From Rediff.com:

Ravi K Chandran is one of India's leading cinematographers. Witness his imaginative camerawork in Farhan Akhtar's Dil Chahta Hai and Rakesh Roshan's Koi... Mil Gaya and you'll know why. He also won acclaim for his work in Mani Ratnam's last release, Kannathil Muthamittal.

Chandran, who is currently filming Sanjay Leela Bhansali's Black, shares his experience of working on Ratnam's new film -- he is part of both the Hindi and Tamil versions -- with Shobha Warrier.

Mani Ratnam's new film [Yuva and Aayitha Ezhuthu] has three protagonists from three different stratas of society. I shot them differently. One is socially conscious, one very angry and violent and the third very self-centred.

Take Madhavan's character [played by Abhishek Bachchan in Yuva]. He is from the slums. He is very violent. I have kept red as his background colour. We shot this character with a hand-held camera with quick cuts because we wanted to show his edginess through the camera. His shots are not glamorised at all. It is supposed to hit you hard.

On the other hand, Siddharth [played by Vivek Oberoi in Yuva], the son of an Indian Administrative Service officer, wants to go to the United States. He is not bothered about what is happening around him. He is only concerned with his life. I shot him with long lenses and made all that was around him out of focus. His colour scheme is blue. Everything about him is shot very stylishly.

Soorya [played by Ajay Devgan in Yuva] is an idealist. He is the son of a widowed mother. His father was also an idealist and a revolutionary. He is a born leader and fully aware of what is going on around him. I shot him with wider space and with a lot of people around him all the time. Students, members of various unions and ordinary people always surround him. His background colour is green.

I shot all the three [characters] in three different negatives to get a distinct effect.

The Tamil film is set in Chennai; the Hindi one in Kolkata. I enjoyed shooting in Kolkata. The West Bengal government gave us permission to shoot wherever we wanted. I could picturise the ancient beauty of the city. Everything about the city is so beautiful that the Hindi version is visually more appealing. Even the colour of the taxis is so vibrant.

Initially, we had no plans to feature any songs in the film. But they [songs] were so good that we decided to shoot them too. After the songs started appearing on television, I received eight to nine offers.

The film was planned in a very tight schedule of 90 days. It got extended. The good thing about Mani Ratnam is that he gives you the full concentration and energy required to shoot. This was very important as we wanted to shoot both versions of the film simultaneously.

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And from Yuva's official website:

After reading the script we decided that each of the three characters had to be treated differently.

The film has three different stories, environments, colors, lensing, shooting style, different stock, everything. Arjun's (Vivek) is very yuppy and has quite a modern style of framing. We used a lot of the tele lens. Whereas Lallan's character (Abhishek) is very edgy. So we used a lot of handheld, wideangle, straight light, hard light, high contrast. In Michael's story (Ajay) the composition was more classic. A lot of greenery, serenity. One feels confident when he enters the frame. That's the kind of look we did for him.

A first for me was shooting the climax completely in 45 shutter angle. I used a lot of zooms and trolleys to give pace to the action. I enjoyed the sequences though everything was a little difficult because of the pace of shooting.

From Rediff.com:

'How does one translate Chakka lakka bukka in English?' wonders Yuva dialogue writer Anurag Kashyap, bemused.

Kashyap is holding a huge sheet of paper containing the Hindi lyrics of the songs in Mani Ratnam's youth-oriented drama starring Ajay Devgan, Abhishek Bachchan, Vivek Oberoi, Rani Mukerji, Kareena Kapoor, Esha Deol, Om Puri and Anant Nag. He has to write the English subtitles of the songs for the print that will be screened at the Indian International Film Awards in Singapore later this month.

Working with the celebrated filmmaker was a trying but enriching experience for Kashyap. The writer of films like Satya, Shool, Kaun and Nayak gives Sukanya Verma the inside dope on Yuva and Ratnam.

Yuva is about these three characters from different walks of life and different social stratas. It is based in Kolkata. There is Michael (Ajay Devgan), a senior college student. He is doing his PhD. He has got scholarships abroad and his life is life laid out before him. He is also very affected by the political situation. So he chooses to be an active in politics. He wants people to take their own stand and not depend on others. He is socially conscious, aggressive, aware and intelligent; he is a man who wants to bring about change.

Then there is Lallan (Abhishek Bachchan), a refugee from Bihar. He has come up the hard way. He is a hardened man. How he looks at life; how he becomes a pawn in the larger game of politics -- the goonda element comes in here -- that is his story.

There is Arjun (Vivek Oberoi), a student who has everything decided in life. All he wants is to have fun and go to the US. He scorns public service. He wants to fall in love. He wants to have a lot of girlfriends and make a lot of money.

