.

Vaijanti understands it only too well. After all, after moving out of her husband’s house, Vaijanti gave birth to her younger daughter in her mother’s house. She moved court against her husband and in-laws, alleging intimidation and the fact that they had piled pressure on her to kill her unborn daughter.

Her days were endless rounds of the court premises - discussions with lawyers, activists and counsellors until she embarked on the journey with Basu.

Basu, her crew and the protagonist, the loveless Vaijanti, who resides barely one kilometre from the monument of love Taj Mahal, probe the gravity and nuances of the problem across urban India where the ratio of girls to boys is on an alarming slide.

Numbers cite that one million unborn girls are butchered every year after sex scans in violation of the 1994 Prohibition of Sex Selection Act, also known as the Pre-Natal Diagnostic Techniques Act.

An estimate says the national average sex ratio is 933 girls for every 1,000 boys and if Women and Child Development Minister Renuka Chowdhury is to be believed, “the nation is going to face an unimaginable crisis because of the nationwide shortage of girls”.

She admits in the film that the situation is “very, very grave”.

“The next census is going to be horrific. In Delhi alone, the sex ratio is 820 girls to every 1,000 boys,” Nupur told IANS in a chat in the capital.

Nupur, who has four documentaries on issues concerning women to her credit, chose foeticide because of the conspiracy of silence surrounding it - almost like that of AIDS.

“I was told to make an India film, and I had been ruminating on foeticide for a long time. We have an ostrich-like approach to it, pretending it does not exist,” said the filmmaker, who has put in 12 years at the NDTV as senior editor covering social and development issues.

History says the ancient Aryan invaders practised female infanticide. According to scriptures, women and the girl child could not adjust to their nomadic way of life.

The Vedas are full of prayers for male children. “Let a female child be born somewhere else; here, let a male child be born,” says a shloka in Atharva Veda (6.23)

Basu blames the persisting problem on lack of political will. “Why does the law exist?” she lashes out, “when female foeticide is so common and organised? Technology meant to check the health of the child is used for killing it in connivance with the medical community and influential civil and social groups.”

Nupur visits Vaijanti’s home where her mother breaks down; zooms in on her two young daughters; and meets at least 20 other women from the neighbourhood who have similar stories to share.

“We all know of Haryana, but the situation in Agra is abysmal,” she says.

She drags Vaijanti out of her cloister, takes her on a 12-hour train ride to Ganganagar in Rajasthan where she is joined by a feisty Sikh woman, Jasbir Kaur, who dared to defy her in-laws and divorce her husband to bring up her three daughters.

“They are 14 now and go to school. Jasbir works as a nurse to support. Her face glows - she has no regrets,” Nupur tells of the smiling woman, the “role model”.

From Ganganagar, the camera rolls to the Silicon Valley of Bangalore where Nupur and Vaijanti meet the power women of info-tech companies. “Even in the info-tech industry, women are harassed for bearing daughters and for not bringing adequate dowry,” say a group of women at MindTree.com, a software solutions firm.

In the process, Vaijanti experiences freedom. She bogies the night away at a dance club, travels across the heart of India and finally wings her way through the clouds in an airplane to Sabarmati Ashram - the cradle of Mahatma Gandhi’s “Ahimsa and Satyagraha (truth and non-violence) movement”.

She is almost moved to tears when she hears the father of the nation say - on tape - in support of the girl child: “As they say in English. She is not the half, but the better half.”

In fact, her new mobile phone ring tone is a song from “Jaane Tu…” and she can’t stop praising Imran.

“I love that song and I adore Imran Khan. I think he’s going to be a huge star. He and Ranbir are my current favourites. In fact, I told Ranbir how much I like Imran. No, he didn’t mind at all. Ranbir and I are friends after ‘Bachna Ae Haseeno’,” Bipasha told IANS.

Talking about making friends in the industry, Bipasha admitted that during the shooting of hit movie “Race”, Katrina Kaif and she were just about cordial with each other.

“Some people you jell with. Others you just do your job with. Katrina is one of those cases. We were just professionals on the sets. But there was no rivalry or anything,” said Bipasha.

But she added that while they weren’t too friendly with each other they weren’t fighting either.

“We were both working for the same film, not at cross-purposes. We were both liked in ‘Race’. Though people would like to believe otherwise, there was no negativity or animosity between us. There was no dramatic tension on the sets. We’re both too sensible for that. There was just no scope for one-to-one interaction.”

