
Bunty aur Babli turns 20: Vaibhavi Merchant recalls ‘Kajra Re' shoot with Abhishek, Amitabh Bachchan, Aishwarya Rai
As Shaad Ali's 2005 blockbuster Bunty Aur Babli marked its 20th year on Tuesday, May 27, choreographer Vaibhavi Merchant recalled the shoot for the iconic item song 'Kajra Re' featuring Amitabh Bachchan, Aishwarya Rai, and Abhishek Bachchan.
Kajra Re is a masterpiece, featuring Gulzar's lyrics and Shankar-Ehsan-Loy's composition, beautifully pieced together in Alisha Chinai's voice.
In an interview with the Indian Express SCREEN, Vaibhavi shared Kajra Re was thought to be a 'slow-burn,' a fusion of when 'qawwali-meets-mujra'.
However, she said, Aditya Chopra thought the song was 'very rooted' and had the perfect ingredients for a mass song. 'He had the vision to predict it would be a chartbuster,' she said.
The choreographer then recalled Aditya saying, 'This is going to be a song revered for a long time. It's going to be extremely popular and going to go down in history.'
Vaibhavi Merchant said Kajra Re was the first song of the father-son duo, Amitabh Bachchan and Abhishek Bachchan, together. It was also a comeback for Aishwarya Rai, who was on a sabbatical before it.
Vaibhavi shared that on set, Amitabh Bachchan is not a father. 'There are no personal equations coming in the way. He's a thorough professional. He'd remain in character.'
However, she said Abhishek has a different temperament on set. 'He's all about fun and pranks.' While Aishwarya came back with a different energy.
'You had three different characters working together in the song.'
'So, all the fun and masti in the song comes from Abhishek, the ada comes from Aish, and of course, the swag, style, and let-me-show-you-how-it's-done business comes from Big B,' she told SCREEN.
Vaibhavi Merchant shared with SCREEN that she never had imagined that the wedding of Aishwarya Rai and Abhishek Bachchan would be an outcome of this song.
'Nobody thought of it then. I never imagined this as the outcome of that moment. They were all thorough professionals,' she said.
However, she said it isn't the first time the actors on her set have turned to lovers.
'This is my story with a lot of actors, who start out as friends and turn into lovers on my set. I'm happy these divine interventions do happen, and I get to be a part of them,' Vaibhavi shared, joking that she could even write a book on this.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Indian Express
35 minutes ago
- Indian Express
Anupamaa set destroyed in massive fire, cine workers body president claims fire safety norms flouted on Rupali Ganguly's show
A massive fire broke out on the sets of Rupali Ganguly's show Anupamaa at 5 am this morning. While the shooting was scheduled to begin at 7 am, preparations for the same were underway. However, the fire engulfed the entire set a couple of hours before the cameras could roll. Luckily, no casualties were reported, but a few workers and crew members were on the set when the incident occurred. The All India Cine Workers Association (AICWA) confirmed the news on social media. AICWA's president, Suresh Gupta, also spoke to SCREEN, claiming negligence on the part of producer Rajan Shahi. Gupta said, 'A massive fire did break out on the Anupamaa set in Filmcity this morning. The fire brigade reached the scene an hour after the fire erupted. The entire set was made of wood and was surrounded by other sets, which were also made of wood. The reason why the set caught fire is that the producer and production house weren't complying with fire safety norms just to save a little money.' Also Read: Anupamaa's Manish Goel shuts down rumours of a rift with Rupali Ganguly. Watch A post shared by SCREEN (@ieentertainment) He claimed that this is a recurring problem. 'Every year, they put the lives of thousands of workers at stake, and the workers risk their lives because they don't get work every day. Film City's MD, or no other official, ever bothers to check the fire safety measures on set. As the AICWA President, I demand Maharashtra CM to investigate the matter and also check if no one lost their life, because they always cover up this,' he said. A post shared by SCREEN (@ieentertainment) Suresh also pointed out that the situation could have been catastrophic had there been more members on the set. A source close to the show also confirmed the news about the fire and that no casualties occurred. The source also shared that the incident happened when no one was there on the set. The show's producer, Mr Rajan Shahi, is yet to issue an official statement on the incident. Last year, a 32-year-old crew member was electrocuted on the sets of Anupamaa. In a statement, the makers later claimed that he was the camera attendant who mistakenly picked both the light rod and camera together when he was not wearing any footwear. 'The DOP present on the set said that it was purely a human error. He was immediately taken to the hospital and given instant medical help but, unfortunately, we lost him. It was deeply saddening. In response, immediate arrangements were made to send flight tickets to the family members of the deceased, who were urgently called from Patna. All necessary legal formalities were also promptly addressed,' the statement read. Nawaz Kochra is an enthusiastic entertainment journalistic for the last 9 years, he has been a known face and successfully worked with some big publications. At Nawaz majorly covers TV and OTT and also does video interviews. Having the best conversations with celebrities is what Nawaz loves. ... Read More
&w=3840&q=100)

First Post
2 hours ago
- First Post
Soha Ali Khan opens up on her health and lifestyle, reveals 'I weigh 110 pounds and...'