The film is about how the lives of these three guys crisscross each other and where this leads them. Their lives almost become irreversible. It is a light-hearted film; at the same time it takes on serious issues. These three characters have a different hue and tone to them.

Mani Sir gave me the story and screenplay he had written. Everything was given to me completely in English. He gave me the opportunity to create a little atmosphere for Lallan's character because he is from Bihar. I know UP [Uttar Pradesh] and Bihar firsthand. So I gave a lot of inputs, the right lingo -- Hindi language-wise and attitude wise.

A lot of it was clear in Mani Sir's head before it came to me. Mani Sir and Sujatha Sir -- a very senior and great dialogue writer in Tamil -- wrote the dialogues for Aayitha Ezhuthu. Sujatha Sir is a novelist who enjoys a cult following in Tamil Nadu. He writes the dialogues for all Mani Ratnam and Shankar films. So they [Ratnam and Sujatha] wrote all the dialogues in Tamil first. Then they were translated in English. Then they were given to me.

In some places, he wanted me to stick to the original dialogue because it was making a point. At other places, I was given a free hand. I was allowed to change things. Then the process was reversed. Whatever I wrote in Hindi was translated into English. Mani Sir would check it and ask for changes. It was a long process for Mani Sir, not so much for me.

Do the characters in both the languages -- Tamil and Hindi -- speak the same way?

No, Aayitha Ezhuthu is different in many ways from Yuva. Structurally, they might be same but, issue-wise, the Tamil version is very different from the Hindi one. Issue-wise, the basic difference between the two languages is that Tamil is more aggressive and spoken very fast. Hindi is not spoken as fast, so it becomes very lengthy.

Secondly, the Tamil film is based in Chennai. Yuva is set in Kolkata. So the Chennai film has issues that are Chennai-based. The Hindi film has issues that are Bengal-based. That's the difference.

I was given the opportunity to create the atmosphere of Kolkata and provide the base that was not there in Tamil. But the design was always Mani Sir's. It was always redesigned [as compared to the Tamil version] and given to me. My contribution in this larger scheme of Yuva is very small.

If I take credit for anything, it Lallan's character, language and flavour. Lallan has a very north Indian dialect. The language used in the film is a spoken language, which is why the characters look natural. The actors are also at ease with themselves. Mani Sir might not know Hindi but he senses when someone [the actor] is trying to make it [the performance] over-dramatic or go out of line. He knows how to hold it.

The film was very clear in Mani Sir's head. He knows exactly what he wants. He is a slavedriver [smiles]. He made me do so many drafts even after having so much clarity, which made me learn so much from him.

He had come down looking for a writer. I think Ram Gopal Varma recommended my name. Mani Sir saw Paanch as well. I was doing my own film [at the time]. I had written a film [Sangam Mail] for Shaad Ali. Shaad also told Mani Sir [about me].

I write very fast. And Mani Sir wanted someone who could do it [the Yuva script] very fast. I went down to Chennai for 20 days. I stayed in a hotel and did the drafts. I came back and started doing my own film. After that, he called me whenever he needed changes.

I don't understand Tamil. But I wrote for Nayak, which was based on Shankar's Tamil film, Mudhalvan. I watch a lot of Tamil films. I saw Sethu before it was made as Tere Naam. I have watched a lot of Bala's films.

The experience of working with Mani Ratnam was extremely rewarding. He pushes you to the limit and beyond. When I write for myself, I do a draft. I know where things are wrong. I formulate it in my head and make changes on the spot. I don't spend a lot of time on paper.

Mani Sir's working style is very different from everybody else's. He wants to design everything on paper. There is also a lot in his head that we don't know about till the final product comes out.

There is one spontaneous option: He says this is what is not working. So I say spontaneously, this is how we can do it. And he will say, 'No, what if we do this?' He keeps pushing you.

There are as many as eight options he brings out of you; you end up being surprised with yourself. The thing is that you never realise that Mani Sir slowly manipulates you towards getting the best out of you.

He also makes you realise, 'Don't think you are not capable of doing this.' Before working with him, I never thought I could work on light-hearted stuff. Everybody used to treat me as somebody very serious. He brought all these elements out of me. I realised I am as vulnerable and emotional as many other people.

He is a man of very few words. Mani Sir doesn't gossip. That's the best thing about him. There is no frivolous talk. There is always work. He is always the first one to reach the office. The man wakes up at 5 am, reads the paper, and goes for a one-hour walk and still has that passion for cinema after so many films. He lives and breathes films.

Work with Mani Ratnam again? Anytime. I will go down on bended knee [to do so]. I have all of Mani Sir's films on DVD.

