This is no longer the Mumbai I knew and loved: Nana Patekar

You've always wanted to do Natasamrat?
Who wouldn't? It's been written so well as a play that it draws in both audiences and actors. From the time I watched Dr Shreeram Lagoo and other stalwarts play the part, it has been in my heart. I was too young and junior for such a role to come my way, though it was a desire for long.

Mahesh (Manjrekar) too suggested we do Natasamrat two-three years ago. But it took time for everything to fall into place.

Why a movie and not a play?
Perhaps when younger and more active in theatre, yes. But now I don't think I have the necessary physical, mental and emotional wherewithal to take on something as intense show after show.

Shooting was easier?
Yes, one gets into character and performs here, too, but it's only till that take is okayed. I think dubbing for Natasamrat was tougher.

Why?
It needed reliving that moment. Getting the feel and pitch right meant several retakes. That was quite tiring. Once done, I was relieved it's over. When Mahesh called me to say that a scene we had completed dubbing needed to be redone, the character was out of my system. I began to feel all strange and aloof while dubbing the same lines again.

Was it daunting to reprise a role done by many stalwarts before?
Whether it's Dr Shreeram Lagoo, Datta Bhatt or other stalwarts, we're talking about really tall legends of theatre. Obviously, that plays on one's mind. It's amazing to think how, often seated in one position on a boxed-in stage set, these actors used only the power of their performance and voice to keep audiences gripped. The words remain same, but we all have different ways of breathing. This makes everyone's dialogue delivery different. Yet, I had one more advantage...

...which was?
We are shooting in today's times with the latest in technology. Cameras, sound, lighting and music have all changed so much in the recent times, and that helps a lot.

How did you prepare for the role?
I spent hours reading and re-reading the script till I got a complete understanding of the words and spaces in between. It reached such a frenzy that I'd wake up in the middle of night, chanting my lines. I actually asked Mahesh to start shooting immediately since it began getting to me.
Ideally, I don't shoot past 9 p.m. But I was possessed. So much so that what was supposed to be a 65-day schedule actually ended up being only a 35-day one!

Natasamrat was shot in reverse order from end to the beginning...
The protagonist Ganpatrao Belwalkar grows a beard and goes beyond caring for his looks. I didn't want to wear a fake beard, so I grew one and as we went back in time, kept trimming it.

How does this role compare with other intense characters you've played?
This is a totally different. It's like a bhel of emotions. There are scenes and lines that are stylised, and some needed a real-life ease about them. You know, while dubbing, I'd wonder how I've done all this. I don't think I can do it again. All credit to Mahesh, though. He never interfered with my creative process as an actor.

You've turned producer with this film.
This was just a way of helping in creating a film like Natasamrat. Instead of remuneration, I chose to have a 35% stake. That's all.

You're known to interfere in every project. Did it happen here too?
(laughs) I didn't need to. Here I had a director who knows and understands the medium, what he wants from the film and actors. In the past, my help has been misconstrued as interference. If you're doing it right and I still insist on imposing my view/style, that's interference. But if I see a camera position is wrong and will ruin the scene, then I tell the director. Here, I've not suggested a single frame or cut. Whether praise or criticism, it will all be Mahesh's.

Wasn't your wife Neelakanti going to play your on-screen wife Kaveri in Natasamrat?
I met Neelu (Neelkanti), while doing theatre. She's a good actress and writer. When we got married, she worked in a bank and earned Rs. 2,500 a month. I was making only Rs. 50 per show for Hamidabaichi Kothi (laughs) with Vijayabai (Mehta).
There was a screen test for Natasamrat with both her and Medha (Mahesh Manjrekar's wife). I left it to the director to take a call. Ultimately, Medha's done the role. I keep telling Neelu to lose weight and maintain herself. After all, our body is everything.

You're very fit for someone turning 65.
Because I rigorously work out for two hours daily. This body is all we have to do everything we want to. We owe it ourselves to take care of it.

The film industry thinks you're difficult/temperamental.
You aren't the only one saying this. The other day after Sharad Pawar's felicitation programme, when I went over to Raj Thackeray's for a chat, he too said, "So many big banners want to work with you, but they're afraid."
How can I be responsible for people's perception of me? If someone does something wrong, I unhesitatingly point it out. Even if they're really well-known big names. They've acted stupid at that time and I'm forced to point it out.

