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By:

Bharati Dubey

17 May 2026 at 1:38:10 am

After Don-3 controversy, Ranveer’s next film goes on floors

Mumbai: After months of attention surrounding his reported exit from Don 3, Ranveer Singh has finally moved on to his next major cinematic venture. The actor’s ambitious survival spectacle Pralay has officially gone on floors in Mumbai today, marking the beginning of filming on one of the most ambitious and scale-driven projects in Indian cinema. Headlined by Ranveer Singh and directed by Jai Mehta, Pralay is an original end-of-the-world action thriller that promises to take audiences into a...

After Don-3 controversy, Ranveer’s next film goes on floors

Mumbai: After months of attention surrounding his reported exit from Don 3, Ranveer Singh has finally moved on to his next major cinematic venture. The actor’s ambitious survival spectacle Pralay has officially gone on floors in Mumbai today, marking the beginning of filming on one of the most ambitious and scale-driven projects in Indian cinema. Headlined by Ranveer Singh and directed by Jai Mehta, Pralay is an original end-of-the-world action thriller that promises to take audiences into a world on the brink of annihilation. Produced by Ananya Birla’s Birla Studios, Hansal Mehta and Sahil Saigal’s True Story Films, and Maa Kasam Films, the film combines large-scale spectacle with a deeply human story of survival, courage and the instinct to fight for what matters most. The film marks Ranveer’s next major motion picture following Dhurandhar and Dhurandhar – The Revenge, which emerged as the highest-grossing film of all time. With Pralay, the actor once again ventures into unexplored cinematic territory, taking on a disruptive new concept that demands both physical intensity and emotional conviction. Ranveer will also serve as a producer on the film. The project comes at an important point in the actor’s career. His reported exit from Don 3 had generated considerable buzz, particularly as he was expected to carry forward one of Indian cinema’s most iconic franchises. With Pralay, Ranveer now turns the page with an entirely original story rather than stepping into another established universe. Joining him is Lokah breakout actress Kalyani Priyadarshan, who plays a pivotal role in the film and brings together another exciting performer from the new generation of Indian talent. For Ananya Birla, Pralay represents Birla Studios’ ambition to push the boundaries of mainstream Indian cinema by collaborating with contemporary creative forces. For True Story Films’ Hansal Mehta and Sahil Saigal, the project reflects their commitment to disruptive storytelling and content-driven cinema. Behind the camera, Jai Mehta leads the ambitious project. His work on Scam 1992: The Harshad Mehta Story, which he co-directed with Hansal Mehta, and Lootere has earned widespread acclaim. With Pralay, he steps into a significantly larger canvas, bringing together an ensemble of creative and technical talent from India and around the world. Set against the unmistakable pulse and landscape of Mumbai, Pralay follows a relentless journey of survival against the terrifying possibility of an end-of-the-world catastrophe. The film aims to marry breathtaking spectacle with an emotional core, exploring what people are willing to do to survive when the world as they know it begins to collapse. The makers are shooting extensively at live locations in and around Mumbai, embracing the physicality and unpredictability of real-world environments. The approach is designed to add scale, texture and realism to the apocalyptic world while creating an immersive theatrical experience. The film had already undergone several months of highly technical and intensive pre-production before cameras began rolling. Its ambitious mounting and unusual premise have made Pralay one of the most talked-about upcoming projects in Indian cinema.

Dangerous Departures

Updated: Oct 30, 2024

Dangerous Departures

In yet another shocking incident adding to Mumbai’s infamous tryst with stampedes, chaos erupted at Mumbai’s Bandra Terminus following a weekend stampede that left at least ten persons injured, two critically so. A crowd surged toward the Gorakhpur-bound train with nearly 1,500 people vying for seats in 22 unreserved compartments, leading to the stampede. Several others narrowly avoided tragedy, with some even pushed onto the tracks. This is not a unique episode but rather a recurring theme in Mumbai’s bedevilled crowd management, one that has haunted the city’s public spaces, particularly as festive seasons magnify the crowds.


Mumbai is no stranger to stampedes. A horrifying incident in 2017 at Elphinstone Road Station left 23 people dead and nearly 50 injured. The cause was a familiar one: an overwhelming crowd confined to a narrow footbridge during peak rush hour. The tragedy sparked an outcry, with promises from authorities to upgrade infrastructure and enhance safety protocols. Yet seven years on, crowd-related incidents continue to be a constant danger. Today’s incident reveals a similar lapse—a lack of foresight in managing the thousands who gather on platforms ahead of Diwali, eager to return to family. That the Gorakhpur Express was unreserved and heavily crowded was predictable.


The issue lies beyond simply crowd density; it is emblematic of deeper systemic negligence. The Brihanmumbai Municipal Corporation (BMC), responsible for local public safety, along with the Railways Ministry, bear responsibility for ensuring order at such high-risk hubs. Although the BMC acknowledged the “festive rush,” it appears little was done to pre-empt it. Swift action could have been taken to either disperse the crowd or reroute passengers. Instead, chaos prevailed.


Political reaction has been swift but uninspiring. Aaditya Thackeray, son of Uddhav Thackeray, launched a scathing attack on the Union Railways Minister, Ashwini Vaishnaw, branding the incident a result of the minister’s “incapable” leadership. This hardly addresses the immediate need: a substantive plan to manage crowds and prevent similar incidents.


Mumbai’s transport infrastructure remains sorely outdated. Platforms are undersized, signalling systems frequently falter, and crowd control mechanisms are grossly inadequate. Despite repeated accidents, there has been little investment in comprehensive crowd management systems or the deployment of personnel trained in emergency response. While railway footbridges were widened after the Elphinstone tragedy, Bandra’s incident demonstrates that such incremental changes are insufficient. Mumbai, which sees a swelling populace during festivals, demands a robust strategy to address its vulnerabilities. This should include technology-driven crowd monitoring, clear communication channels to inform passengers of platform conditions, and additional security and medical staff on high-demand days. It is essential that crowd management training for personnel becomes a priority rather than a reaction to tragedies.

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