I have seen Yuva. I have not seen the Tamil version yet. I want to. Yuva has shaped up brilliantly. Technically, they [Mani Ratnam and cinematographer Ravi K Chandran] have done things that give the film a whole new style. He has shot the three different characters in different hues, tones and styles.

I want to wait and watch the reaction to Yuva. In form, structure and attempt, it is so far removed from other films. It speaks to the youngsters. It also shows the youngsters to the elders as they are.

Mani Sir constantly attempts to go into an area [subject] where no one has gone before. My expectations are very high. I want to be there in the theatre and see how people react to the film and write about it.

From Rediff.com:

Art director Sabu Cyril's first major success was the Malayalam film, Kaalapani. His work in films like Kamal Haasan's Hey! Ram and Shankar's Boys have also been impressive.

Like cinematographer Ravi K Chandran, Cyril also worked with Mani Ratnam on his last release, Kannathil Muthamittal. He tells Shobha Warrier why working on Yuva and Aayutha Ezhuthu was a challenge for him.

The director [Mani Ratnam] had drawn three protagonists from three different backgrounds. I had to create everything differently for each of these characters.

I studied each character in depth. I gave them [the three characters] a distinct colour, mood and background to suit their temperament.

The character played by Ajay Devgan [played by Surya in Aayutha Ezhuthu] is a Christian. To create his house, I followed [the arrangement] my own house. I used some of the photographs in my house. The photo of the 'first communion' is very common in a Christian house. You will not find it anywhere else. I placed a lot of plants near the window. The refrigerator [used in the film] is an old Alwyn model.

Siddharth's [played by Vivek Oberoi in Yuva] house is modern with a lot of blue [coloured objects].

On the other hand, Madhavan's [played by Abhishek Bachchan in Yuva] house is rugged. The plastic in the house is rough. The walls are bare.

Shooting in the crowded areas of Kolkata was difficult. I recreated the streets of Kolkata in Chennai. That was a very big challenge. Unless the work is challenging, we [creative artistes] don't get satisfaction. Everything about Kolkata had to be correct, including the name boards on the streets. I bought two hand-driven rickshaws from Kolkata and made four more here [in Chennai].

I had to recreate Chennai in Mumbai for the Tamil version [Aayutha Ezhuthu]. We wanted to shoot at the harbour [in Chennai]. We were not given permission. I had to recreate the Chennai harbour in two days. I do not know if anybody knows this: I recreated Sri Lanka in Kerala for Mani Ratnam's Kannathil Muthamittal.

In Yuva, I constructed a set between two huge European buildings. I transformed one room into six sets. One day, it would be the principal's room, then the library, then a house and then a court.

We also put up a set for a song [Fanaa]. Mani Ratnam was shooting a song on a set after a long time. It [doing the art direction for Yuva and Aayutha Ezhuthu] was difficult because I had put up a lot of sets in a very short period.

I really enjoyed working with Mani Ratnam. He is very good at heart. I could vibe very well with him.

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And from Yuva's official website:

This film was exciting for me because you have different economic backdrops in one film. Lallan from the terrace of his house you can look down onto the street, so we had to recreate the Calcutta streets in Chennai. But it was easier and convenient for us to do this because it's not easy to shoot in Calcutta due to the crowds.

Arjun's father is from a higher society, so that means a higher standard of living. That had a minimalist design that you can see in the film.

Michael is from a lower middle class background with a clean house, a Christian house. So we had to get a feel that was in between the other two and I think it has worked out.

We've sort of given a color code to each one that is unconsciously seen in the film. I had the scope to try a range of things in the same film.

From Rediff.com:

With six National Awards under his belt, editor Sreekar Prasad is inarguably one of the best in India. His last National Award was for the Mani Ratnam's Kannanthil Muthamittal.

Prasad tells Shobha Warrier how he edited Mani Ratnam's new bilingual.

Mani Ratnam's film is about three different characters belonging to different strata of society. We chose different editing styles for each character. The character played by Madhavan [essayed by Abhishek Bachchan in Yuva] is erratic and unpredictable. So I used lots of cuts to make him look as unpredictable as possible. That way, we could give more energy to his personality.

On the other hand, the character played by Surya [Ajay Devgan in Yuva] is more of an idealist. He is little more steady- paced compared to Madhavan. I didn't go for many edits or cuts. Whatever cuts I had for him were not fast.

The third character played by Siddharth [Vivek Oberoi in Yuva] is totally different from the other two. He is young and wants to enjoy his life. He is very modern too. We have lots of fast motion for him. What you may call 'ramping', which is actually controlling the motion of the shot.

Normally, shooting is done at 24 frames [per second]. Wherever we wanted to push the narration, we went for a higher speed for this character. In the song sequences, we pushed it ten times faster. I have tried to bring this sort of speed in editing too. Of course, when all three are there in a frame, we could not stick to one type of editing. The editing pattern is the same for both languages. They shot one language first, then the other. Sometimes, it would be Tamil first. Sometimes, Hindi.

