The middle-class space excites me: 'Do Dooni Chaar' director Habib Faisal

Do Dooni Chaar, writer Habib Faisal’s directorial debut, made Delhi come alive like never before. As you watched the lives of the Duggal family unfold, you couldn’t but be drawn in by the middle-class setting and the realistic portrayal of the characters.

“It could be due to the fact that the film was largely autobiographical,” says Faisal. “Many a time, while writing the script, the lines between reality and fiction blurred.” The film told the story of Sanjeev Duggal, a schoolteacher trying hard to make ends meet, with demanding teenage kids and a sympathetic wife, and how he resists the urge of making quick money, so he could afford to buy a car for his family.

“The idea came to me at the time Nano cars hit the market. A newspaper had the picture of a man with his wife and two kids on his scooter, and the article was about how the middle class could finally move from scooters to cars, which were now within their reach.” Faisal’s father was a schoolteacher too and he himself felt the pinch of the low salary the profession came with. “Besides, everyone has a great story to tell of their first car; I can never forget the joy of owning a second-hand Fiat.”

After completing his education from Delhi, Faisal studied cinema at South Illinois University and joined NDTV as a cameraman. For five years, Faisal shot features for the channel, an experience that helped him travel across the country and get in touch with “real characters.” Filmmaker Tigmanshu Dhulia, who had read one of Faisal’s scripts written while in film school, put him in touch with Shaad Ali. “He was to direct Salaam Namaste at the time (it was eventually made by Sidharth Anand), and I was taken on as the film’s screenplay writer. I went on to write Jhoom Barabar Jhoom and Ta Ra Rum Pum for Yash Raj Films.”

In 2010, Faisal first directed Do Dooni Chaar, which won immense critical acclaim, and then wrote Band Baaja Baaraat, a film which continues to do steady business in cinema halls, turning into the surprise hit of the year. “It’s great to be in the limelight all of a sudden. I’m having a ball currently. 2010 will be a memorable year.”

The year will also be memorable, says Faisal, for the films that it produced. “I am very excited by the middle-class space. Udaan was another film that explored that, and most films this year were rooted, in a way,” he says. After a pause, he continues, “Even Raajneeti, Once Upon A Time In Mumbaai and Dabangg, in spite of being big budget films, were experimental in some way or the other, and very rooted to Indian sensibilities. That seemed to have worked with audiences,” says Faisal.

“It’s encouraging to be making films at such a time. Even stars are willing to experiment. Who would have thought Salman would have played a Chulbul Pandey? With big producers backing them, the trend of watching differently-themed films should continue,” says Faisal. He quickly adds, though, that at the end of the day, films are meant to be commercial propositions.

“Band Baaja Baaraat is the best example. When a mainstream banner backs an novel concept with newcomers and then markets it well, a film is bound to do well. It’s about striking the right balance — an inventive idea, yet mass-appealing. Hopefully, that will be the mantra for coming years.”

Faisal’s real worry now is that filmmakers in 2010 have created high expectations. “This year has seen so many different films that audiences will now expect something new every time. I hope the ideas keep coming in, to me and other filmmakers,” he says, ominously.