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t will convince the audience to come out of their homes and spend the kind of money needed thus the tilt towards spectacle that is the marvel effect it was there before too but it is much more now producers seem to feel that people need an extravaganza to come to the theatre is that true i don t think so the success of kantara or a small film like 12th fail or the huge critical acclaim for a film like joram give me hope hindi filmmakers should go back to the drawing board before covid 19 we were doing everything right women led films were doing well films were engaging as well as entertaining but now the fear of failing is such that there is a push towards extravaganzas i think we just need to look at amitabh bachchan s films larger than life characters yes often rags to riches plots the triumph of good over evil but the hero was a coolie or an orphan or a police inspector who was non corrupt or an unwanted child who becomes a multi millionaire people related and clapped for him replace marvel style films with this you d save a lot of money on vfx but hindi cinema no longer tells stories about poor people they are not the paying audience but the same audience is watching a telugu film where the protagonist is from a poor background they are watching kantara in the non kannada circuit and making it successful kantara s story is like a lok katha with a hero from a village if we take the lead from there i think we will find clarity by from there what do you mean south india i do not mean imitate them but take a cue from them heroes should look like us talk about the problems that the common man is facing very few indians actually make it to the civil services but when you make something like 12th fail the level of identification is huge the marvel model might make money once or twice but that is not a long lasting solution i have no problem with larger than life films but stories should be rooted in our society because people want hope and you can t give them hope by showing life on mars has ott helped or hindered ott has opened up possibilities for storytelling you can make things with good intentions and find an audience take sirf ek bandaa kaafi hai a regular lawyer fighting for a minor fearful that someone might come out of any gali and kill him it became a streaming phenomenon overnight so audiences are looking for relatable characters stories that offer excitement and hope sirf ek bandaa is based on a real life sexual assault case against asaram bapu but are things getting more difficult the stories that can be told the censor situation was as brutal 20 years ago but filmmakers are intelligent people you can t sit down and say you can t make a film you are a creative person right then you will find a way among just my films think of sirf ek bandaa or gulmohar that family film speaks of so many things so cleverly or joram about a tribal man who is displaced and joram has a u a certificate could these be exceptions one can be an exception not five i think cinema and theatre has gone through changes and challenges in any decade and always come out on top theatre was where you began as an actor do you miss it i miss it so much that i tried going back to it but theatre does not give you crutches no takes editing background music or sound what you see with your naked eyes is the truth it is an actor s medium but the actor has to be completely prepared i was not i would have to completely stop working in cinema for a time to work on myself and be ready for theatre is that something you might do yes i might what is it you miss about theatre the audience the audience used to be a blur it was as if nothing else existed the stage was my safest space in the world that is what i miss is the film set not like that the film set you can t really own it there are too many factors that own it do you still watch theatre yes i do whenever i am free and there is a play by friends makarand deshpande or danish husain so many people i go to prithvi theatre do you prepare for a role by seeking out real people who resemble your character i have met lakhs of people thousands of them very closely from all strata of society from a village to a paharganj basti to a vasant vihar palace life has taken me everywhere everything is stored in the hard drive of my brain so no i may not have grown up as a rich businessman s son but playing arun batra in gulmohar or playing dev in the fable was not hard these people are all around me i know how they think what was hard was zubeidaa to play a prince is a whole different mindset i still remember shyam benegal telling me you don t know anything about poverty you are raja and they are praja and you are not an exploiter don t complicate matters too much from the moment you open your eyes you have only known this do filmmakers write roles for you now when you re dealing with raam reddy or devashish makhija or kanu behl these are very creatively committed people they do not write roles for anybody but if those roles suit me they do give me scripts to read there i can compliment myself i have never led a closed life and i think they also feel that if manoj bajpayee comes on board he doesn t go away easily are there roles you want to play any historical figures maybe oh no i don t want to do biopics see you need an attenborough to make a gandhi and then attenborough needs to give ben kingsley the time to prepare we do not give our biopics that commitment of time money and energy also some shades of grey are needed which indian biopics don t offer the only biopic i have done is aligarh i based the character of dr siras on a one minute interview clip with barkha dutt it was almost nothing to go by but people who knew siras told me he was just like how you showed him does acting ever seem scary to you its power i think acting affects people though only up to a point dev s journey in the fable makes people realise the void they unknowingly carry siras plight in aligarh affects people because it is hard to see a person trapped in his own house we relate to it because we are all the time invaded have you had that dilip kumar experience of being too close to the character it happened with shool but i was very young then i did not know how to switch off and switch on but even now am i ever totally off how many bruises i carry i will only know at the end of my life until then i am enjoying myself maybe my moodiness is also the effect of playing all these characters so deeply but i love acting if i love the perks i have to love the bruises has acting ever felt strange to you the combination of intensely feeling something internally but having to perform it externally acting is like stripping yourself in front of everyone if you are ready for that then come into this business but yes it s amazing there are many actors like me people who prefer to be quiet very shy in many ways who suddenly feel completely comfortable when the camera is on it excites me what art can do to an artist do you feel like each role teaches you something new yes each role s humanity affects me also don t forget that the script is written material you are finding new meaning as you go through every line repeatedly are you a reader i am a reader but not a voracious one because i do not have time i read my scripts on flights have scripts become more professional they have when i entered the industry there was only narration people looked at me strangely if i asked for a script then people