Janhvi Kapoor Opens Up About Post‑Debut Depression and the Misconception of Unearned Success
Janhvi Kapoor is frequently seen projecting a calm, composed demeanor during press conferences, award ceremonies, and promotional tours. Beneath that poised exterior, the early chapter of Janhvi Kapoor’s Bollywood journey was marked by an intense emotional battle that diverged sharply from the celebratory narrative often presented to the public.
In a candid conversation with Raj Shamani’s podcast, Janhvi Kapoor revisited the period surrounding her debut project, the film Dhadak. While Dhadak introduced Janhvi Kapoor to audiences alongside co‑star Ishaan Khatter, Janhvi Kapoor’s personal recollection of that time was dominated by feelings of despair and self‑questioning.
The Podcast Conversation: Revisiting the First Film
During the dialogue with Raj Shamani, Janhvi Kapoor articulated a stark contrast between public perception and internal experience. Janhvi Kapoor remarked:
"You know, every time anyone talks to me about my first film, Dhadak, they are like, ‘she was so good in it’ or that ‘we loved Dhadak’ and ‘you earned a lot of money’… But my memory of Dhadak was very different. I was depressed after Dhadak. I thought ‘ho gaya’ and that ‘packup hogaya’ (I am done). People hate me."
The quotation highlights Janhvi Kapoor’s sense of finality and isolation that set in immediately after the film’s release. The phrase “people hate me” encapsulated a deep‑seated belief that the audience’s reception was overwhelmingly negative, regardless of the commercial outcomes that later surfaced.
Personal Loss Amplifies the Inner Turmoil
A pivotal factor influencing Janhva Kapoor’s emotional state was the loss of Janhvi Kapoor’s mother, the legendary actress Sridevi, who passed away only a few months before the release of Dhadak. Janhvi Kapoor confessed that the validation that had previously come from Sridevi now needed to be sourced elsewhere. Janhvi Kapoor explained:
"I got all of my validation in my life from my mom. She went away. So I was like, okay, I’m going to shift that to the audience. And I was expecting some across‑the‑board acceptance, which I didn’t know does not exist. I was only concentrating on the negative. I didn’t concentrate or even acknowledge the fact that it was a very… I think it was the most commercially successful film with newcomers up until Saiyaara. It didn’t even click to me that it was a hit. I just knew that I sucked and people hated me… Because I only looked at the negative, and that became my reality."
By focusing exclusively on perceived criticism, Janhvi Kapoor allowed a single, narrow narrative to dominate her perception of reality. The acknowledgement of Saiyaara as a benchmark underscores Janhvi Kapoor’s awareness of film history while simultaneously revealing how that awareness paradoxically contributed to self‑doubt.
Earlier Reflections on Nepotism and Self‑Worth
In an earlier appearance on the B4U Hear It Here podcast, Janhvi Kapoor delved further into the sense of being judged for familial connections. Janhvi Kapoor observed:
"During Dhadak and Gunjan Saxena, I have been made to feel that I got everything on a platter, and I got things I don’t deserve, which means that I am technically worthless, and I am getting opportunities because of the work my parents have done. At the same time, I also felt an overwhelming respect and love for my parents, and I am being given love and work because of that. But the truth is that I love acting and I live for it."
This passage illustrates the duality that Janhvi Kapoor navigated: the external narrative of unearned privilege versus an internal, unwavering passion for the craft of acting.
The Commercial Landscape of Dhadak
Directed by Shashank Khaitan and produced by Karan Johar, Dhadak functioned as the Hindi adaptation of the Marathi hit Sairat. Although critical reception was mixed, the film’s box‑office performance proved robust, amassing approximately ₹110.11 crore. The financial success demonstrated that audiences, at least in aggregate terms, responded positively to the project.
Despite the monetary metrics, Janhvi Kapoor’s recollection suggests that the personal validation derived from numbers was eclipsed by an internal narrative of inadequacy. The contradiction between external validation (box office figures) and internal perception (feelings of being disliked) formed a core tension in Janhvi Kapoor’s early career.
Building a Filmography Beyond the Debut
Following the commercial achievement of Dhadak, Janhvi Kapoor steadily expanded the range of projects undertaken. Notable titles include:
- Gunjan Saxena – a biographical drama that allowed Janhvi Kapoor to explore a real‑life heroine.
- Ghost Stories – an anthology that offered Janhvi Kapoor opportunities to experiment with genre storytelling.
- Roohi – a horror‑comedy that showcased Janhvi Kapoor’s versatility in balancing scares and laughs.
- Good Luck Jerry – a comedic venture that further diversified Janhvi Kapoor’s on‑screen repertoire.
Most recently, Janhvi Kapoor appeared in Sunny Sanskari Ki Tulsi Kumari, a romantic comedy directed once again by Shashank Khaitan. The ensemble also featured Varun Dhawan, Sanya Malhotra, and Rohit Saraf. While the film registered a moderate box‑office collection of around ₹100 crore worldwide against a production budget of ₹80 crore, it added another layer to Janhvi Kapoor’s evolving career narrative.
Venturing Into Telugu Cinema
Looking ahead, Janhvi Kapoor is set to venture into the Telugu film industry with the upcoming project Peddi. In this venture, Janhvi Kapoor will share the screen with Ram Charan, a prominent figure in regional cinema. The collaboration underscores Janhvi Kapoor’s strategic intent to broaden linguistic and geographic reach, further cementing a pan‑Indian presence.
Resilience and the Path Forward
Janhvi Kapoor’s willingness to confront the darker chapters of her early professional life highlights a resilience that extends beyond the glitz of red‑carpet events. By openly discussing the depressive episode that followed Dhadak, Janhvi Kapoor not only humanizes the often‑idealized narrative of a star’s ascent but also offers a candid glimpse into the psychological pressures that can accompany rapid fame.
The admission that “people hate me” was, in reality, a manifestation of Janhvi Kapoor’s internalized insecurities, amplified by the sudden loss of a parental anchor and the unforgiving glare of public scrutiny. Yet, Janhvi Kapoor continues to emphasize an unabated love for acting, a driving force that has propelled the career forward despite moments of self‑doubt.
In summary, Janhvi Kapoor’s journey from the debut of Dhadak to a growing filmography across multiple industries illustrates a compelling arc of perseverance. The coexistence of commercial achievements such as the ₹110.11 crore box‑office haul of Dhadak and the modest yet respectable earnings of Sunny Sanskari Ki Tulsi Kumari paints a picture of an artist navigating both external expectations and internal battles. As Janhvi Kapoor embraces new opportunities like Peddi, the narrative evolves from one of perceived failure to one of continuous growth, underscoring a steadfast dedication to the craft of acting.