When I edited the first version, I had an idea of what the second version would be like. While shooting the next language, they [makers] didn't redo it. They always improvised on it. Both versions are quite similar because the story is the same. The editing pattern was more or less the same for both the languages [Hindi and Tamil].

I have worked with Mani Ratnam in his last two films, Alai Payuthey and Kannanthil Muthamittal. As a director, he [Ratnam] gives you a lot of freedom to create an edit pattern. He gave me some wonderful material to work on. It was great fun to get the desired effect. To a great extent, we have achieved a good edit pattern for this film.

Alai Payuthey was a love story. It only had a couple of characters. Kannathil Muthamittal was about a girl in search of her mother. In this film [Aayitha Ezhuthu and Yuva], there were more characters and three protagonists. So, it was definitely much wider in scale. There was more variety and scope for me to work.

I particularly enjoyed editing the sequence for the song Dhol, picturised on Madhavan. It is [a] rap [number]. The director was trying to tell a story through the song. It had to have the energy of a song and convey the story. It was a challenge editing it [Dhol].

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And from Yuva's official website:

It's special working with Mani Ratnam. The passion he has for making films rubs off on you. His characterization and very different way of interpreting a scene excites you.

Yuva is very exciting because it's got three different types of characters - the way it was shot and the way it was edited tried to complement the character. Say sometimes it's energetic and sometimes laidback depending on the character.

In Lallan's track that was mostly shot handheld there is a raw energy. I used more cuts. The cuts are unpredictable to build the character. All the shots were from the same axis and that was very interesting to work with. It was new. Arjun's is more today and modern so we used ramps. Michael's is very intense so there are lengthier shots. I didn't cut often. The character dictated the cutting for me.

From TheStatesman.net:

The chosen one? Abhishek Bachchan faces Subhash K Jha.

What makes Yuva such a special film for you?

Mani Rathnam. The genius that he is, he has the knack of making everything seem just right. And when I say everything I mean everything from the dialogue to the costumes, set design, music, acting... To me everything felt right...

How did Yuva come your way?

I don't know. My luck I guess. Shaad Ali who worked with Mani Rathnam and is a very good friend of mine told me Mani Sir wanted to meet me. I thought he wanted to get in touch with dad through me. I went and met him. He offered me a film. When he narrated the script I was stuck by how simply he narrated a rather complex plot. Later I was to realise that's how he worked. After he told me the story and my character he said, 'I forgot to mention the most important thing. Would you like to work with me?' I just laughed and told him what an honour it would be to work with him. I'm thankful I got Yuva at a time when I really needed it. It boosted my confidence as an actor. I've evolved with Mani. When Maddy (Madhavan) who has worked extensively with Mani came to wish us on the first day he told me I was heading for big trouble.

Why?

According to Maddy, Mani spoils his actors. It's hard to come out of his spell. Now I know what Maddy meant. What I really love about Mani is that he's a very keen observer of life and people. He gives reference points for every scene. He's always watching even when the camera isn't on. That's scary. Because even when you aren't working you feel you're being watched. He'll suddenly say, 'You remember what you did last evening at dinner? I want you to do that.' An actor has to work with Mani to understand what he's all about. The confidence he's given me is immense. I've never played a character like Lallan before. He's by far the most complex character I've played. He's so hard to classify. One thing that Mani and I decided about Lallan is that he wouldn't be ambiguous. Lallan is very clear about what he wants in life.

This is the darkest character you've ever played?

I don't think Lallan Singh is dark. Through the process of playing him I actually got to understand and like him. When I see the film now, I feel a strange empathy for him. That's weird, because at times he's anything but likeable. But he isn't a villain or a grey character.

Your co-stars say yours is the best role and performance in Yuva.

They're very kind. To be honest all my co-stars - Ajay, Vivek, Rani - have been very supportive. My performance has little to do with my abilities. If it's effective it's because of the way Mani wrote the character. He encouraged me to play Lallan the way you see the character. And I got a lot of help from my costars specially Rani who plays my wife. A character can flourish if it has the ambience and space conducive to growth.

Your father could flourish in the most cramped spaces.

That's why he's the Chosen One. That's why he's the best.

...Did you have to be a serious student of cinema during the making of Yuva?

I've had the time of my life working with Mani. His has a terrific unit. I've worked with many of them in the past. On top of that I had some wonderful costars. So the whole experience was amazing. Mani is wonderful with his actors. He talks to us, makes us feel comfortable. One can talk to him about anything. Even after pack-up he spends time with us.

