EXCL! Manjiri Pupala Weighs On Why Dhadak 2 Is 'Wake-Up Call'; Talks About Shanoo Sharma Audition Controversy

Photo Credit:

Instagram/@manjiripupala, @shanoosharmarahihai

Dhadak 2 Actress Manjiri Pupala Exclusive: Rising from her breakout role in Superboys of Malegaon, Manjiri Pupala continues to shine with her unmissable charm. The actress has taken a bold leap forward with her performance in Dhadak 2. While the film itself dives deep into themes of caste, identity, and forbidden love, it's Manjiri's portrayal of Richa-a role both layered and fiery-that has truly left a lasting impression.

In an exclusive interview with Filmibeat, Manjiri Pupala opened on the box office failure of Dhadak 2 and how the Dharma film is a "wake-up call" for the humanity. The actress also talked about her experience with YRF's casting director Shanoo Sharma's team amidst the ongoing heated allegations against Shanoo's "weird" audition process.

Here are excerpts from the interview:

1) I read somewhere you initially aspired to become an engineer and even prepared for JEE. How did this acting ka keeda happpen?

When I was in college, I was preparing for IIT-JEE. I was good at studies, especially physics and maths, and that was my whole world because I actually wanted to become a rocket scientist. Around that time, I happened to watch a play written by Chetan Datar, performed by a Marathi actress named Veena Jamkar, who was my senior in college. I instantly fell in love with her performance. Coming from a household that deeply appreciated theatre, thanks to my father, I was used to going backstage after every play to meet the actors and technicians. Out of habit, I went to meet her, and in the process, I stepped onto the stage they had performed on. It was a small theatre space with no backstage, so everyone met on stage itself. But for me, that moment was magical-standing on that stage, looking at the audience from that perspective. It felt as adventurous as being a rocket scientist. I think that's when the acting bug bit me. I decided I wanted to pursue it as a profession. My family was a bit shocked-my father, who was an art director in the Film Division, wasn't entirely happy about it because he knew the hardships an actor faces. But thankfully, they didn't abandon my dream. They were supportive, even if reluctantly. My father asked me to keep my options open, so I applied for BMM (Bachelor's in Mass Media). That year, by sheer luck, there was no entrance exam-it was purely on the basis of 12th-grade marks, which worked out perfectly for me. I got into Xavier's, and that's when I finally dropped the plan of engineering.

2) Recently, you candidly opened up about facing discrimination due to your skin tone, even getting typecast into specific kinds of roles. How has this affected your approach to choosing projects, and what shifts have you noticed (or hope to see) in how the industry perceives beauty and talent?

I think the rise of OTT platforms has brought a huge shift. When they first came in, there was a boom-so many projects, so many stories-and it was beautiful to see content competing with international standards. It wasn't always about the hero's arc anymore; it became about richer, layered parallel characters, which in turn made the hero's journey stronger. This opened up a plethora of well-written roles for character artists, and that really helped. Earlier, I used to feel extremely bottled up-not even able to audition for certain kinds of roles. And by "certain kinds," I mean urban roles. I was born and brought up in Mumbai and I don't even have a native place.I'm as urban as it gets. Yet, a decade ago, I wouldn't even be called to audition for such parts because of limited, outdated thinking. If the role was "urban" or "upmarket" (a term I detest), it was assumed the actor had to be fair and fit a certain stereotypical image. That was baffling to me. With OTT platforms, this has changed. Narratives now have more variety. Now we have films like Dabba Cartel, Sir, and stories about women working as nurses-narratives we'd never imagined as "mainstream" before. This shift is massive and truly exciting. It's beautiful to see varied, relatable stories, something Malayalam cinema has long done so well, and which is now emerging strongly in regional cinema like Marathi films.

3) In one of your instagram posts you mention Dhadak 2 was one of a kind film and you also wrote how special the film was. Did you feel bad when the movie failed to leave a mark at the box office the way everyone expected?

I genuinely feel that, as an actor, the idea of box office numbers-pluses or minuses-should be independent of what we do or feel. A film like Dhadak 2 can easily go on to become a cult classic and challenge the notion that a hero, heroine, or story must fit into a certain kind of formula or entertainment value to succeed. If you look at Sholay or several other films, there are examples of movies that underperformed initially but later became iconic. I believe Dhadak 2 carries that same soul and potential. For example, my film Superboys of Malegaon is such a beautiful project-everyone who has watched it has been deeply moved. Similarly, Dhadak 2 evoked a wave of emotions, because caste-based discrimination is one of the worst forms of injustice. And what the film tells you is that you don't have to experience it firsthand or belong to a certain class to relate-it's a call to be more human, to tap into your own sensitivity, and to reflect on where you stand.

The situations shown in the film aren't far removed from the society and country we live in. Just because someone lives in a bubble of privilege doesn't mean these realities don't exist. For me, Dhadak 2 is less about the commercial box office and more of a wake-up call for humanity. That's something I'm far more proud of than any mere numbers.

4) There are times when films tanked at the box office but found the right audience and became a huge hit after OTT release. Do you think the same will happen with Dhadak 2 as well? Like audience would regret not watching it in theatres?

Absolutely! I feel that watching films as a community is a fascinating experience. Right now, we only associate the big-screen charm with films like Jurassic Park, Fantastic Four, F1, or Avatar. So, what's the point of going to cinemas for anything else? I also understand the economics of theatres and ticket prices-it's been extremely unfair lately and hasn't worked in the audience's favour. Sooner or later, the industry will have to acknowledge this problem.

If audiences stop going to theatres, the infrastructure of so many multiplexes will end up going to waste. One major thing we need to look at is reducing ticket prices, like they do in South India. Watching a film like this in an auditorium, with people around you experiencing it at the same time, is a completely different ballgame-it's an experience in itself. But once people watch Dhadak 2 on an OTT platform, I'm sure they'll realise how beautifully the film can still affect them. Director Shazia has created such beautiful experiences cinematically that are unforgettable.

5) Recently, actress Isha Talwar recently opened up on YRF casting director Shanoo Sharma's "weird" audition process. Have you had encountered any similar kind of an incident with any casting director?

Luckily for me, coming from a theatre background, many of my auditions began with casting directors watching my plays and then inviting me to audition for specific roles. Over the years, I've met some truly amazing casting directors. Every casting director has their own process, but I've personally never had a bizarre or unpleasant experience. I haven't auditioned for Shanoo Sharma herself, but whenever her team called me in, the experience was always smooth and professional. So far, nothing of that sort has happened with me.