She added, 'So, (for) my breakfast, I start with fenugreek water, and I have cut fruit. There's papaya, there's melon, and an apple.' read more Soha Ali Khan has spoken about her health, lifestyle, eating habits in a recent interview with Pinkvilla. The actress revealed, 'People who really know me will tell you that I am a boring person when it comes to food. I actually have the same thing for breakfast, lunch, and dinner every day, almost.' She added, 'So, (for) my breakfast, I start with fenugreek water, and I have cut fruit. There's papaya, there's melon, and an apple. I have a slice of really nice gluten-free avocado toast with cheese or jam.' STORY CONTINUES BELOW THIS AD 'I have 10 almonds. You should have one almond for every 10 pounds you weigh. I weigh about 110, so about 10 or 11. That's very specific,' continued Khan. Talking about he meals, Soha said, 'some kind of vegetable, some kind of lentil, brown rice, and because I am non-vegetarian, chicken or fish.' Soha Ali Khan, who recently featured in Chhorii 2 is married to actor-filmmaker Kunal Kemmu, and the couple is blessed with a beautiful daughter, Inaaya Naumi Khemu. While the family shares a beautiful bond like a fairytale, Soha reveals that the patriarchal conditioning sometimes gets to her, making her feel like she has 'disappointed somebody' by not having a son. 'Even today, in affluent families, well-educated families, there is still an expectation that you don't have a son; there is a feeling that you are incomplete. I have a daughter, I'm very happy, most people around me are very happy. But there is still a sense somewhere that I have disappointed somebody," Soha said while talking to SCREEN. She also spoke about her grandmother's struggle for education and shared, 'My grandmother wanted to do an MA in Bengal, but she was not allowed to, because men went away and were allowed to study and pursue higher education. Women were simply not allowed to."


Indian Express
4 hours ago
- Indian Express
‘Aamir Khan hated Josh': Mansoor Khan reflects on 25 years of Shah Rukh Khan-Aishwarya Rai-starrer, says film left him ‘disillusioned'
Steven Spielberg's recent rendition of the timeless West Side Story invited comparisons that inevitably fall short when held against Mansoor Khan's Josh, a film that transcends its musical roots to deliver a far more exciting exploration of gang rivalries and the torments of forbidden love. Josh recently completed 25 years, and after much pursuit and patient waiting, I finally had the chance to speak with Mansoor Khan about the Shah Rukh Khan-Aishwarya Rai-starrer. In an exclusive conversation with SCREEN, he reflected not only on the creative journey behind Josh, but also on his seminal coming-of-age classic Jo Jeeta Wohi Sikandar, his evolving relationship with his cousin Aamir Khan, insights into Junaid Khan's craft, and the possibility of a long-anticipated return to filmmaking. What I find fascinating about Josh is that, unlike its source material, it's not a romantic tragedy. It has this almost rebellious energy and a very positive outlook on love and life. Was that a conscious choice, especially considering you had already explored a tragic love story with Qayamat Se Qayamat Tak? So basically, see, I've always wanted to make a spirited musical with Josh. Every now and then, I think, 'Okay, this one is going to be a musical.' By musical, I don't mean in the literal sense of just having songs in the film. I mean a true musical, like Fiddler on the Roof, where the scenes themselves become musical, you know? Take me back to the beginning, when did the idea of adapting West Side Story strike you? Was it the popularity of the original that drew you in, or was it more about giving your own spin to a timeless classic and making it resonate with Indian audiences? I really liked the premise of West Side Story. It is basically Romeo and Juliet in a different form. Instead of parents and families, it's two brothers. So at its core, that's the premise. But when I saw the film, I was very disappointed. I thought the first half was okay, very stylish and all. It had that stage musical feel. But I lost interest in the film after the brother dies, which happens midway through. I honestly don't even remember the rest of it. Still, that premise stuck with me, brothers opposing the love of their siblings. I wanted to take that idea somewhere else, though. The Indian audience needs a little more than just that. And I didn't