Since Yuva is a film about male bonding did you feel closer to the guys than the girls?

Quite frankly I didn't work much with any of the girls except Rani. We guys did spend a lot of time together. It was great fun. It may sound cliched to say we were one big happy family. But that was a fact.

What do you think of Madhavan playing your role in the Tamil version of Yuva?

I haven't seen much of it. But from whatever little that I have I can say Maddy's done a fantastic job. Maddy has worked a number of times with Mani and I admit I'm jealous (laughs). I don't think there's any real competition between the two versions of the film. I'm very fond of Maddy. I want both the versions to work. I've seen how hard Mani has worked on both. Yuva has a universal theme, though for the life of me I can't classify what kind of film it is. What Mani said about Yuva makes sense - 'It's about three individuals and their choices in life.'

Two Abhishek Bachchan starrers in two weeks!

And what's wrong with that? Approximately one billion people watch Hindi films. I'm sure there're enough people to watch Run and Yuva. I've no control over my films' release. My job is to act.

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From Indiafm.com (by Taran Adarsh):

Karan, Ramu's confidence in Abhishek

Abhishek Bachchan and Rani Mukerji's fan following seems to be multiplying by leaps and bounds!

Although YUVA hasn't lived up to the gargantuan expectations [the box-office collections are seeing a downward trend already!], Bachchan Jr. and Rani seem to have won immense praise for their performances not just from renowned critics, but also by the badshaahs of Bollywood.

Karan Johar, who met this writer met after the premiere of YUVA at Singapore, spoke highly of Abhishek's potential as an actor. "We've grown up together. And I've carefully watched all his films. Abhishek has evolved as a brilliant actor in YUVA. He's tremendous in this film," says Karan.

The maker of K2H2 and K3G feels that Abhishek and Rani make a wonderful pair, on screen of course. "They remind me of Amitabh and Jaya Bhaduri - the golden pair," he beams.

Ramgopal Varma echoes similar feelings. "Abhishek is fantastic in the film. His growth as an actor is for all to see. Rani was equally good in the film. And they make a wonderful pair," says Ramu.

Such admiration is rare, especially in these competitive times!

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From Rediff.com (by Syed Firdaus Ashraf):

Abhishek Bachchan: It is a great honour to be in Yuva

There is an interesting story behind how Abhishek Bachchan bagged Yuva. Apparently Bachchan Jr does not answer phone calls from unidentified numbers. So when Mani Ratnam called him up, he didn't take the call. Thank God for Bachchan's friend and Ratnam's former assistant Shaad Ali (Saathiya), who intervened and got the two talking. That's how Bachchan landed a plum role in Yuva.

The 28 year-old's rustic and intense look as Lallan Singh, as seen in the promos of this much-awaited film, has come in for much appreciation. Will Yuva be that elusive hit he has been waiting? The actor doesn't know. What he does know is this: try and try until you get it right.

In a candid interview to rediff.com, Abhishek Bachchan tells Chief Correspondent Syed Firdaus Ashraf why it is an honour to work with Mani Ratnam and about Yuva. In Part II of the interview, which we will carry tomorrow, he talks of that elusive bird, success. Don't forget to log in.

Was Yuva made in Tamil and Hindi simultaneously? Were you involved in any aspect of the Tamil film?

The Hindi and Tamil versions of Yuva are separate. The only common things between the two are Esha Deol and the technicians. Both the films were shot separately and have a different star cast. They were not shot simultaneously. Yuva went on the floors first and then Tamil version too went on. But we never shot together.

What was working with someone as reputed as Mani Ratnam like?

Nothing short of GREAT! Mani, as we all know, is a highly acclaimed and respected director. It was definitely my dream to work with him. I am happy I worked with him early in my career. He is just brilliant. I do not have enough words to explain the experience of working with someone like Mani. It is a great honour to be in his film. Apart from what he does in films, he is also a great guy.

How did you bag a role in Yuva?

Mani was calling me and I didn't pick up the phone. I don't take a call unless I recognise the number that flashes on my screen as people uselessly call and disturb me. Then Shaad [Ali], a dear friend of mine and his [former] assistant, called me. He told me Mani Sir wanted to get in touch with me. I asked why. He said Mani Sir wanted to meet me as he was in Mumbai. I said okay. When we met, Mani narrated the story of Yuva. He then asked me whether I would like to work with him. I thought that was bit weird [laughs]. I agreed immediately. That is how it happened.

What is Yuva's basic plot?

It is a story of three individuals -- Ajay Devgan, Vivek Oberoi and my character. They live separate, independent lives. Until one incident brings them together. From then on, destiny takes them in a different direction.

