‘I started crying’: Tigmanshu Dhulia recalls how Jaya Bachchan saved him from angry student mob who threatened him with donkey parade | Bollywood News

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4 min readMumbaiFeb 19, 2026 08:10 AM IST

A great deal of credit has rightly been given to films like Bandit Queen and Satya for transforming the landscape of Hindi cinema. Yet, if there is one film that truly came to define rooted storytelling, it would be Haasil, directed by Tigmanshu Dhulia. The film featured Irrfan Khan in a role that firmly placed him on the map. He portrayed a character who could be described as an anti-hero rather than a conventional antagonist, a performance that is still regarded as one of his most hard-hitting turns on screen. However, Irrfan was not Dhulia’s original choice. In an exclusive conversation with SCREEN, the filmmaker revealed that he had initially approached his longtime friend and then-rising star Manoj Bajpayee for the role.

Manoj Bajpayee refused to play a villain

“See honestly, I didn’t go to Irrfan initially. Because Satya had already released, so I went to Manoj Bajpayee and he had become a star. Manoj and I were very good friends, we still are. When I narrated the story to him, he said, ‘I won’t play a villain’s role.’ I told him, ‘Yes, he is a villain, but not that kind of villain, he is an interesting villain.’ But he is my friend; once he refused, I didn’t go back to him again. I didn’t even try much to convince him further.”


Tigmanshu Dhulia Irrfan Khan instantly gained complete command over his character.

Dhulia went on to explain how Irrfan eventually came on board. “Then I went to Irrfan and he already knew that I had pitched it to Manoj before. I sent him to Allahabad ten days before the shoot and handed him over to some of my friends. That’s it. He explored the place, met people, I don’t really know what he did , but he grabbed the character immediately, right there and then.”

Watch the episode of Cult Comebacks on Haasil here:

In the same conversation, Dhulia also revealed that the production ran into serious trouble while attempting to shoot at Allahabad University. According to him, higher authorities believed the film portrayed the institution and student politics in a negative light. The situation escalated dramatically, and he even began receiving threats if he continued filming.

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Why the word ‘Allahabad’ was banned from Haasil

“I was called to the district magistrate’s office where all the former student union presidents of the university were sitting. And they warned me that they would break all our shooting vehicles and blacken my face, seat me on a donkey, and parade me around the entire city. And I was alone, they were all these men sitting in front of me, and I started crying.”

Faced with mounting hostility, Dhulia eventually sought help from Jaya Bachchan. “Then eventually I had to call Jaya ji and she helped me a lot. She called Amar Singh ji and he made a few calls, and the revolt and the animosity against me subsided. But they said you can’t use the term ‘Allahabad’ in the film, and somehow I made the film without using the name.”

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

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