Sooraj Barjatya had a fascinating dialog with Mayank Shekhar of Mid-Age, right through which he spoke about his motion pictures, his go and likewise that of his manufacturing area, Rajshri Productions, began by means of his grandfather, Tarachand Barjatya. The flicks of Sooraj and likewise his just lately excused maiden internet form, Bada Naam Karenge, don’t have a villain. Motion additionally must be minimum, if required. Sooraj Barjatya spoke about this and likewise that his folk follows a rule accumulation: There can’t be a (typical) villain, and the selection of punches can not exceed 14!
Sooraj Barjatya finds his yellowish laws presen making motion pictures: “No villains, just circumstances; and exactly 14 punches!”
Sooraj Barjatya visible, “My father (Rajkumar Barjatya) and grandfather knew that the villain is a must. But it’s best if the villain can be a circumstance so that we don’t have too much violence. In Hum Aapke Hain Koun (1994), the death of the bhabhi is a circumstance. In Maine Pyar Kiya (1987), bechare ke note bheeg jaate hai. That is the circumstance. In Uunchai (2022), the protagonists want to climb the mountain and, in their case, age is a circumstance.”
As for the 14-punches rule, Sooraj stated, “You know how action directors are? They can go on and on (laughs). They’ll be like ‘Aise maarenge’. They’ll go on and on until you stop them from fighting. Hence, we came up with this idea that ’14 punches ka fight chahiye; bas itna hi maarenge’!”
He additional defined, “The idea was that the families should be able to see the film together. That used to be the core. At times, we have gone out and broken these rules. Somehow, they have not worked, and we keep coming up. The films that have worked for us are the ones that have stuck to these values.”
Sooraj Barjatya additionally spoke in-depth about making Major Prem Ki Diwani Hoon (2003) and the way its underperformance introduced him again to his roots.
Additionally Learn: Pushpa-level industry in 1948? Sooraj Barjatya says his grandfather Tarachand Barjatya excused the primary Pan-Bharat blockbuster, Chandralekha: “It was the Baahubali of those times”
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