But people cultivate tact with age.
I'm not interested in acclaim, awards or any favours from anyone. How many years am I going to work? I have no dreams of becoming a multimillionaire. I've got enough love and respect from people because of my forthrightness. I can't change that.

Your harsh childhood and struggle has left a permanent scar.
Those were hard times for me and my family. When I look back, I see that my hunger and humiliation taught me a lot. My father was cheated by people he trusted. He lost everything suddenly. I was in Class IX and was forced to begin working. It feels odd when the same people who'd avoid me now act friendly and nice. I've learnt to pour all that bitterness into my performances.

Yet there were many who touched your life with kindness.
Of course! Without them, I would've never reached where I have. People like the late G.S. Tari, for whose ad agency I printed cinema posters, used to pay me Rs. 35 per month. I'd walk all the way from our Matunga West home to Chunabhatti. His wife Kamala, who I called aai, would feed me daily. I still remember their sons Shashikant, Pushpakant and Vishwakant.
The guidance and support of Sulabha and Arvind Deshpande brought me to the world of acting. Vijayabai taught me how to approach roles unconventionally. Friends like Madhav Limaye have also been very helpful.

Is is true that Smita Patil got you to do films?
Smita was hugely appreciative of what I did on stage. She'd always encourage me. "Don't limit yourself to theatre. You're such a fine actor, let the world watch you. You must do films," she'd keep saying. I liked to believe I was an idealist who didn't want to sell out to films. Truth was, I had a complex about the medium to begin with.

You've done several critically-acclaimed movies. Why did you choose to do slapstick comedy?
Doing only art house cinema is not feasible. Mainstream, escapist films then become a need. Once you decide to do them, it's unfair to look down on them. Also as an actor, why can't I do both? Anyone can play a test match, but can you play a 50 over game? A 20 over one?

Is it harder to adapt to a T20 match?
No it isn't. Doing a Natasamrat or Diksha is in fact easier since the role's written right down to its finer nuances. You simply find the character's groove and play it. Here, you're lucky if you have lines. There's often little else. The challenge as an actor is for me to take something banal, something that's been done a thousand times before, and make it look unique, serene and beautiful.

Even if it means matching steps with yesteryear vamp Bindu?
It doesn't make any difference if it's Bindu or Sunny Leone. At that time, I just imagine I'm with the world's most beautiful woman and perform. I never judge people and allow that to colour my equation with them. If Sunny's done porn films, that's her lookout. Who am I to say anything?

Are you the forgive-and-forget type or do you hold a grudge?
Sometimes what people say or do can hurt very deeply, leaving an impact that's hard to let go. There was a time when I'd be eager to pay back the person in the same coin. But now I've learnt of other ways. Also, it's not like I am a paragon of virtue without flaws. I must also be hurting many.

But you haven't worked with Vidhu Vinod Chopra since Parinda.
When we finished Parinda, I remember coming to blows with Vidhu. It was the fire scene. They poured rubber solution all over and the flames began burning the swing on which I was sitting. I was stuck and suffered extensive burns, and it took a year for me to heal and give a retake.
During the retake, despite warning them, they used rubber solution again. I berated Vidhu for his carelessness and things quickly escalated from swearing to blows.
And then it became part of my reputation (laughs). I think people mention in the contract that Nana will fight at least once during shooting.

Will you work with Chopra if he now approaches you?
Yes, why not? But he has to approach me first.

You haven't directed a film after Prahaar. Don't you feel like wielding the baton again?
I haven't – officially. See, I could either make films or money. I needed the latter to buy a house first and then run it. I have a 750sq.ft. flat which I bought for Rs. 1.1 lakh. Now it's worth over Rs. 3.5 crore. How would I have made enough money to buy it?
Also, in direction, you get stuck with a project for two-three years. In the case of acting, you can do a film in 40-50 days and move on. Now I finally feel tempted to direct. I want to comment on the insensitive times we live in with a film.

Please tell us more.
All in good time.

You criticised Lata Mangeshkar on the Peddar Road flyover issue and even protested when late Sena supremo Bal Thackeray berated late litterateur P.L. Deshpande. Were you afraid?
I don't fear death. I'm not afraid to face anything. If I begin to stifle myself, I'll die faster. This is why my blood pressure in college was 120/80 and is still the same. One should feel free to talk about what we don't like. I'd expect you to not spare me if I said or did something wrong. Without such openness, we'll reduce human beings to vermillion-covered stones of worship.