I cannot classify Yuva as an 'action film', a 'romantic film' or a 'dramatic film'. The only thing I am sure about is: it is a 'Mani Ratnam film'. He was behind the camera. So, obviously, it will be a good film. I hope Yuva turns out to be a good film for audiences too.

Tell us about your character in Yuva.

I play Lallan Singh who belongs to the streets of Kolkata. He has to fend for himself from a very young age. He has no parents, only an elder brother. Having grown up on the streets, he has developed certain traits. If he needs something, he does not ask for it. He goes and grabs it.

His main concern is his own survival. He does not bother what people say about him. He is a rugged character.

He is a very passionate person, regardless of what he is doing. If he loves you, he loves you to death. If he hates you, he can probably kill you. He is a very interesting and complex kind of person. It was enjoyable to portray this character.

Coming from well-to-do family background, how difficult was is for you, as an actor, to play a street guy without seeing the harsh reality of street life?

We are actors. Our job is to act. At the end of the day we have to remember we are acting.

I try to bring in as much realism as possible. I do that by becoming observant. I sit with the director and understand my character and what I need to bring out in that character. If I come from a privileged family, it does not mean I cannot understand that character. Besides, Mani was very clear about Lallan Singh. It was not tough at all because he knew what he wanted from me in this film.

A R Rahman's music for Yuva is a hit. Which is your favourite number?

I like all the songs. Two songs have been picturised on me. Mani and Mr Rahman have come up with a new sound and style. All the songs are my favourites. It is very difficult to choose one among them. It is an enjoyable album.

How different is Mani Ratnam's style of working in comparison with that of Bollywood directors?

A director is a director. Like every actor, each director has his own unique way of working. They have unique approaches to their art and craft. Mani is no different. Like other directors, he has his own style.

Every time you sign with a new director, you have to adjust and find a rapport with them. It is just that it takes time a rapport to form between an actor and a director when they work with each other for the first time. There is no difference between a director from the south and a director from the north. We all are making a film. This is an entertainment industry. We all want to make good films.

Any particular shot in Yuva that satisfied you immensely?

The whole film was creatively very satisfying. There is no particular day that I can remember [as being better than the others]. The entire making [of Yuva] is memorable for me.

Generally, Hindi films aren't shot at Kolkata. How come Yuva is set there?

I don't know! I guess, visually and cinematically, Kolkata suited the background for the film.

What was working with Ajay Devgan, Vivek Oberoi, Rani Mukerji, Kareena Kapoor and Esha Deol like?

It is wonderful to work with so many cast members. They are all my good friends.

In this film, I only had the opportunity to work [shoot scenes] with Vivek, Ajay and Rani. I have worked with Rani in my earlier films. She is a good friend. Ajay is like an elder brother. This is the first time I am working with Vivek. He is a great actor. It was one big team. It becomes like a family when you shoot a film outdoors. I only hope this reflects on the screen.

There was a great sense of camaraderie on the sets. If you have people like Ajay and Vivek on the sets, it will be fun. We kept fooling around. But it was tragic when Vivek got hurt. We were supposed to finish the film in that schedule. We all were concerned about him.

Vivek Oberoi, Mani Ratnam in hospital

From Mid-Day.com (by Mayank Shekhar):

The location for Mani Ratnam's yet-untitled film witnessed an unfortunate drama, played almost to reel life yesterday afternoon on the Vidyasagar Setu (bridge over the Hooghly river) at Kolkata.

A motorbike collision caused a [leg injury] to actor Vivek Oberoi. And a blood pressure problem consequent to the accident had director Ratnam admitted to a hospital. Confirmed Suresh Oberoi about his son, "Vivek has broken his shin bone and has suffered a fracture on the left leg."

According to a source on Ratnam's film unit, the sequence of the unfortunate events played out roughly thus: Oberoi was being chased by Abhishek Bachchan on the bridge as part of a shot in the film.

The shot entailed a stuntman on a motorbike to miss colliding against Oberoi as the latter charged towards the moving machine.

Unfortunately, due to a slippery road, the bike skidded and crashed straight into Oberoi, [running over] his left leg.

The actor known for his roles in films like Company and Saathiya had to be lifted by his co-actors, Bachchan and Ajay Devgan, on to the stretcher.

Subsequently and apparently strung by Oberoi's accident on the film's location, filmmaker Ratnam complained of a chest pain, as a result of hypertension, and was rushed to the hospital as well for a detailed examination...

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Vivek to be operated upon in Mumbai

From Indiatimes.com (by Aditya Ghosh):

KOLKATA: Bollywood actor Vivek Oberoi was admitted to the Calcutta Medical College after fracturing his leg while shooting a fight sequence on the new Howrah bridge on Wednesday evening.