Made by director duo Abbas-Mustan, the thriller also starred Akshaye Khanna, Saif Ali Khan and Anil Kapoor and was declared the first big hit of the year.

Bipasha has an unfinished project with Abbas-Mustan - “Mr. Fraud”.

“I’d love to complete the film. Right now I’m going through a phase when I’m searching for roles. I’ve no idea what I want. But, yes, I’d like to do an author-backed zany fun-filled film. At the same time I love multi-starrers. They’re more fun on the sets.

“Lots of unfulfilled wishes before I give up acting. If I don’t like what’s being offered, I won’t sign anything. For now my last film is ‘Freeze’ with Neil Nitin Mukesh.”

Bipasha had to miss boyfriend John Abraham’s brother Allan’s wedding in Romania in May as she was shooting in Bangkok.

But she attended the wedding reception in Mumbai where everyone commented on her bonding with her sister-in-law Anka.

“She’s really sweet. John’s brother and Anka were seeing each other for three years. Beyond that I wouldn’t like to say anything about them. Let them lead their own lives.”

John’s ambitious film “Aashayein” is ready and though Bipasha loves the movie, she won’t be helping to promote it.

“Beyond buying a ticket I’m doing nothing to promote the film. That’s a very good way to pitch in,” she said.

“I go with the critics and the people’s verdict, which said the movie was not a good one. I admit that ‘Maan Gaye..’ was a bad movie,” said Rahul who played the male lead in the film.

“I’m not that kind of a person who will go on telling anything good because I’m involved in it. Even if it is my performance in a film, I don’t have any reservation in telling the truth,” he added.

The story of “Maan Gaye…” was inspired from CBI (Central Bureau of Investigation) and RAW (Research and Analysis Wing) officers who were on high alert due to illegal activities in Goa following the Babri Masjid demolition in December 1992, which had triggered communal riots.

Asked what went wrong with the movie, Rahul said: “I can’t tell what went wrong with the movie or who is responsible for it, but it is for sure the end result of the movie was not good.”

About his next release “Tahaan”, Rahul said he plays a very small role in the film, which does not have much significance.

“I play a very small role in the movie which is of not much importance. Even if you take my role out of the movie, it will not have an impact on the film. My character in the film is what a comedian does. I provide the comic elements.”

Set in Kashmir, the film is about an eight-year-old boy looking for real purpose in his little world. Santosh Sivan has directed the movie that also stars Victor Banerjee and Sarika.

“Though the story is very good, but I request my audience not to expect anything from this film as my role is very small and I have nothing much to do.”

Santosh Sivan offered him “Tahaan” after they worked together for a Hollywood production titled “Before the Rains”.

“I play the lead role in ‘Before the Rains’, which has already done a business of around $2 million dollars in the US, Canada and England.”

Rahul says he is looking forward to the release of “Before the Rains” in India.

Shankar admits his earlier ventures were guilty of too much research and too little emotions.

“I admit to this. There was an overt focus on plot. One lives and learns. In ‘Mukhbiir’, I’ve been able to create a fine blend of plot and characters and research and emotions,” Shankar told IANS.

“Mukhbiir”, which stars Sammir Dattani in the lead role, is a biographical story of a boy’s journey. It is essentially an espionage thriller and Sammir plays an informer.

“All that Sammir’s character wants is to have an identity, have a girlfriend and a normal life. But he can’t do these things,” said Shankar, who has films like “Rudraksh” and “Tango Charlie” also to his credit.

Excerpts:

Q: From the outside it seems “Mukhbiir” enters a world we’ve never seen before.

A: The world of Indian espionage is a very grey zone. No one knows much about it. When I did my other film “16 December” about the Indian intelligence services, I had taken the active support of the intelligence departments. Again for “Mukhbiir” I went into rigorous research. When you make a film about verifiable branches of the government service you’d better get your facts right. In “Mukhbiir” we’ve actually used information about the Indian espionage service from the fields.

Q: You started your Hindi film career with a bang…

A: You could say that. Business Today ranked “16 December” in their Top 10 grosser list of 2002. It grossed Rs.142 million when it was made at a budget of Rs.20 million. In fact, my two subsequent films “Rudraksh” and “Tango Charlie” also economised way beyond what people saw on screen. It’s a filmmaker’s biggest concern to deliver the biggest bang for the buck. So the producer can laugh all the way to the ‘bang’.