You've earned considerable praise for your work with families of farmers who ended their lives.
I don't think what I'm doing is special. I was once watching TV and saw how listlessly a family was narrating the loss of their breadwinner. It left me shattered to think there's so much unfolding and I'm sitting in the comfort of my home doing nothing. I had savings of Rs. 1.5 crore. I decided to help 1,000 deceased farmers' families with Rs. 15,000 each. I told my actor friend Makrand Anaspure to distribute the money. But he insisted that I go along. When I saw the sheer number of widows and their helplessness, I realised this was more mammoth a task than I'd imagined. We then set up the Naam Foundation to raise funds.
Just sitting and cursing BJP, Congress or whoever is in power isn't enough. It's time to get up and do our bit.

But you've been a brand ambassador for Mahyco-Monsanto's Bt cotton, the introduction of which began the farmer suicide spiral.
I was misled into believing that this was going to benefit farmers. When I realised what I'd done, I immediately withdrew. I maintain that endorsing Monsanto's Bt cotton was a really stupid mistake.

Didn't you know that the agrotech major would get to monopolise sale of seeds?
No I didn't. As a paddy farmer, I set aside seeds every year for the next crop cycle, and I'd thought this would be exactly like that.

You're farming a lot nowadays. Has Mumbai lost its charm for you?
This is no longer the Mumbai I knew and loved. I find it difficult to even breathe here now. Whatever emotional attachment I had was with people and places, which are gone. Gone are the people who loved each other and the places that gave the city its flavour. Now we live in times when everyone is suspicious of the other.
Whether the 2005 deluge in Mumbai or the recent one in Chennai, why should we come out in support of each other only in crisis?

And the polarisation?
The hatred in the name of religion really hurts. I've never had discrimination in my mind between Hindus and Muslims. One of my sisters is married to a Muslim. The city, sadly, simply doesn't have that culture anymore.

Though Shah Rukh Khan has had a rethink since, you felt Aamir Khan shouldn't have spoken about intolerance like he did.
This whole part of about leaving India and all that... no one's saying Aamir's wife doesn't have the right to think like that. But is it right for him to talk about it publicly? Tomorrow if someone around me or my family says something bigoted about Muslims or any community, I should try and make them see how wrong they are. Whether I succeed or not, I shouldn't make that public. When a public figure speaks, it can have consequences.
Aamir's now positioned himself as a sensitive actor and has a huge fan following. He should be more responsible. After all, what gets said in the four walls of a home is not always meant for public consumption. The artiste fraternity needs to bring society closer. Make statements about what you think is wrong by all means, but that statement shouldn't cause more divisiveness.

Have you considered getting into active electoral politics?
Never. Several political parties approach me but I always say no. By agreeing, I'll lose my freedom to speak my mind. In a party, you can't talk about anything without consulting the leadership.

Do you miss being conventionally good-looking and being able to play romantic leads like other stars?
How can one standardise good looks? Depending on how one looks and one's context, different people find different characteristics as good looks. I always found the slightly rough, rakish, dark and strong looks better. Anyway, looks only help you in the first few seconds. Then it is all talent. I'm not taking names, but think of how many 'ugly' actors have gone on to become big names and how many 'handsome' faces have become duds.

Do you feel being a character artiste limited your career?
I know actors who've been tied down and almost wiped out. I was aware of this and never let it happen. I've always worked on my own terms with respect and dignity.

You're often called the Morgan Freeman of the Indian film industry.
What do I say? He's such a great actor. Whether The Shawshank Redemption, Street Smart or Driving Miss Daisy, look at his phenomenal talent. While it is flattering to be compared to him, we're very different individuals.

Manisha Koirala, who were you were once seeing, has battled cancer. Are you in touch with her or Deepti Naval, who you were also linked to?
They're both in a good, comfortable space and happy. Why would I do anything to disturb or hurt them? Of course, if I meet them, I won't avoid or ignore them.
For people, these may be just affairs, but at the end of the day, they gave me some really special and happy moments. I want to respect that and not make it grist for gossip.