Bollywood’s new Mr Dependable

Nonika Singh

He is everywhere — from magazine covers to the exalted guest list of Koffee with Karan. Media’s darling, critics’ favourite, whatever Ayushmann Khurrana says or does today makes headlines. By self-admission, after the twin success of Andhadhun and Badhaai Ho, he knows he has become a star and is slowly letting the feeling sink in.

The Chandigarh boy, who made his debut some six years back with Vicky Donor doesn’t take all this attention too seriously. “We all know this is part of the circus drill, the paraphernalia and not the real thing, ” he says. 

What matters to him the most is the response to his films and how these scripts are resonating with viewers. “It’s rare for an actor to see two of  his films doing well, both going houseful simultaneously.”

The fact that not just two but four of his films in succession, including Bareilly ki Barfi and Shubh Mangal Saavdhan last year, have hit the bull’s eye is indeed an overwhelming feeling.

The world is taking note of his intelligent choices. He doesn’t play act or overdo the humility card or dumb down his ability to smell a winner. Of course, between the idea on the paper and what finally appears on the screen, many a film is lost in execution. He says, “If the writing is bang on, be rest assured  everything else will fall in place.”

Besides when he signs a film, it’s not Ayushmann the actor or the star who is signing the dotted line but Ayushmann the viewer.

“If I am entertained, so I believe will the audience be,” he elaborates further, “A film has to work in totality; whatever works for the script will ultimately benefit you. It’s not just my chemistry with my leading lady that is vital but also other actors.”

This is a lesson he has learnt from superstar Aamir Khan and his days of doing street theatre in Chandigarh.  He recalls how they were the first theatre group in the City Beautiful, whch did street plays that  were entertaining as well as cause driven. Straddling the unique space which critics call ‘middle of the road’ cinema, he says, “What could be better than a combination of commercial success and critical acclaim?”

His roles remain relatable — be it  taboo subjects like sperm donation or erectile dysfunction or midlife pregnancy, he strikes a chord with the audience.  In Andhadhun, his fingers moved like a pro on the piano keys. For this effortless act, he took piano lessons at a stretch   for three months for six hours each day. And the compositions you hear in the film are bona fide creations. He met many blind children to nail his part just right.

His fans can easily mistake him for an amiable, chirpy and talkative guy. But in real life, Ayushmann isn’t half as extrovert and has a handful of friends only. Certainly you can count Vicky Kaushal with whom he makes his much-hyped Koffee with Karan debut, part of the inner circle. “We two, both Punjabis, are members of the mutual admiration society.”

He would not get caught in the done and dusted insider outsider debate ‘which is so last year.’ However, to those who think he got his place under the sun rather early in life, he reminds that it came after suitable hibernation and waiting period, “Were I a star kid, perhaps, I would have made my debut at 22, and not 27, and not taken six years to be part of Koffee with Karan.” 

Clearly he’s on a roll.  Crown prince of realistic cinema or an intelligent actor capitalising on his strengths, audiences love him. How come he is never a target of vicious trolls?

He reasons, “See as it is you are acting on screen. If you start putting on a façade in real life too, people can smell the charade. Be your real self.” Earnestness is a quality Ayushmann nurtures and nourishes. He tries his best to retain the same freshness he had in his first film. From Vicky Donor to Badhaai Ho, he can’t say how much the actor in him has evolved but he sure has become wiser, especially as far as his choice of films goes. And hugely successful too as he will soon be making very important announcements on the career front. Only he defines success as being ambitious and content at the same time, a tenuous balance and rather difficult to achieve but he is constantly striving for it.

“For your own sanity, you need to get off the pedestal and be as normal and grounded as possible.” 

Relatable and rooted as Ayushmann sets the parameters for the new normal of stardom, a new kind of star is born. Starry airs are replaced by confidence and bluster by practical astuteness and competence has a new name; sheer effortlessness.

The family man

Life isn’t always perfect and you need to celebrate its imperfections, he realised when his wife Tahira Kashyap was diagnosed with cancer. But what could have devastated them has made them much stronger. They decided to face the adversity chin up. If he lauds his wife Tahira’s fighter spirit, who shall be making her directorial debut next year and is equally proud of his younger brother Aparshakti Khurana and the adulation coming his way. 

Growing up in the City Beautiful

“Chandigarh is a unique city, a mix of urban suaveness and rural rootedness, a nice cross between a big city and a small one. That is why maybe I have an edge over others for I can play a rich guy and a poor one, a boy-next door as well as the cool guy with equal ease.”

“There have always been lots of film offers. But there is a dearth of good scripts. I have been open to not just new ideas but working with new talent as well. Sriram Raghvan is the only A-list director I have worked with till date. Shoojit Sircar wasn’t the Shoojit before Vicky Donor. Same goes for Sharat Katariya or Ashwiny Iyer Tiwari, they weren’t big names when I worked with them,” says Ayushmann.