Mera dhai kilo ka haath hi kaafi hai: Sunny Deol

Updated on Jul 30, 2011 07:07 PM IST

Sunny Deol rejects six-pack abs for his return to action in Ghayal 2, says he can yank out a handpump, because Hindi movies are superhero movies anyway.

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HT Image
Hindustan Times | ByPriyanka Jain, Mumbai

Sunny Deol rejects the current trend of heroes sporting six and eight-pack abs in their films. Set to return to action with Ghayal 2, the actor laughs, “I won’t sport a six-pack.

Mera dhai kilo ka haath hi kaafi hai

(my strong hand is enough) for my fans. They will come to watch me anyway.”

All top actors from Shah Rukh Khan (Om Shanti Om, 2007), Aamir Khan (Ghajini, 2008), Salman Khan (Dabangg, 2010) and more recently, Ajay Devgn (Singham, 2011) and Hrithik Roshan (Zindagi Na Milegi Dobara, 2011) have made headlines by sporting rock-hard abs.

However, the actor, who has taken off his shirt in films before, insists he isn’t against the trend. “If seeing stars sport a six-pack influences youngsters to remain fit, it’s a good thing. But one should be cautious of not taking shortcuts to achieve those abs or biceps. It can be harmful.”

Though it’s been over 20 years since Ghayal released, Sunny says the film will connect with its audience. He says, “Even back then, I had urged Raj Kumar Santoshi to make a sequel, since films like Rocky (1976) and Lethal Weapon (1987) were following the same pattern. But he didn’t agree. So when Ashwini Chaudhary came up with a story for its sequel, I decided to produce it myself.” The actor is leaving no stone unturned to make sure the film makes an impact. He says, “From script discussions and location scouting to helping the crew and cast with developing ideas, I am as involved in the filmas the director is.”

Since Ghayal was a success, will there be a lot of expectations from him? “That’s the reason I need to make sure I don’t fall short,” Sunny says. Though he doesn’t plan to use special effects, he promises the action sequences in the movie will be of superior quality.

He says, “An action sequence is good when there is an emotional reason behind it, which gives strength to the scene. It can’t be an ingredient without reason,” adding, “That’s why my character in Gadar (2001) could pull that hand pump out of the ground with his bare hands. The viewer wanted God to help that character perform some kind of miracle that would help him save his wife and child. These are moments that make you do things that are unbelievable, but that’s what cinema is —wanting your hero to become a superhero. You ask why we don’t make superhero films? Our films are superhero films. We don’t need a Superman or a Batman.”

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