a closed set on the PAPER shoot because Ranveer Singh is quite naked — although I can’t imagine he would mind people watching. I can’t actually imagine Singh doing anything without people watching. After all, who is a performer without his audience? If Ranveer Singh makes a joke in a forest and there’s no one there to laugh, does he even exist? What’s he doing in a forest in the first place (probably chasing after Bear Grylls to kiss him)? I’m pondering the deep questions while sitting at the craft table outside the studio, steadily making my way through a pile of potato chips.
Once the shoot is done, Singh walks around hugging people. It’s just what he does. He comes up to me and looms with a big smile, and I nervously ask if he’s going to kiss me. He does, a smack on my cheek. He is performing, as he always is. But it’s impossible not to like him.
Bollywood has never seen a star quite like Ranveer Singh. The immensely popular (and versatile) actor has challenged practically every stereotype of masculinity in still-traditionalist Indian society, all while remaining largely free of controversy and polarizing opinion (except perhaps when it comes to his fashion choices). There is a strong case to be made for the death of the superstar in show business, but Singh is the closest thing we have to one in this generation. He may even be the last of his kind.
Never before in Bollywood has an actor traded sexiness for slapstick, or enigmatic charm for friendly likeability. This is not to say Singh isn’t sexy or charming. In fact, he is both — just in a warm, wholesome, unthreatening way that dismantles toxicity entirely. He is smaller in person than you might expect, not unusual for movie stars. It’s his energy that takes up space and oxygen, making him seem bigger than he is, making you unable to take your eyes off him. He’s loud and obnoxious but in an endearing way, an excitable puppy that won’t calm down. What kind of monster doesn’t like puppies?
I meet Singh for the interview a few weeks later at the end of a long day, and have been waiting a couple hours for him. Normally this would make me grumpy, but he’s in the middle of a dubbing session and keeps leaving it every so often to say hi, have a quick chat and apologize. He compliments me freely, noticing my bag, my shoes, my style. It’s an effective strategy. When he’s finally done with work, it’s late at night and we are sitting alone on a couch at his studio with coffees. He is wearing a Gucci tracksuit and Yeezys and is flagging a little, but staying enthusiastic. “I’m all yours. I’m so all f--king yours, you could pack me up and take me home. I’m all yours,” he announces, settling in.
The one thing Singh aims for when it comes to his work is range; versatility is what he admires most in the craft, and he has picked roles accordingly. He’s come a long way from his debut as a rom-com lead in Band Baaja Baaraat (2010) and has given Bollywood some of its highest-grossing box office successes, including period dramas Bajirao Mastani (2015) and Padmaavat (2018) and masala entertainer Simmba (2018). “I’m just getting started,” he says. “For the past 10 years I’ve only been learning, I’ve been collecting the tools of my craft. Let’s just say I’ve accumulated enough to fill my tool kit, it’s now ready. I’m ready.” He’s had two releases since cinemas opened after the pandemic — cricket film 83 (2021) and Jayeshbhai Jordaar (2022), neither of which have been successful, but in which his performances received unanimous praise.
It’s a closed set on the PAPER shoot because Ranveer Singh is quite naked — although I can’t imagine he would mind people watching. I can’t actually imagine Singh doing anything without people watching. After all, who is a performer without his audience? If Ranveer Singh makes a joke in a forest and there’s no one there to laugh, does he even exist? What’s he doing in a forest in the first place (probably chasing after Bear Grylls to kiss him)? I’m pondering the deep questions while sitting at the craft table outside the studio, steadily making my way through a pile of potato chips.
Once the shoot is done, Singh walks around hugging people. It’s just what he does. He comes up to me and looms with a big smile, and I nervously ask if he’s going to kiss me. He does, a smack on my cheek. He is performing, as he always is. But it’s impossible not to like him.
Bollywood has never seen a star quite like Ranveer Singh. The immensely popular (and versatile) actor has challenged practically every stereotype of masculinity in still-traditionalist Indian society, all while remaining largely free of controversy and polarizing opinion (except perhaps when it comes to his fashion choices). There is a strong case to be made for the death of the superstar in show business, but Singh is the closest thing we have to one in this generation. He may even be the last of his kind.