The accident occurred around 5 pm when the motorcycle which Vivek's dummy was riding, skidded and both the vehicle and the rider crashed into his left leg. He was rushed to the Calcutta Medical Research Institute.

CMRI medical superintendent Mala Chatyopadhyay said the X-ray report had confirmed fractures in his tibia and fibula. 'He is admitted to the ICU.' A team of medical experts led by Dr Subrata Dasgupta and Dr Ashok Das attended on him.

In a late night development it was decided to fly him back to Mumbai by a special Sahara flight at 6.30 am on Thursday. According to sources, Dr Sanjay Agarwal, who operated on Aishwarya Rai when she suffered an injury during shooting a couple of months ago, insisted that Vivek be brought to Mumbai and operated there.

It was the fourth day's shooting of Mani Ratnam's Hindi film that is being shot in Kolkata. The film stars Vivek Oberoi, Ajay Devgan, Abhishek Bachchan, Rani Mukherjee and Kareena Kapoor in the lead.

While Vivek Oberoi is paired opposite Kareena Kapoor, Ajay Devgan is paired with Simran and Abhishek Bachchan with Rani Mukherjee. A major portion of the shooting has already been completed in Chennai.

Since the story is set in Kolkata, Mani Ratnam decided to come over to the city to shoot keeping the cityscape as the backdrop. Shooting began early on Wednesday morning at the Vidyasagar Setu.

However, owing to heavy rainfall, the shoot had to be cancelled repeatedly. An action sequence between Vivek Oberoi, Abhishek Bachchan and Ajay Devgan was scheduled for Wednesday.

The make-up was perfect - blood stained faces and torn shirts - just what one expects in a fight sequence of Hindi films.

Talking exclusively to TNN from his hospital bed, Vivek said: 'I prefer going back to Mumbai because that's home. I have never been operated on before in my life, so I'm feeling a bit uneasy here. Full marks, though, to the Kolkata doctors who have really looked after me well.' He added that after his recovery it would be easier for him to get back to his schedule from Mumbai.

Dr Dasgupta, who was supposed to operate on him at 11.30 am on Thursday, decided to plaster his leg as a temporary support under general anaesthesia to enable him to fly. Vivek was shooting for a Mani Ratnam film - yet to be named - for the past three days along with Ajay Devgan and Abhishek Bachchan who had a narrow escape in the same accident. Mani Ratnam too complained of chest pain and was taken to B.M. Birla Heart Research Centre.

Vivek's father, Suresh Oberoi, when contacted in Mumbai, confirmed the accident, but refused to comment further. Oberoi said, 'I am in constant touch with the doctors and it is too early for me to say anything.' The Oberoi family is scheduled to fly to Kolkata on Wednesday night.

Interestingly, the accident is quite similar to the one that Aishwarya Rai met with a few months ago. The actress, who has been romantically linked to Vivek in recent months, is currently shooting for Gurinder Chadha's Pride and Prejudice in London . Industry sources reveal that Ash is under contractual obligations which prevent her from aborting the shooting schedule.

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Vivek Oberoi admitted to Bombay hospital after accident

From Paksearch.com:

BOMBAY: Bollywood heartthrob Vivek Oberoi, who was injured in a motorcycle accident during a film shoot in the eastern city of Calcutta, was Thursday flown to Bombay and admitted to a hospital.

'There is a fracture of his shin,' Oberoi's brother Anand Oberoi told reporters outside the city's Hinduja hospital.

Doctors at the hospital said his left shinbone was broken in two places. 'We gave him two options, either to go for plaster or for surgery. He has opted for the latter and we will be conducting an operation later in the day to insert a rod in the leg,' said Doctor Sanjay Agarwal. He said the actor would not be able to work for three months but in a week would be able to walk using crutches.

Oberoi was injured Wednesday during a motorcycle stunt but the details of the accident were unclear. Shortly afterwards the film's director Mani Ratnam was rushed to hospital with a suspected heart attack, but was found to be suffering from mild chest pain.-AFP

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Vivek successfully operated upon

From Indiainfo.com:

Bollywood hearthrob Vivek Oberoi has been operated on successfully by doctors on Thursday (July 17,2003) after he broke his left leg while filming a high-speed motorcycle chase in Kolkata. 'The operation was successful. We expect him to stand with crutches in a couple of days,' said Dr Sanjay Agarwal, who carried out the operation at the Hinduja Hospital. Full recovery, though, could take up to three months, doctors said. A Kolkata police official said Oberoi fell while being 'chased' by a stuntman on another motorcycle. He was admitted to a hospital, but transferred early Thursday to Mumbai. Mani Ratnam, the director of the yet-to-be-titled film, collapsed upon seeing the accident and was also hospitalised in Kolkata. He had complained of a heart pain, but doctors said he was suffering from stress and high blood pressure and was stable.