Q: You’re the guru of techno-savvy cinema. How did that happen?

A: I’m a qualified engineer. In fact, a filmmaker should be knowledgeable about every department of filmmaking. For many of my music videos, I was the cinematographer. Now I know in one glance if a frame needs correction. Such across-the-board knowledge speeds up the process of filmmaking.

Q: How did “Mukhbiir” originate?

A: The story started in my mind in 1996 when I was in Kashmir shooting for an anti-militancy music video for the Intelligence Bureau. I encountered a young Intelligence recruit who had been captured by militants and tortured non-stop. He had cigarette burn marks all over his back and shoulder. This boy was left on the streets by our government because it had no more use for him. This boy wandered on the streets of Kashmir waiting to be shot. That’s where my story for “Mukhbiir” originated.

I wanted to make a film about a boy standing in the last line in the game of politics, who never gets the credit but finally gets the bullet.

Q: Your earlier films were guilty of too much research too little emotions?

A: I admit to this. There was an overt focus on plot. One lives and learns. I like my other films too, though audiences couldn’t follow “Rudraksh”. But in “Mukhbiir”, I’ve been able to create a fine blend of plot and characters, and research and emotions. “Mukhbiir” is a biographical story of a boy’s journey. All that Sammir’s character wants is to have an identity, have a girlfriend and a normal life. But he can’t do these things.

Q: I believe cultural and religious identities are crucial to the hero’s character in “Mukhbiir”.

A: Yes, Sammir’s character holds the mother goddess close to his heart and yet he has to convert himself totally to Islam. The character even undergoes a circumcision. He finally believes in the oneness of god and dies a Muslim. When he converts, he converts with his whole heart.

Q: Do you foresee a controversy?

A: Sammir’s character does what has to be done… just like I made the film that had to be made. I’m totally excited by the journey into the unknown. Tomorrow I don’t want to make what someone, including me, made yesterday. I like to go to unexplored territory, like Ulysses.

The actor was so kicked by the character of the philanderer in “Dil Kabaddi” that he swapped roles with Rahul Bose.

“I like the thought of being a man who’s sexually adventurous. I haven’t played a character like this before. I’m not going to pretend. ‘Dil Kabaddi’ is a film strictly for adults. And we shouldn’t shy away from saying this,” Irrfan told IANS.

“It’s about dishonesty in man-woman relationships. I call it dishonesty by the standards set by civil society. Sometimes you are not satisfied in one relationship and keep looking for sexual and emotional satisfaction elsewhere. I like playing this promiscuous character,” he added.

Irrfan is meanwhile doing something completely different for Tigmanshu Dhulia’s biopic titled “Pan Singh Tomar”. He plays a long-distance gold-medalist in the film and the role has him huffing and puffing like never before.

“In fact, I pride myself for being quite fit. But playing a gold-medallist marathon runner isn’t same thing. I’ve to get into better shape. And I’ve to look convincing as a long-distance runner,”said Irrfan, who has impressed critics and audiences in films like “Life… in a Metro” and “The Namesake”.

There are no half-measures for this method actor. So months before the shooting started, he began running long distances between shooting schedules.

“I enjoy working so much. But I need time for myself. And roles like this one for Tigmanshu’s film where I play a real-life character require concentrated preparation. So I’m taking time off from August onwards.”

While there’s too much work on his plate, Irrfan’s current crop of films give him a chance to interact with some of the most beautiful actresses.

“I shot with Tabu and Natalie Portman for Mira Nair’s film. And now I’m shooting with Soha Ali Khan in ‘Dil Kabaddi’. And in ‘Billo Barber” Lara Dutta is opposite me, and not Shah Rukh Khan. I just can’t get over that,” he laughed.

In addition, “Billo Barber”, which is being directed by Priyadarshan, has guest appearances by Kareena Kapoor, Deepika Padukone and Katrina Kaif.

“But all of them are with Shah Rukh,” he said. “So I’m lately surrounded by beautiful women. The thing about beauty is you can’t have too much of it.”

Playing a philanderer and a marathon runner is certainly taxing, isn’t it?

“After these two films I’ll really have to stop to catch my breath,” Irrfan said.