want to focus only on resolving the love angle, you know? And I've always been fascinated by Goa and its history, especially Portuguese history, which a lot of people don't know about. My wife is Goan, and I found that part of the history really intriguing. You co-wrote some truly iconic dialogues for Josh with the late Neeraj Vora. What was that process like? Neeraj was a storehouse of talent, and he was a very, very amusing and funny guy. He could be quite distracting, actually, because every time we sat down, and we had dozens of sittings, he'd come up with a new idea. Especially for the introduction, for a few weeks, he kept throwing in fresh thoughts that would totally throw us off. We'd be like, 'Wow, that's a great idea. Come on, we've written it now, we're going with this.' And then the next day, Neeraj would come in and say, 'You know, actually, I was thinking… if we do it like this, that could work too.' And we'd be like, 'Yeah, let's do it that way.' But, you know, I don't get distracted easily. So sometimes I did have to put a stop to it. But he had such a fertile mind, it was great fun to work with him. He didn't take things too seriously, and his sense of humour was wicked. You can see that, especially in Josh, but also in the kind of comedy he brought in. All those funny lines, even that bit about the bakery turning into a rat house, that's all him. There are so many wild casting stories around Josh! Is it true that you originally wanted Aamir and Shah Rukh together in the film? So after Jo Jeeta Wohi Sikandar, I was looking for a script. And it was then I wrote a lot of Josh, and I had both Aamir and Shah Rukh in mind, Aamir for the romantic part, opposite whoever the actress would be, and Shah Rukh as Max. But when I narrated it to Aamir, I didn't tell him who was supposed to play which role. So he started imagining that he'd be playing Max. I thought, 'Oh no, now what do I do?' In my head, I was like, okay, don't jump the gun. Let me go see what Shah Rukh says first. Not that I ever intended to give Max's role to Aamir, honestly, I just wanted to see how the cards would fall. So I went to meet Shah Rukh and narrated the script to him. He really liked it. And by the end of the narration, he'd already started talking about the scenes, because his mind is very active. He was like, 'Yeah, in that scene, Max can do this, and in that one, Max can do that.' And I thought, 'Oh God, this guy also wants the same role' But anyway, I did want him for Max. So I asked, 'Shah Rukh, are you doing the film?' And he said, 'No, because I know Aamir will get Max's role.' At that point, I didn't really know how to respond. So I just left it there. I didn't say anything. But later on, Aamir himself said, 'No, no, I don't want to play this role.' He'd already done a lot of soft-boy, lover-boy parts. And he'd also done that tapori role in Rangeela, so he wanted to change his image. So he said no on his own. Anyway, in my mind, even to this day, there's only one Max, and that's Shah Rukh. He's got that panache, the humour, and that underlying threat needed for the role. He is a charismatic guy. Did Aamir ever see Josh? What was his reaction to it? He saw it at that time and said he hated it. So I said, okay, fine. I was pretty disillusioned after that too. I didn't watch it again for 15, maybe 17 years. I finally saw it about eight years ago, and honestly, I feel it's not a bad film. I told Aamir, 'You should see it now.' I said, 'See, back then, the wounds were still fresh.' Also Read | When Mansoor Khan asked Priya Gill to hit Shah Rukh Khan 'with force': 'It was most embarrassing part of my career, entire set was silent' How was it working with Anu Malik on the music of Josh? So my first choice was actually AR Rahman. I went and met him, but I suddenly realised, Rahman is excellent, no doubt, but his work style is very different, and he's quite elusive. I'm used to sitting with music directors and really being involved, because I play music myself. I record, I compose my own songs. In fact, that's a big part of my life now, which I had ignored for a long time. The thing is, I like to interact closely, right from selecting the tune, obviously, but even down to the instrumentation and arrangement. I want a certain sound. I want a specific drum sound, a certain electric guitar tone. I don't want screeching violins. They can definitely be used, but in the right way, not the overused, clichéd way they often are. And