As we mark the 30th anniversary of the iconic film Pulp Fiction, which featured Tim Roth’s memorable declaration of endearment to Amanda Plummer as ‘Honey Bunny,’ Indian directors Raj Nidimoru and Krishna D.K., collectively known as Raj & DK, are poised to introduce Indian audiences to their latest venture, Citadel: Honey Bunny. This Indian spy series, steeped in the vibrant, movie-mad culture of the 1990s, stars Bollywood luminaries Varun Dhawan and Samantha Ruth Prabhu. As an evolving spin-off and prequel to the American action-espionage series Citadel, masterminded by the Russo brothers, Honey Bunny uniquely situates itself within a multi-national franchise with corresponding series in Italy and Mexico.
Fans of Raj & DK’s signature style can take solace in the fact that their trademark blend of thrilling narratives and distinctive humor and energy remains intact. Citadel: Honey Bunny unfolds with an intriguingly exaggerated plot, true to the directors’ legacy: Varun Dhawan portrays Bunny, a Bollywood stuntman, who recruits Honey—played by Samantha Ruth Prabhu—an aspiring actress, into a high-stakes spy operation. Years down the line, the estranged duo is compelled to reunite to protect their young daughter, Nadia, a character seen as an adult in the original Citadel series, portrayed by Priyanka Chopra Jonas.
In an exclusive conversation with The Hindu, the creators and stars of the series delve into the essence and creation of this nostalgic yet innovative project.
Varun Dhawan describes his character’s styling process in the series with enthusiasm. “The costume choices by Raj & DK and Ameira Punvani were meticulously designed to capture the 90s era,” Dhawan explains. “A mood board highlighted leather jackets, denim, high boots, and high-waisted pants, all complemented by my character’s memorable mullet hairstyle, reminiscent of Mel Gibson in Lethal Weapon and even Sanjay Dutt from films like Taaqatwar. Being an ardent admirer of the late 80s and 90s, this experience was thrilling beyond measure.”
For Samantha Ruth Prabhu, the experience of rekindling her earlier film memories brought a mix of amusement and introspection. “I recalled my past films where my performances weren’t great,” she laughs. “Those moments weren’t initially scripted but Raj & DK, along with series developer Sita R Menon, encouraged me through a range of complex emotions. These moments representing a struggling actress were just facets of Honey’s grand journey in the series. I cherished treating those scenes as my downtime amidst the action-laden sequences.”
Raj Nidimoru shared insights into their decision to embark on a sequel journey, expressing their usual reluctance to engage in franchise continuations.
. “Big studios have regularly approached us for sequels, but our enthusiasm waned as we craved originality over established visions,” he explains. However, the offer from the Russo brothers offered a refreshing deviation from this norm. “Their open-minded approach allowed us significant creative liberty, beyond core essentials like Citadel and Manticore names. We chose to pivot drastically from the American Citadel’s futuristic tone, embracing a narrative and character setup, with agents like Honey and Bunny, that could not exist in modern frameworks.”
Varun Dhawan also mentioned the importance of emotional depth in storytelling. “Immersing the audience in my character’s emotional journey was paramount. There’s a meaningful scene where I converse with Samantha’s character about Kay Kay Menon’s enigmatic spy-master, Baba. Despite dramatic fluctuations, the scene’s less frequent cuts allowed its emotional weight to resonate.”
The filming process brought its challenges, particularly for Samantha, who recounts her intense experience during a particularly arduous car sequence scene. “By that stage, after numerous ‘cooler’ sequences, I underestimated the complexity of orchestrating a synchronized performance within a moving vehicle,” she reflects. “Despite Raj’s claim of 12 takes, I believe it was nearly 40—a testament to the intricate choreography required even for a brief 40-second shot.”
Emphasizing the series’ cultural authenticity, Dhawan and Prabhu advocate for series that reflect India’s diverse heritage. “Western audiences are familiar with their archetypes. What will truly captivate them is our cultural narrative—our grounding within our indigenous terrains,” Dhawan articulates. Echoing this sentiment, Prabhu praises historical epics like Japan’s Shogun for cultural representation, aspiring to provide audiences with a similarly enriching Indian experience. “Raj & DK maintain their indomitable spirit, unaffected by global trends.”
Nidimoru concludes with optimism about Indian cinema’s potential for global recognition, citing that exceptional creations are often under-discovered rather than insufficiently crafted or marketed. His vision sees a future wherein Indian series rise to global prominence alongside the world’s greatest cinematic achievements.
