Blink and you’ll spot it — the Thassadiyya hook step — looping across reels, and getting everyone from kids to creators on their feet. It’s the kind of move that feels instant, infectious, and impossible to resist. Behind this wave is choreographer-director Pony Verma, whose work spans from Hungama, Garam Masala, Bhool Bhulaiyaa to The Dirty Picture, Ponniyin Selvan, Kalki 2898 AD, and the list goes on. In an exclusive chat with CE, she reflects on her journey, being the ‘Ooh La La girl’, choreographing Samantha’s Thassadiyya from Maa Inti Bangaaram and more.
Excerpts
Take us through your journey.
I started a long time back, with Priyadarshan in 2002. It was the Malayalam film Kakkakuyil, featuring Mohanlal and Mammootty. Before that, I worked extensively on music videos with artists like Sukhbir and Mika Singh, along with several television projects, building a strong name in that space. That’s when I got the opportunity to work with Priyadarshan, whom I consider my guru. Since then, I’ve continued working with him on projects like Bhooth Bangla and others, while also doing films across Tamil, Telugu, and Malayalam industries.
What has been your creative process?
The first step is understanding the film — that’s the key difference between music videos and films. In films, you must understand the character and narrative so the song feels organic. Take a song like Tu Hi Disda from Bhooth Bangla — it could be done in many ways, but what matters is the film’s requirements and situation. I always sit with the director to understand the story, character, and what would feel out of place. You have to merge yourself into the film, not the other way around. That’s how choreography becomes organic.
You’ve often referred to Vidya Balan as your ‘lucky mascot’. What’s the story behind that?
Vidya is known more for acting than dancing, but some of my most satisfying work has been with her. Aami Je Tomar (Bhool Bhulaiyaa) and Ooh La La (The Dirty Picture) are among my most memorable songs. For Ooh La La, I knew it needed a different approach after reading the script. I envisioned multiple looks, an 80s aesthetic, and elements like oranges. When I shared this with the director, Milan Luthria and Ekta Kapoor, they gave me complete freedom — from sourcing truckloads of oranges to shooting at Ramoji Film City. That song was entirely my vision, and I’m very proud of it. This is why I call myself ‘The Ooh La La girl’. (laughs)
How do you feel about the response to your viral choreography for Thassadiyya?
The time I worked on that song was very challenging. I shot with a fractured toe and had just lost my mother-in-law. I was grieving at home. I was unsure about doing it, but my husband encouraged me. I remember asking director Nandini Reddy to guide me, and within five minutes, we cracked the hook step. We recorded and sent it to Raj and said, it was wonderful. I was still not sure because I was not at my best mentally. Even on set, it felt special, but I never expected this level of love. After so many years, this response feels deeply comforting.
What makes this song different?
Its simplicity. There’s no overt sensuality or stylisation — it has a relatable, girl-next-door vibe. Anyone can perform it, from children to grandparents. There’s innocence and vulnerability to it, maybe reflecting my emotional state at the time. Seeing people of all ages dance to it brings me immense joy.
What was your most challenging project?
Aami Je Tomar was the toughest because I hadn’t done that kind of choreography before. I even did a short Kathak course to prepare. I felt I needed to learn it properly before expecting actors to perform it. Priyadarshan had informed me early, so I trained extensively. I had support from dancers across cities. The song blends Kathak with elements of Odissi, creating a unique fusion. Compared to that, a Kathak-based song in Bhooth Bangla with Tabu was easier since I already had the foundation.
What’s next?
I’ve just finished shooting Haiwaan with Priyadarshan, starring Saif Ali Khan and Akshay Kumar. I’ll be working on a Telugu film titled Emo Emo Yedi. With the response to Thassadiyya, I’m hopeful more exciting songs will come my way. Let’s see what unfolds.