Rishi Kapoor had, on several occasions, spoken openly about his strained relationship with his father, legendary filmmaker Raj Kapoor. Despite working together on several seminal films such as Mera Naam Joker, Bobby, and later Prem Rog, there remained a noticeable emotional distance between the two. Rishi often referred to his father as “sahab,” a choice of address that reflected fear than familiarity. However, despite having such a dynamic, the late actor once revealed that he had rejected a film offered by his father. This anecdote was recently recalled by filmmaker Rakesh Omprakash Mehra in an exclusive conversation with SCREEN. Mehra, who worked with Rishi Kapoor on Delhi 6, shared how the actor had turned down a Raj Kapoor film simply because it required night shoots.
Mehra recalled approaching Rishi Kapoor with the script of Delhi 6, which the actor liked immediately. However, Mehra was apprehensive, as most of Rishi’s scenes were scheduled to be shot at night. “I had heard he was averse to night shootings,” said Mehra, before recounting Rishi’s reaction when he was informed about the night schedule. “He told me an anecdote. He said there was this director called Raj Kapoor. He narrated a film to me and then told me that there were 2–3 days of night shooting required. I left that film for three nights, and here you are telling me that the entire film is set at night?” he recalled.
Despite the hesitation, Mehra stood his ground. “There is no other way and I need your help here,” he told the actor. Rishi Kapoor eventually agreed, making Delhi 6 the first film in which he shot extensively at night. “He did cooperate, and that was the first time ever when he shot at nights.” In the same conversation, Mehra also recalled Rishi Kapoor’s immediate response upon hearing the screenplay of Delhi 6. The actor was deeply moved and expressed his eagerness to be part of the project. “It reminded him of Jaagte Raho that Raj Kapoor made, and he added that there was a very strong social commentary, and he would love to do it.”
Talking about the dynamic between Rishi Kapoor and Raj Kapoor, the late actor also reflected on this complicated relationship in his memoir Khullam Khulla: Rishi Kapoor Uncensored. He recalled how Raj Kapoor would often return home late at night in a drunken state, an experience that deeply unsettled him. “There was a point in time, when I was a young boy, when his arrival was anything but pleasant. Those midnight moments haunted me for a long time, although I steadfastly refused to share my feelings with anyone, until now. My father would not only come home very late, but also very drunk,” he wrote and added, “From the moment my father staggered home, I would hide under my razai, shivering but alert, my eyes wide open, straining to hear what he was saying or doing. It was only when I heard his voice growing faint, as he moved towards his room, that I would relax and breathe easy.”
Anas Arif is a prolific Entertainment Journalist and Cinematic Analyst at The Indian Express, where he specializes in the intersection of Indian pop culture, auteur-driven cinema, and industrial ethics. His writing is defined by a deep-seated commitment to documenting the evolving landscape of Indian entertainment through the lens of critical theory and narrative authorship.
Experience & Career
As a core member of The Indian Express entertainment vertical, Anas has cultivated a unique beat that prioritizes the "craft behind the celebrity." He has interviewed a vast spectrum of industry veterans, from blockbuster directors like Vijay Krishna Acharya, Sujoy Ghosh, Maneesh Sharma to experimental filmmakers and screenwriters like Anurag Kashyap, Vikramaditya Motwane, Varun Grover, Rajat Kapoor amongst several others. His career is characterized by a "Journalism of Courage" approach, where he frequently tackles the ethical implications of mainstream cinema and the socio-political subtext within popular media. He is also the host of the YouTube series Cult Comebacks, where he talks to filmmakers about movies that may not have succeeded initially but have, over time, gained a cult following. The show aims to explore films as works of art, rather than merely commercial ventures designed to earn box office revenue.
Expertise & Focus Areas
Anas's expertise lies in his ability to deconstruct cinematic works beyond surface-level reviews. His focus areas include:
Auteur Studies: Detailed retrospectives and analyses of filmmakers such as Imtiaz Ali, Anurag Kashyap, and Neeraj Ghaywan, often exploring their central philosophies and creative evolutions.
Cinematic Deconstruction: Examining technical and narrative choices, such as the use of aspect ratios in independent films (Sabar Bonda) or the structural rhythm of iconic soundtracks (Dilwale Dulhania Le Jayenge).
Industrial & Social Ethics: Fearless critique of commercial blockbusters, particularly regarding the promotion of bigoted visions or the marginalization of communities in mainstream scripts.
Exclusive Long-form Interviews: Conducting high-level dialogues with actors and creators to uncover archival anecdotes and future-looking industry insights.
Authoritativeness & Trust
Anas Arif has established himself as a trusted voice by consistently moving away from standard PR-driven journalism. Whether he is interrogating the "mythology of Shah Rukh Khan" in modern sequels or providing a space for independent filmmakers to discuss the "arithmetic of karma," his work is rooted in objectivity and extensive research. Readers look to Anas for an educated viewpoint that treats entertainment not just as a commodity, but as a critical reflection of the country's collective conscience. ... Read More
