Terming his film The Kashmir Files an "internal truth", veteran actor Anupam Kher on Thursday said there should not be any problem in speaking what is right. During a session at the (JFF) here, the actor was asked to comment on how the 2022 film was unfairly criticised by a section of society. In his response, Kher said: The Kashmir Files is our internal truth... I talk candidly and I do that because there should not be any problem in telling the truth. There is end to truth. There is no interpretation of truth." The 68-year-old said filmmakers often try to play to the gallery to please others, something he believes should not be done. Anupam Kher Reveals His First Look in His 539th Film, A Big Budget Fantasy Flick (View Pic).
"Don't try to be popular with the whole world. First be popular with yourself. If you're not popular with yourself, there is something wrong with you. We often try to make something (film) wondering 'Will the others like it?' No, what is important is if I like it or not ," he added.
The Kashmir Files, directed by Vivek Agnihotri, depicts the exodus of the Kashmiri Pandit community from the Kashmir Valley in the 1990s. It emerged as one of last year's biggest Hindi hits of with reported earnings of over Rs 200 crore but was also tagged a "propaganda" film. Kher, whose career spans almost 40 years, said he doesn't like being called a "veteran or legend". The National School of Drama graduate made his debut with 1984's Saaransh and has worked in movies such as Dilwale Dulhania Le Jayenge, Karma, and A Wednesday. Anupam Kher to Star in Upcoming Thriller Film The Room; Actor Gives Update of His 536th Film.
"I'm not competing with my contemporaries. I'm competing with the Tiger Shroffs of the world. I'm competing with Varun Dhawan."So, don't call me a legend, veteran or thespian because these (tags) mean you have worked a lot, please take retirement. There are still 30-40 years to go for my retirement," he added. The JFF opened Thursday with the Adil Hussain-starrer Footprints on Water, directed by Nathalia Syam.