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Heartache follows leg break

From India Post News Service:

Master filmmaker Mani Ratnam had a near blackout while shooting for his untitled film over Calcutta's imposing Vidyasagar Setu, that arches over the Ganges or Hooghly, after witnessing an accident that fractured lead actor Vivek Oberoi's left leg. But while the director seems to have recovered quickly, his lead actor will have to spend quite some time out of action to get his leg back in shape again.

Vivek was admitted to the ICU of the Calcutta Medical Research Institute (CMRI) after fracturing his leg while shooting a fight sequence on the new Vidyasagar Setu , popularly known as the 'Second Howrah Bridge', which connects the twin cities of Calcutta and Howrah. CMRI medical superintendent Mala Chatyopadhyay said the Xray report had confirmed fractures in his tibia and fibula.

The accident occurred on July 16 evening when the motorcycle which Vivek's dummy was riding, skidded and both the vehicle and the rider crashed into his left leg. While Oberoi broke two bones in his left leg, Mani Ratnam had a near blackout while trying to help the stars regain control.

Vivek was shooting for the film for the past three days along with Ajay Devgan and Abhishek Bachchan who had a narrow escape too. While Vivek Oberoi is paired opposite Kareena Kapoor, Ajay Devgan is paired with Simran and Abhishek Bachchan with Rani Mukherjee in the film.

Ratnam was admitted to Calcutta's BM Birla Heart Research Centre with complications of postural hypotension and dehydration. Later, doctors attending on him said he was improving at a steady pace. Clinical director of BM Birla Heart Research Centre Dr Anil Mishra, who attended on Ratnam, said that all his tests, including ECG, were normal. "Though we would advise him rest for a day or two, we don't know whether he can actually afford it since his entire crew is here for the outdoor shooting of the film," Mishra said. Ratnam was released a day later.

Vivek, though was flown back home to Mumbai the next day and operated upon. According to media reports, Dr Sanjay Agarwal, who operated on Aishwarya Rai when she suffered an injury during shooting a couple of months ago, insisted that Vivek be brought to Mumbai and operated there. Meanwhile, Ash was away shooting for Gurinder Chadha's Pride and Prejudice in London.

Incidentally, Aishwarya Rai who has romantically been linked to Vivek in recent times had similarly suffered a fracture to her leg a couple of months ago while shooting for Raj Kumar Santhoshi's Khakee. A jeep had skidded and rammed into Ash who was sitting on a chair by the roadside.

It was the fourth day's shooting of Mani Ratnam's Hindi film that is being shot in the City of Joy. A major portion of the shooting has already been completed in Chennai. Since the story is set in Calcutta, Mani Ratnam decided to come over to the city to shoot keeping the cityscape as the backdrop.

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Vivek Oberoi is doing fine: Doctors

From Indiatimes.com:

MUMBAI: Bollywood actor Vivek Oberoi is doing fine and doctors at the Hinduja Hospital here denied reports that his health was not improving. Oberoi has been put on oxygen to ease his breathing problems.

Doctors attending him told reporters here that he was suffering from acute respiratory distress syndrome or fat embolism -- caused when fat from the marrow in the injured bone enters the bloodstream. The patient's breathing pattern gets affected as the blood tries to filter out the fat through the lungs. In such situations, the patient is put on oxygen, doctors said. However, his father, veteran actor Suresh Oberoi, told newspapers that he was worried about his son's condition. 'He's still on oxygen. It has become quite serious. I don't know how it reached this stage. Every day doctors say he is going to be fine but there is no improvement even after so many days. Everyone should pray for him,' the senior Oberoi has been quoted as saying.

Oberoi is recuperating from an operation after he fractured his left leg in an accident in Kolkata. He developed complications on July 17 and had to be rushed to the Intensive Care Unit of Hinduja Hospital.

The accident on July 16 occurred on the Vidyasagar Setu bridge on the river Ganges in Kolkata when Oberoi was filming a high-speed motorcycle chase. A motorcycle driven by a stuntman went over the actor's left leg, causing two fractures. His co-star Abhishek Bachchan and the unidentified stuntman also received minor injuries.

On witnessing the accident, director Mani Ratnam yelled out and then collapsed. He was taken to B M Birla Hospital in Kolkata, where doctors diagnosed him with a weak heart and low blood pressure. He was earlier thought to have suffered a mild heart stroke. Ratnam is said to be out of danger.

Oberoi hit the limelight with films like Company and Saathiya . Reports said Oberoi's future films like Sameer Karnik's Kyon Ho Gaya Na...Pyar? and Inder Kumar's Khujlee are likely to be affected by the injury.

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--more on the complications which developed following his surgery from Oberoi himself, on Page Three.