Rakeysh Omprakash Mehra’s Delhi-6 featured one of the finest ensemble casts seen in Hindi cinema in the 21st century. At the heart of the film was legendary actress Waheeda Rehman, whose screen presence was as gentle and moving as ever. In a recent exclusive conversation with SCREEN, Mehra spoke about how the veteran actress came on board the project, especially after having worked with her earlier in Rang De Basanti.
Recalling his first approach, Mehra said that when he initially narrated Delhi-6 to Waheeda Rehman, she turned it down. “I went to her the first time with the idea of Delhi-6, but she told me, ‘Beta, I haven’t been acting much lately,’” he shared. Soon after, Rang De Basanti came her way. “I went to her again with Rang De Basanti, and she accepted the part because she really liked the story,” Mehra said. Following the film’s massive success, he once again approached her for Delhi-6. “I told her, ‘Now I can make this film because I’ve just delivered a super-successful film and people are accepting whatever I want to make.’ But she told me, ‘I did Rang De Basanti, but now I don’t really feel like acting.’”
Rakeysh Omprakash Mehra had approached Waheeda Rehman for Delhi-6 even before Rang De Basanti happened.
Mehra recalled, with a smile, how he finally managed to convince her. “I told her there was no problem if she didn’t want to do it, but I would build the set right outside her house. Every day, when she passed by, she would feel bad seeing everyone working while she wasn’t,” he said. “She laughed it off, and then agreed.” Speaking fondly about Waheeda Rehman, Mehra also shared that they remain in close touch even today and that the actress has found a new passion later in life.
“Waheeda ji is a part of our lives. Every Eid, we receive lovely kebabs from her house. On Holi and Diwali, we exchange sweets and everything. She remembers birthdays and anniversaries, and we are always in touch,” he said. “Now she has become an outstanding wildlife photographer. She has these cameras, and the last I knew, she was travelling through Africa and the jungles of India. She has done something truly beautiful with her life. She is also involved in a lot of work that benefits society, the money she generates goes towards social welfare.”
Watch the episode of Cult Comebacks on Delhi 6 here:
In the same conversation, Mehra also recalled approaching Rishi Kapoor with the script of Delhi-6, which the actor liked instantly. However, Mehra admitted he was slightly apprehensive, as most of Rishi Kapoor’s scenes were scheduled for night shoots. “I had heard he was averse to night shoots,” Mehra said, before recounting Kapoor’s reaction upon learning about the schedule. “He told me an anecdote. He said, ‘There was this director called Raj Kapoor who once narrated a film to me and mentioned that there were two or three days of night shooting. I left that film because of those three nights, and here you are telling me that your entire film is set at night?’”
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.”
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
Rakeysh Omprakash Mehra had approached Waheeda Rehman for Delhi-6 even before Rang De Basanti happened.
