Vikram Bhatt, best known for his spine-chilling horror films likeRaazand1920, takes a surprising detour with his latest offeringTumko Meri Kasam, a film rooted in human resilience and hope. Based on the real-life journey of Dr Ajay Muradia, the owner of Indira IVF chain, the film explores the struggles and triumphs of parenthood. Despite his much talked about, colourful love life, including a notable affair with Bollywood diva Sushmita Sen, Bhatt shares in this candid conversation with The Movie Mail, how he truly understood the meaning of love only after meeting his wife, Shwetambari Soni. He also opens up about the societal taboos he hopes to challenge and his evolving perspective on filmmaking.
Edited excerpts:
Why did you want to make this film? What about the story did you find compelling?
A. When Dr Ajay Murdia shared the story with me, I was deeply moved. You see, it’s not just a story about (referring to Indira IVF) IVF and its success. It’s about the long, challenging journey he and his wife undertook. They faced countless obstacles, yet they brought hope and life to childless couples, completely transforming their lives. That, to me, was incredibly fascinating and compelling. It’s the kind of story that excites me as a filmmaker.
You know, it’s never just about the car; it’s about the man behind the wheel. That’s why I told him, “Look, if you want your story told exactly as it is, you should approach a documentary filmmaker. As a commercial Bollywood filmmaker, I will add drama and take creative liberties to make the narrative engaging and entertaining.” But he was completely on board with that, so we went ahead. This film is not just about achieving something; it’s about holding onto it as well.
There’s a powerful dialogue in the film where a man refuses to accept that he might be infertile, taking it as an attack on his masculinity. We see this kind of toxic masculinity in society. How important do you think it is to change such perspectives to establish gender equality?
A. I wouldn’t call it just toxic masculinity — it’s a larger societal issue. It’s deeply rooted in our culture, our mindset, and long-standing practices. There’s immense cultural pressure on both men and women to fit certain roles. If a man is infertile, society questions his manhood. This film works as a myth-buster, showing that infertility is nothing to be ashamed of. It’s simply a biological condition, like any other.
There’s already so much stigma around things like mental health, infertility, and other such conditions. But think about it — by letting false pride get in the way, by refusing treatment, you’re not just losing a battle against society’s gossip; you’re losing out on the chance to experience parenthood. The wise thing to do is to rise above these outdated beliefs.
You’ve never made a rom-com, but you’ve told intense love stories. Why is that?
A. I think popcorn love stories—those commercial, masala romances—just aren’t for me. The way I see love, especially at this stage in my life, is different. Love evolves. As teenagers, it’s all about impressing each other. During dating, there’s excitement in physical attraction. After marriage, love takes the form of companionship and building a life together. Don’t get me wrong — I’m not undermining the romance of youthful love. But for me, love is intense, and romance is deeply tied to companionship.
Also Read – Sikandar review: Salman Khan turns a saviour, but even a messiah can’t save this assault on the senses
What’s your love language?
A. My wife, Shwetambari (Soni), taught me what love really is. I’ve had love stories in my life before, and I thought I understood love. But I didn’t — not until her. Through her persistence, compassion, and understanding, she made me realize what love truly means.
For me, love is about putting someone else before yourself. And that’s incredibly difficult because the ego often gets in the way. But when you truly love, you let go of that ego.
As a filmmaker, how do you see your responsibility, knowing that cinema is such an influential medium?
A. I see films as entertainment first. I’m not here to give a civics lesson. That said, I do believe that while a filmmaker doesn’t always need to deliver a message, they should never give a bad one. As long as I’m not glorifying something unethical or promoting anything harmful, my focus is on making the film engaging. So my philosophy is simple — if you don’t have a message, don’t force one. Just entertain people, but never send out the wrong message.