Never before in Bollywood has an actor traded sexiness for slapstick, or enigmatic charm for friendly likeability. This is not to say Singh isn’t sexy or charming. In fact, he is both — just in a warm, wholesome, unthreatening way that dismantles toxicity entirely. He is smaller in person than you might expect, not unusual for movie stars. It’s his energy that takes up space and oxygen, making him seem bigger than he is, making you unable to take your eyes off him. He’s loud and obnoxious but in an endearing way, an excitable puppy that won’t calm down. What kind of monster doesn’t like puppies?
I meet Singh for the interview a few weeks later at the end of a long day, and have been waiting a couple hours for him. Normally this would make me grumpy, but he’s in the middle of a dubbing session and keeps leaving it every so often to say hi, have a quick chat and apologize. He compliments me freely, noticing my bag, my shoes, my style. It’s an effective strategy. When he’s finally done with work, it’s late at night and we are sitting alone on a couch at his studio with coffees. He is wearing a Gucci tracksuit and Yeezys and is flagging a little, but staying enthusiastic. “I’m all yours. I’m so all f--king yours, you could pack me up and take me home. I’m all yours,” he announces, settling in.
The one thing Singh aims for when it comes to his work is range; versatility is what he admires most in the craft, and he has picked roles accordingly. He’s come a long way from his debut as a rom-com lead in Band Baaja Baaraat (2010) and has given Bollywood some of its highest-grossing box office successes, including period dramas Bajirao Mastani (2015) and Padmaavat (2018) and masala entertainer Simmba (2018). “I’m just getting started,” he says. “For the past 10 years I’ve only been learning, I’ve been collecting the tools of my craft. Let’s just say I’ve accumulated enough to fill my tool kit, it’s now ready. I’m ready.” He’s had two releases since cinemas opened after the pandemic — cricket film 83 (2021) and Jayeshbhai Jordaar (2022), neither of which have been successful, but in which his performances received unanimous praise.
“My post-pandemic appetite for prolific work has become insatiable,” he says. “I’m so hungry for work, to do, to give, to perform, to ideate, to create, to collaborate. I have a ravenous appetite for work, I’m doing 20 hours a day and I’m damn f--king happy about it.” But the last two years have taken a harder toll on him, as on all of us. It lurks just beneath the surface when he speaks, an edge of madness that’s been freshly sharpened.
“I have a very dystopic view, a very cynical understanding of the world,” he says. “I really believe in the Ghor Kaliyuga, the worst part of the Kaliyuga.” The last and bleakest of the four world epochs in Hindu cosmology, the Kaliyuga is an age of strife and sin believed to last 432,000 years. And we’re only 5,123 years in. Or in Singh’s words, “Everything’s gone to shit. I understand that this journey of life is an agonizing f--king journey. It’s agonizing to just exist. I am hyper-sensitive to everything around me, it’s just the way I am, it’s how I’m wired [he’s a Cancer]. I feel a lot more. If I’m angry, I get really f--king angry, if I’m sad I get really f--king sad, if I’m happy I get really f--king happy. It is very difficult, and I get overwhelmed on a daily basis.”
This is Singh’s first interview in three years, and I’m well aware that my audience of one is sorely lacking. Between questions he gets up and jumps around, climbs up on the couch and walks on it, contorts himself into positions that can’t possibly be comfortable. He’s rarely still, and those few times that he is, when he searches for words, I find us being pulled into deep, heavy waters, dragged towards a darkness inside him.
Ranjeet had the attitude, Ranveer looks like a homeless freak
Can't say I'm surprised he did this 😆
Its actually an ode to burt reynolds photoshoot for cosmopolitan, lots of people have copied it including Mario Lopez.
Paper magazine is known for its photoshoots showing alot of skin, the latest cover star they have is showing her boobs. Kim kardashian showed her backside in her famous photoshoot for the magazine, so this is not something new for the magazine or Hollywood, but bollywood is not as used to it
Harry styles did something similar for his album
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