Balaji Motion Pictures is in advanced talks with Saif Ali Khan to play the lead in the production house’s remake of the Japanese novel The Devotion of Suspect X to be directed by Sujoy Ghosh. The novel was written in 2005 by the Japanese author Keigo Higashino known for penning mystery novels. The third in his Detective Galileo series and his most acclaimed work so far, the novel won the author numerous awards. The story revolves around an abusive husband who is murdered by his ex-wife and daughter and how a neighbour helps them to cover up the murder. “The film is scheduled to take off in the first half of 2015, once Saif’s dates and that of the other actors who come on board are confirmed,” said a source. While Saif’s Happy Ending releases next month, he has completed Kabir Khan’s Phantom, and has yet to shoot for Reema Kagti’s Mr Chaalu.
Any outdoor shoot is difficult to film as you have to deal with several factors, like traffic, weather and the curious crowd. Since most of Happy Ending was shot in Los Angeles where according to director Krishna D.K. the crowds were not terrible, but they had a lot of rules to follow.
“There’s one particular scene in the movie where Saif’s (Ali Khan) character chases Ileana’s (D’Cruz) character in a car. The street in LA became our set as we had to close down an entire bridge and create a highway and fill it up with 50 of our own cars and trucks. The time limit given to us was from morning to three in the afternoon and unfortunately, it turned out to be an extremely hot day! Though Saif is an enthusiastic driver, the heat and the fact that he had to drive several times became a bit too much. There was a time when he almost banged into the camera. I guess that was one of the most complex scene to shoot,” said the director.
Happy Ending which is produced by Khan, Dinesh Vijan and Sunil Lulla, releases on November 19.
Ever dreamt you’re back in high school and woken up sweating? Toughen up. Even Saif Ali Khan, Bollywood royalty who’s actually royalty, isn’t afraid of a little mid-life book learnin’.
Saif Ali Khan’s been going through a bit of a thing lately. You can see it, right there where his eyebrows meet the bridge of his nose. There’s been some looking back. There’s been some looking in. At times, he looks like he’s squinting into the sun, even though he’s sitting behind his desk in the tree-shaded study of his production company, Illuminati Films.
“I used to be a student of art history,” he explains, as I scan the titles on the hundreds of spines that fill the bookcase behind him, “and I’ve been trying to revisit things I wasn’t concentrating on when I was in school.”
He’s looking at me, but not looking at me. “I understand that with art,” he says, thinking aloud, “every major movement, every generation is finding problems, reinventing itself, and finding itself constrained.” His pupils dart left and right, reading a forgotten textbook in the air. Then, suddenly, he makes eye contact: “Cézanne, for example. What do you know about him?”