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Actor Manoj Bajpayee, who first rose to prominence through Ram Gopal Varma’s cult classic Satya as the unforgettable Bhiku Mhatre, is set to reunite with the maverick filmmaker after several years. The duo, known for their ground-breaking collaborations on films like Shool and Kaun, are now joining hands for an upcoming horror comedy titled Police Station Mein Bhoot. In an exclusive conversation with SCREEN, Manoj Bajpayee opened up about the experience of working with Varma again after such a long hiatus — and what felt different this time.
“It’s too early to say anything, but at least we’ve finished one schedule. This Ram Gopal Varma 2.0 is really going to blow your mind. In the first schedule, I myself was blown away by the taking, by the craft. Every shot, every detail, every suggestion kept me on my toes. I realized this isn’t the Ram Gopal Varma I had worked with before. This is a new RGV — someone who’s collaborating more than just directing, and surprising you with the way he sets up a scene. So yes, it’s still early, but I can say he’s going to be back — and how!”
RGV, who began his career with the pathbreaking Siva, and later made an indelible mark with films like Rangeela and Satya, quickly emerged as one of the boldest and most entertaining voices in Indian cinema. At his peak, he was a force to reckon with, delivering genre-defining films such as Kaun, Company, and Sarkar. However, by the late 2000s, Varma’s craft appeared to lose its edge. His signature style started to feel repetitive, and the stories lacked the bite that once made them iconic. While he continued to make films, few managed to make a lasting impact.
Now, with Police Station Mein Bhoot, there’s a renewed sense of curiosity and anticipation surrounding Varma’s next chapter. The filmmaker himself recently offered a rare moment of introspection. During the re-release of Satya, he shared a deeply personal reflection on social media, a kind of confession and a hint at the comeback he intends to make. He wrote: “Coming back to the hotel after the screening of Satya, and sitting in the dark, I didn’t understand why, with all my so-called intelligence, I did not set this film as a benchmark for whatever I should do in the future. I also realized I didn’t just cry for the tragedy in that film, but I also cried in joy for that version of myself. And I cried in guilt for my betrayals of all those who trusted me due to Satya. I became drunk not on alcohol but on my own success and arrogance, though I didn’t know this until two days back.”
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