It was a rainy evening in Bandra, and I had just hopped out of a cafe on Carter’s Road near the Khao Gali. As I was going to turn a corner for some Kolkata-style jhalmuri, I thought I spotted the newest jodi in Bollywood right behind me, entering another adjacent cafe. Was it actually lead actor Ahaan Panday and director Mohit Suri (you all were expecting Aneet Padda, right?), or was it the cappuccino taking effect?
Mohit was in a green hoodie and shorts, and Ahaan was also casually dressed, passing off as a tall, slim, college-going boy, with that raw, rugged bag full of hair he sports on screen. So I walked in, said a quick hi, congratulated Mohit on the film’s success, and Ahaan too. None of them had any airs themselves. Ahaan, just a few days into the success of his big debut, came across as completely down-to-earth and distinctly soft-spoken. And let’s just say that the way they were dressed, and the way they carried themselves, you wouldn’t have been able to make out that the film had just released two days back and it is doing so well.
A welcome change from watching certain actors who are only seen in oh-so-perfect made-up airport looks and carry an entourage around with them wherever they go. This also gelled with the promotional strategy YRF had adopted for the film, where we were lucky enough not to have newbies indulging in circus-monkey-like behaviour on loop before the film had released. Hopefully, decision-makers from other houses take note, and we judge a film by the script and acting, and not by overzealous promotional stunts that have become the flavour of the day.
On that note, I also jokingly asked Ahaan whether he plans to have any bouncers surrounding him now. “No, man, not at all,” he said. Well, here’s wishing you all the best for the future, Krish Kapoor.