started giving me a page then ten pages now you see professional bound scripts i ask for them in devanagari i am from hindi medium to read hindi in roman is impossible for me you would be an exception since most hindi film scripts are originally written in english and most actors and even directors are increasingly only english speaking does this disconnect not link to the lack of rooted stories definitely look at all the filmmakers who ve made an impact from vishal bhardwaj to rakeysh mehra to hansal mehta to anurag kashyap to devashish makhija all of them write in hindi though they studied in english medium i m glad you asked me this if you re from north india and coming into this industry hindi should be something you practice sure we need english absolutely it s empowering but the lack of hindi is a handicap i sometimes see on a talk show people making fun of a hindi word that some actor has used i think how can you do that you are making fun of yourselves and i tell my 13 year old daughter sit with me work on your hindi you ll be at a huge advantage she gets irritated but it will have an impact especially since she is very active in theatre in school and she wants to act we are heading towards a situation in this industry where knowing hindi will be the exception published in frontline magazine may 12 2024 posted by trisha gupta at 20 57 no comments email this blogthis share to x share to facebook share to pinterest labels bollywood acting arthouse films bandit queen berlinale bihar film festivals films gulmohar hindi interviews joram manoj bajpayee screenplays shool sirf ek banda kaafi hai the fable theatre zubeidaa 3 november 2024 warp weft of history mishal husain s broken threads i read the bbc presenter s mishal husain s family history and then interviewed her about it for this india today piece british journalist mishal husain s broken threads my family from empire to independence is a rare mix of research and storytelling making it a great read for anyone who wants to understand the history of south asia s present mishal husain s broken threads begins with the actual frayed threads of a sari from her grandparents wedding a cousin uses its brocade border on a shawl and gives it to husain as a wedding present beyond this though the book contains surprisingly few object histories for a family memoir in an age of instagrammable nostalgia it quickly becomes clear that husain a well known bbc journalist wasn t just looking for a place to inscribe her own memories she had access to her grandparents memories i had the books written by one grandparent shahid an unpublished memoir left by another mumtaz some audio tapes recording my grandmother tahirah and a 97 year old sibling of mary s to talk to husain says in an email interview the book s structure stemmed from this chapters 1 4 are devoted in succession to her grandparents mary mumtaz shahid and tahirah but the real achievement of broken threads lies in contextualising each grandparent s individual trajectory i realised early on that i needed to begin a few decades before going back into the 19th century and the period before and after 1857 says husain i turned it into history as well as memoir because i didn t feel i could understand these individuals without understanding their times we hear about mary s childhood for instance only after husain has described the arrival of europeans in india but instead of a generic history of the east india company husain focuses on what is relevant to explain mary quinn daughter of mariamma and francis quinn the relationships between indian women and european men which led to the emergence of the anglo indian community she does something similar with each grandparent tapping into histories of communities professions ways of being writing about her grandfathers mumtaz and shahid enables her and us to dive into the modern south asian histories of medicine and the army as context for her grandmother tahirah who grew up in aligarh husain provides a deft account of syed ahmad khan and his awakening to the need for western education for muslims who after 1857 had fallen into a state of nostalgia for the past and resistance to the future what brings all these threads together is the british colonial frame as husain puts it she felt the environment into which shahid tahirah mumtaz and mary were born between 1911 and 1922 had been shaped by prior events and the entrenchment of british power they grew up seeing new delhi being built as a grand capital and i don t think they envisaged that era ending in their lifetimes she tells india today this may have been particularly true of shahid who had a ringside seat to the circle of power in delhi for the 18 month run up to independence and who wrote about that period making clear his dim view of lord mountbatten there is something deeply tragic about this portrait of her grandparents as part of a colonial elite in a united south asia who didn t feel at home anywhere after independence and partition husain seems to share shahid s sense of disappointment as a journalist working primarily on the uk she says writing broken threads made her return often to a dispiriting reality how did a nation with such an established democracy developed institutions and a system of checks and balances not do better in its ending of empire that the book is written for a british audience is apparent in both the language a great grandmother s white dupatta scarf and references babur a near contemporary of henry viii and yet the rare mix of research and storytelling makes this a great read for anyone who wants to understand the history of south asia s present the political divides of the 1930s and 40s emerge more intimately than in most academic histories nehru and jinnah being disturbed by gandhi s use of religious symbolism or mohammad ali jauhar of khilafat movement fame saying nationalism divides but faith binds it is disturbing to see the present day resonances husain agrees in how much of what drove decision making in 1947 or has happened since remains whether it s the insecurity minority communities can experience or the role of the military in governance but i felt also a great distance from the past in ordinary people s identification with something greater than the self when shahid is en route to england for military training his cousin shaukat writes to him remember that this poor disorganised half fed country is your native land bring back to its shores the accumulated experience of other people i do not know if many ordinary south asians today feel such idealism published in india today magazine 4 nov 2024 edition in print also online here posted by trisha gupta at 21 22 no comments email this blogthis share to x share to facebook share to pinterest labels 1940s aligarh anglo indians books britain class delhi family history jinnah marriage memoir middle class military mishal husain nehru north india partition 20 october 2024 ps vinothraj filmmaker profile ps vinothraj whose last film pebbles was selected as the indian entry for the 94th oscars premiered the adamant girl at the berlin film festival 2024 like pebbles it makes astonishing use of tamil nadu s unique light sounds landscape and even animals ps vinothraj burst onto the indie cinema scene when his directorial debut koozhangal pebbles won the tiger award the top prize at the international film festival of rotterdam in 2021 late that year it was india entry to the academy awards in feb...
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