Why Is Gupt one of the most beloved murder mysteries?
Absolutely, Gupt is one of the most beloved murder mysteries in Indian cinema. And there isn’t just one reason for that — it’s a combination of elements. It’s the story, the tight screenplay, the suspense, and more importantly, the way it’s treated. It constantly keeps you guessing and ultimately shocks you with its reveal. Generally, a murder mystery earns respect when it outsmarts its audience. If viewers can guess the killer, then the film has failed. When making a murder mystery, the goal is to ensure that no one can figure it out. That’s why Gupt remains so iconic — most people did not guess the identity of the killer. That lasting surprise is what helps the film stay relevant even today.
28 Years of Gupt: Rajiv Rai on casting, Kajol-Manisha dynamics and the twist that shocked a generation
But why do audiences keep revisiting Gupt, even after knowing the killer?
They return because Gupt offers more than just its twist. The screenplay is fast-paced, and the songs are engaging. There’s so much going on that you often forget how the narrative unfolds. So even when you know the climax, you’re drawn back into trying to figure out what you missed — how did you not guess the killer? It becomes a sort of internal challenge for the viewer. The film also boasts strong repeat value — thanks to its music, performances, and visuals. When a film bowls you over the first time, and you realize it outsmarted you, you respect it. That respect often translates into repeated viewings. Personally, if I can guess the killer early on, I lose interest. That shock factor is crucial. Very few filmmakers attempt murder mysteries anymore because there’s a belief that once the suspense is known, the audience won’t return. I never believed that. I took a risk — and I think I was right.
Did you consider multiple potential killers during the writing?
Yes, I tried to cast suspicion on everyone. That’s an art in itself — you need to create confusion and misdirection in minimal time and without dragging the narrative. If you overdo it, you risk boring the audience. The trick is to maintain pace while subtly planting doubt on every character, and that comes from sharp writing and smart editing.
Was the stellar cast your first choice?
Yes, every actor you see in the film was my first choice. I’ve had very few refusals in my career. Most actors were eager to work with me and with a reputed banner like my father Gulshan Rai’s. Why would they say no unless they didn’t like the script or the role? Back then, we didn’t narrate the entire script to everyone — just the top actors. Most of them were fine with just knowing the gist: “What’s my role?” “What’s the film about?” That was enough. They knew they were being paid well, the film would be a prestigious addition to their careers, and that was good enough for them. I didn’t face much casting trouble for Gupt. The only time I struggled was during Tridev, when I had difficulty locking the third hero — eventually, I cast Naseeruddin Shah.
How did you manage the egos of such big stars?
Honestly, when you’re dealing with A-listers, they’re often on their guard. They don’t want to be shouted at or disrespected. So, I always make sure I’m respectful — whether it’s with a star or someone serving tea. That’s my nature. As long as you treat stars with dignity and give them their due respect, they return the gesture. I’ve never had any major issues or fights with actors. Everyone came, did their work, and left. When they’re made comfortable on set — especially during long waits — they remain calm. Actors don’t mind waiting if they’re being taken care of, and more importantly, if you explain delays to them. Problems arise only when there’s poor communication.
Were there any clashes between Kajol and Manisha Koirala during filming?
None at all. Zero issues. No ego clashes, no creative differences, no competition over scenes — nothing. I was lucky, yes, but that’s not to say it doesn’t happen in other films. I’ve just been fortunate that I’ve never faced it.
The music and locations played a big role in Gupt‘s success. Would you agree?
Absolutely. Music and visuals are vital to a murder mystery. A film is a visual medium, and every location, every frame must support the drama. And yes, music — especially background music — is extremely important. Nowadays, audiences are noticing background scores more than ever, especially since songs aren’t always chartbusters. But I’ve always placed a strong emphasis on background scores. I worked closely with Viju Shah, and we made sure it elevated every scene. That extra effort makes a difference. Whether you’re writing an article or making a film — the more meticulously you work, the better your results. I believe in giving 24/7 to the job, staying honest, avoiding complacency, and double-checking everything so the audience doesn’t feel cheated. They give us their time and money — we owe them quality.
Why didn’t you make a sequel to Gupt?
I didn’t want to repeat myself. Unlike Hitchcock, who spent a lifetime making suspense films, I’ve always wanted to explore different things. But yes, thrillers, mysteries, and action are what I love most as a filmmaker. I enjoy stories with twists, where you can’t guess what happens next. That said, my next film Zora, which releases on August 8, is a hardcore murder mystery. In terms of story, it might even be a step ahead of Gupt. It doesn’t have songs or the kind of lavish production value Gupt had, but it’s sharp, thrilling, and very close to my heart.
Also Read: Gupt director Rajiv Rai returns with a suspense thriller ZORA
More Pages: Gupt Box Office Collection
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