And as the TV executive, played with ruthless charm by Amruta Subhash, says, “An actor needs an audience, an audience needs a drama, therefore an anchor needs drama.” Unfortunately, the viewer becomes a victim, believing the anchor, idolising him, and most importantly thinking that what he is saying is the gold standard.īased on the 2013 South Korean film The Terror Live, recommended to Madhvani by his lead actor Kartik Aaryan, it exposes the cruel hierarchies of urban life, something the migrant had thought he would leave behind in the village the ease with which people get slandered and the poisonous politicians who divide and destroy. But the real enemy here is the TV anchor-that studio star who sits in front of a green screen, casually hash-tagging people, telling their version of the truth, choosing what to speak up on and what to make invisible. Politicians who turn every adversity into an opportunity. TV anchors who promise truth and deliver TRPs. Labourers who get starvation wages as they build the bridges, flyovers, and skyscrapers that make the city. “I have 22 finished scripts ready to shoot,” says Madhvani, even as he savours his journey so far.ĭhamaka, running on Netflix, has become a conversation starter as it examines the moral corruption around us. His most recent film, Dhamaka, which takes a long, cold hard look at the media of today, has come this year, after a gap of five years.
His next film came 14 years later, in 2016, Neerja, based on the life of Neerja Bhanot, model, and air stewardess, who died fighting the hijackers of Pan Am Flight 73 in 1986. He directed his first film, the experimental Let’s Talk in 2002. He is also a patient man, undeterred by the twists and turns of fate.
A movie with Aamir Khan playing Commodore KM Nanavati who infamously shot his wife’s lover in 1959 didn’t happen because Akshay Kumar’s Rustom (2016) beat them to the draw. A proposed “woman-centric” movie with Kajol fell through. A fantasy film with Amitabh Bachchan didn’t take off.
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