'Rather than trying to silence critics, make better films', says Indian author Anupama Chopra

Isn’t it surprising that Leonard Maltin, one of the top five film critics of all time, holds the world record for the shortest movie review ever. For the film Isn’t It Romantic?, he wrote: “No.” His rationale was simple: “Why waste mine and the viewer’s time?”

In contrast, the accomplished film critic and author, Anupama Chopra, adopts a more nuanced approach. She believes that art is inherently subjective and that audiences deserve a thorough analysis of both the merits and shortcomings of a film. This enables viewers to make well-informed decisions. As she puts it, “I maintain the same approach regardless of my verdict. Interestingly, it’s often the negative reviews that gain traction online — perhaps because people are drawn to critical commentary. However, my principle is to avoid being mean-spirited; I strive to be respectful and honest in my reviews. I also recognise that my opinion is not the final authority. While I may express that a film ‘didn’t work for me’ or ‘didn’t transport me anywhere,’ I ensure my effort remains consistent whether reviewing a film positively or negatively.”

Throughout her illustrious career, she has achieved three remarkable feats. First, she has steered the helm of the much-loved Film Companion with pragmatism and an unwavering commitment to high quality-research. Second, she has established herself as a leading critic, having immense influence while maintaining impeccable credibility. And third, she has shifted the focus and spotlighted the exceptional work of non-Hindi cinema, bringing it into the limelight and ensuring that it reaches audiences who might otherwise have missed it.

With a career spanning over three decades and encompassing print, television, and social media, interviewing stars might seem second nature to her. However, she strongly disagrees. “I always prepare. It’s a must for me,” she says. “I believe it’s both unprofessional and disrespectful to approach an interview without an understanding of the subject. Regardless of who or how big the star is, or how many times I’ve interviewed them, preparation is essential. Even when an interview opportunity arises on short notice, one must make every effort to be as well-prepared as possible.”

When asked if she has any pet questions, she explained, “I don’t rely on a list, but I do enjoy exploring certain topics in depth. For example, I’m particularly intrigued by how actors immerse themselves in their characters or transform on screen. While Deepika Padukone often prefers that I avoid questions about her process, I’ve discovered fascinating insights from other actors. Vidya Balan, for instance, links her performances to specific playlists, whereas Ranbir Kapoor uses a different perfume for every character. According to him, it's a ‘wonderful secret weapon’ to get into a character's headspace. It’s thrilling to uncover such unique information.”

“Another aspect I find interesting is how celebrities navigate the balance between their public and private lives. In the age of social media, where sharing too much or too little can impact their image, I’m curious about how they decide what to reveal and what to keep private.” She also shared that when interviewing a couple where both partners are actors, she is interested in how they manage their relationship under public scrutiny. “It’s fascinating to explore how they navigate challenges of constant observation and the risk of private moments being captured without their consent. I’m also curious about whether there is any rehearsal involved in deciding where to look and what to say during public appearances.”

It is often argued that social media overexposure and a lack of exclusivity have impacted stardom, making today's stars less desirable due to their constant visibility. Having authored two books on Shah Rukh Khan’s success and closely observing his rise as compared to newer stars, one wonders what it truly takes to become a superstar in the truest sense. “I don’t believe that superstardom is directly related to these factors,” she says. “It entirely depends on the quality of work and how well you connect with the audience. While some argue that stardom has diminished because of overexposure and the excessive visibility of the younger generation, leading to reduced interest, I don’t think that’s accurate. The reality is that ‘superhits create superstars’. Icons like Mr. Bachchan, Shah Rukh Khan, and Salman Khan achieved and maintained their superstar status by consistently delivering hit after hit. Today’s stars have immense talent, and if they can achieve similar success, there’s no reason they couldn’t also be celebrated as superstars.”

They say you should never meet your heroes, but with her extensive career involving many such encounters, would she describe those experiences as disappointing or pleasing? “Not at all; I would never describe them as disappointing. If they had been, I wouldn’t have continued this for 30 years. I’ve loved and enjoyed every moment of it, and my enthusiasm for conversations and discovery is as strong today as it was in the ’90s. However, I would advise that while meeting your heroes can be rewarding, it’s wise not to form personal friendships with them. For a journalist, this creates a conflict of interest and impacts objectivity.”

Anupama deserves significant credit for highlighting non-Hindi cinema, which many consider to be far superior to Bollywood. Her platform, Film Companion, and the renowned roundtables she has moderated have provided substantial, if not equal, representation for regional superstars and filmmakers. However, Anupama wishes she had begun this focus sooner. “My deep appreciation for regional films is relatively recent,” she admits. “In the past, journalists covering Hindi cinema, including myself, were quite content focusing solely on Bollywood. We rarely explored regional films, with only a few exceptions in the early '90s, like Mani Ratnam’s Roja or Bombay, or occasionally a Kamal Haasan film such as Pushpak. This was not a regular practice. It wasn’t until about six or seven years ago, when I started exploring non-Hindi cinema, that I realised how much I had missed. I discovered a significant gap in my knowledge. Thanks to streaming services, I can now watch these films regularly. Previously, regional films were rarely shown in mainstream theatres, but that has changed. I now make it a point to see these films on the big screen in their original language with subtitles. There’s no substitute for that experience.”