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| Edited By: Yogesh Pawar |Source: DNA |Updated: Sep 16, 2018, 06:05 AM IST
Manto is relevant, now more than ever. In fact, doing Manto was my way of responding to what's going on around us today. The way identities – of religion, caste, region, nationality, sexual preferences, language – are being inextricably linked to further politics of hate. Whereas Manto focuses on the universality of human experience, which makes him both relevant and necessary. This is a time when freedom of expression is being challenged and stifled. Through his work and life, Manto has shown us that it is important to speak up fearlessly. Let’s not forget that he was tried six times for “obscene” writing but till the very end he continued to write what he saw and believed in. And therefore he is so inspirational in our time.
Life has always inspired art. But when I began work on Manto, in 2012, biopics were not as popular as they are now. But in any case, I didn’t think of the film as a biopic. For me, Manto is an idea, a force, a response. It is to invoke the Mantoiyat – the desire to be honest, courageous and free-spirited – that I believe exists in all of us. Anyways, this film is not a cradle-to-grave biopic. It focuses on the most significant and tumultuous four years of his life (1946-50) that were also in the lives of the two countries – India and Pakistan.
I thought Firaaq was difficult! But when I look back, I think that was a cake walk compared to Manto. Firaaq began with line: It is a work of fiction based on a 1000 true stories. It allowed me a lot more latitude to create imaginary, composite characters based on reality. While with Manto, it is pretty much all reality. I have also weaved in Manto's own writings. It was a mammoth task and took me 5 years to put the script together from all the material that I had read. Also finding money to make Manto was tough. This isn't your typical Bollywood film, nor your small-budget independent film. So while it was independent in its vision, we needed money to re-create Bombay and Lahore of the 1940s. It was also like making two films since we couldn’t repeat our cast, locations or costumes from Bombay in Lahore. So it was a difficult film to make at man levels – creatively, logistically, emotionally and otherwise. And that’s why I say I didn’t choose this script, I just felt compelled to tell this story and had to find ways of making it happen.
Everybody thinks that was a trailer for Manto but that's not true. I had already begun working on the feature, Manto, when I was approached by India Today to make a short film. After some hesitation I thought it would be a good way for me to respond to the happenings around me as for a long time. I was then in navel gazing mode and couldn't think of anything beyond Manto and my son. The short film gave me a break from that. I also felt it would be good for the team to come together, and also get a sense of how Nawaz transforms into Manto. It was in that sense a little rehearsal before the real film. I took some of the lines from the script and we shot for a day to make the short film.
I'm not precious about anything. I in fact showed the script to a lot of people, and even the first cut to some. I am always open to feedback as it only helps in improving the film. Of course you take only those comments that make sense to you. In any case, I don't think someone will plagiarise and make another Manto!
While my script is largely drawn from Manto’s own works, it was also important for me to meet the family. One, I wanted to ensure that Manto was represented properly – I owed it to the family. Two, while Manto was prolific, to understand the man behind the writer, I needed stories from the family that I would not have found in any book. I even went and stayed with them and over the years, have become very close to all of them. We have had several skype and WhatsApp calls and I am grateful for their love and support.
While writing I had thought of Nawaz for Manto and Rasika Dugal for his wife Safia. The other casting happened over many months. I am overwhelmed that so many actors lent their support, doing small cameos. They brought a huge amount of credibility and good will to the project – whether it was Rishi Kapoor in the role of a sleazy producer or Gurdas Maan, as a distraught father (not easy to imagine him as that!), the list is long! I just went and shamelessly asked anyone and everyone who I felt suited a part and would add to the interest in the film. Their presence in the film was an added bonus to reach out to a wider audience. I wanted a stellar cast even for the cameos as it helps the film. People get excited saying 'Iss mein Rishi Kapoor bhi hai, Paresh Rawal bhi hai, Gurdas Maan bhi hai, Ranvir Shorey bhi hai hai.' I know that works with Indian audiences and I want my film to reach out to them without having to compromise on the tone and treatment of the film. Shyam was the most difficult to cast even though I thought that would be the easiest. He needed to be a good looking, light-skinned, charming man that Bollywood is filled with but whichever big name I approached felt they would be playing a “second lead” and therefore declined. Though they were ready to give anything to play Manto!
(Laughs) No, that wouldn’t be fair. In any case, I had already found my Manto. And I’m really happy that for Shyam, I found Tahir, who is not only charming and Shyam-like but a lovely person to work with.
I was myself was thrown when Honey Trehan, my casting director, suggested him to me to play a distraught father looking for his daughter in a refugee camp. I only thought of him as this jet black haired man in lovely shiny jackets singing Punjabi songs. On Trehan's insistence I met him and realised what a fine human being he is. Genuinely humble and spiritual, there's something magical about him. I was a bit apprehensive he'd want to a be a Bollywood-y designer father, so I told him he's going to be raggedy dirty, dusty with unkempt hair. And he said: 'You're the director. Do what you have to.' He shot in 45 degrees in a small village off Baroda with 250 extras.
Yes! We shot Lahore in Gujarat.
Yes despite coming from diametrically opposite ends of the political spectrum, I have always admired his talent and there has been a lot of mutual respect since he worked on Firaaq. When I reached out, he said he wanted to read the script. I was worried and said it’s only a day's shoot but he insisted on reading the script. He then messaged me saying: 'I love the script. I'll do it.' By the way, he (and many others) did not charge anything.
When I went to him, he said: 'I'm not going to do any guest appearances' and yet agreed to be do such a small cameo in the end. I told him I wanted him since he's a wonderful actor and his support will bring audiences. I think while we cynically say 'Aajkal sab paise ka khel hai' and all that, there is genuinely a lot of goodness in the industry too. I think I used up all my goodwill on Manto. Third film ke liye kuch nahi bacha!
I am not going to take another ten years before my next. I am getting a lot of interesting offers to both act and direct. I am in talks with an international production house too, but I have too much on my plate till Manto releases. After the film and its promotion is over, I travel to Busan and London for the festivals. And though the film will continue to travel to others as well, I want some quality time with my son. I also want to write a book on the making of Manto, since there are is much to share from the Manto journey on many levels – creative, emotional, socio-political and spiritual.
No not really they know I chose Manto as a subject for a reason! Like him, I try to call a spade, a spade. But I realise I have also mellowed with age and am less confrontational or angry even if it is sometimes justified. I am trying to find ways to have a dialogue, that’s the only way we can counter hate and othering. Conversations and empathy should guide our discourse, not anger.
I am still open to acting if the story, director and role are exciting. As an actor you get to be part of several interesting stories. After all you can't make them all. At times on the set, I used to envy the actors who took nice, long breaks between their shots while as a director I was on my toes all the time. Though even as an actress, I was never really a 'baby-ko-juice-doh' type!
I don't carry any crosses. This is a matter of perception and how people have gotten to know me. The film world likes to think of me as an activist, the activist world likes to think of me as an actor. And now I'm directing. I guess they don’t know what box to put me in. These things hardly matter as long as I get to do the work I like and believe in.
I don't even watch those films, so why would I want to act in them? I'm not resisting any temptation. It’s like a hardcore vegetarian will not be tempted by even the best mutton kebabs. I am not judging those who watch hardcore commercial films or act in them. I am all for freedom to choose. But if after 22 years I still have to answer this question, then I feel that I am being judged for not doing mainstream cinema. I feel there should be enough space for diverse stories, which is not the case, as often commerce interferes with art. Somehow, I feel it’s more in our country than others. Considering we make a 1000 films a year, they don’t reflect the diversity that exists in our country,