I knew that kind of hands-on process wouldn't happen with Rahman. So when I came back from Chennai, I called him and said, 'I'm sorry, Rahman, this is not working out.' He was very gracious and understanding. Now, Anu, since I had worked with him on Akele Hum Akele Tum, he was already pitching for this film. He knew I was about to start something new, and he was hoping I'd take him again. I had actually told him, 'No, Anu, this time I'm going to work with Rahman.' But when that didn't work out, I came back and called him, and he was thrilled. And honestly, Anu is really one of a kind. He's full of tunes, he's a melody guy. Whose idea was it to have Shah Rukh sing 'Apun Bola'? I'm so glad you brought this up. So, I had actually heard 'Aati Kya Khandala' way before anyone else had—way before any of the guys had heard it. But it just didn't fit into my film. I realised that Aati Kya Khandala, from a musical standpoint too, and also in terms of tone, just didn't belong. I really liked the song, it was exciting, but I don't like forcing things into a film when they don't naturally fit where I want them to go. Actually, maybe it's a good thing they took it, because they kept the original lyrics, which were perfect for what it was. If I had taken the tune, I might have taken the lyrics somewhere else, and maybe it would have worked, maybe not. So, coming to your question, I think, yeah, maybe I did get inspired because Aamir had sung Khandala. That's when I thought, 'Hey, let Shah Rukh sing, it should feel more like him.' Because that's really his only song in the film. I mean, not the only song, but the one that really needs to reflect his character. Like 'Sailaru Sailare', that one, honestly, anyone else could've sung it too. In fact, someone else might've done it even better. Were you disappointed with the way the film performed at the box office? The first thing is, reception never really affects me. When I finish a film, for me, it's all about whether I feel I've done a good job. Whether I've stayed true to the premise and rendered it the way I visualised it. And if I've done that, then I feel it's not bad. Of course, what's considered good or bad also depends on audience taste. But I go by my own judgment. So I never felt like, even when Aamir told me he didn't like Josh, that didn't affect me. Because, I don't know, I just felt that there's something about Akele Hum Akele Tum, Josh, and even Jo Jeeta Wohi Sikandar, my films tend to take time for the audience to really get into them. Like, if you go on YouTube, I used to read comments there, when Akele Hum had just released, the internet was just starting to become a thing. And maybe 10 years after its release, I'd start seeing reviews that were like, 'Oh okay, decent film, nice story, this and that…' But if you read the comments now, of all my films, Akele Hum actually has the most engagement. On one particular channel alone, it's got nearly 70 million views. And it's not just about the number of views, people might watch and move on. But the comments, they're like, 'Oh my God, I cried my heart out,' 'What a film,' you know? Times have changed. So the taste and preferences also evolve. Finally, we've heard whispers that you may be returning to filmmaking after all these years. Is that true? Can you tell us anything about what you're working on? See, let me tell you that I have written two books. The first one is non-fiction, called, The Third Curve, and it's about the concept of perpetual economic growth. It questions whether such growth is truly possible or sustainable, and explores how we've built an entire global belief system around the idea of endless growth, treating it almost like a religion. It critically examines how symbolic financial instruments like hedge funds and stock markets contribute to an illusion of growth, disconnected from real productivity. The second book is fiction, titled, One: The Story of the Ultimate Myth. It deals with deep ecological and cultural themes. It argues that it's not all of humanity, but specifically the culture of civilization that is responsible for the destruction of the planet, through its values of expansion, dominance, and consumption. The book explores how civilisation behaves like a virus, converting or wiping out other cultures, and how our understanding of 'progress' and 'advanced' cultures is flawed. And I'm in the process of adapting this book for the screen and hoping to collaborate with Aamir on it.