Reported By:
| Edited By: Yogesh Pawar |Source: DNA |Updated: Sep 23, 2017, 06:15 AM IST
As a model, theatre person, film and TV actor, filmmaker and columnist, Neena Kulkarni wears several hats and brings the sincerity of her craft to every frame making each character she portrays, real and imbuing even similar ones with an edge that make them different. To do this once in a while is itself worthy of admiration so what does one say to someone, who has done this for four decades. On the completion of 40 years in the industry, the seasoned actor opened up on her exceptional work, her life and her hopes from the future...
Of course, it does. Nothing gives me the same high as acting. Acting will always be my biggest love. I think that’s happened because I’ve enjoyed and made the most of every part, however, big or small. I’ve almost never taken up a part that I didn’t like under compulsion.
What is recognition after all? Recognition and love I get from people when I step out? The way someone recalls/praises a play/serial/ad I did even from the early 80s? Or the respect and warmth I receive from people in the fraternity? Isn’t that more important and satisfying? Having said that, I haven’t stopped hungering. Who knows, a better, more challenging role and the recognition it will bring in its wake may still be ahead. After all, we live in really interesting times when filmmakers are pushing the envelope, both with subjects and genres.
You know how this plays out. An actress is assumed to have a certain shelf life after which she’s thrust into a ‘character role.’ I’m 62. There was a time when someone my age would be just another glorified prop, but not so anymore. One of the nicest things about contemporary takes on gender and sexuality have meant assertive women. And filmmaking has had to make space for that. That is why films are being written for a Meryl Streep, a Judy Dench or a Sridevi here. Even if one has to etch a mother she isn’t simply filling the frame.
Look at how wonderfully Shabanaji (Azmi)’s character stood out in Neerja.
Well, I did. And given the prep that I put in, I won’t lie and say that it didn’t hurt to not get it. But when I saw the film, I was floored with what Shabanaji brought to the role. We come from really different schools of acting so obviously her take on the character is very different from mine.
Not at all. I was always the upper middle-class Mahim girl. My parents were both doctors and really well-respected names in the medical fraternity and I schooled at Canossa Convent and then pursued my BA from Elphinstone College. So acting happened as a matter of chance.
You can blame that on our short college hours and lack of diversions like social media. (Laughs) We’d have a lot of time on our hands. I’d begun doing fashion shows and modelling for a lark even doing the odd experimental play. My progressive parents were quite supportive and never resisted. And so I carried on.
Satyadevji is known as a director, actor, playwright and screenwriter. But his greatest contribution has been his mentoring of an entire generation of actors helping them discover their own strengths. Imagine my luck that I met this walking encyclopedia of theatre and went on to be part of several productions under him. Though extremely moody and temperamental, he was a very generous teacher. I was young and all of this was totally new, so I’d be excited about everything. I hadn’t had any formal training in acting. It all began with Satyadevji. He’d make us learn the whole play, all dialogues for all parts. And anyone could be called to play anyone if that person didn’t turn up. It trained and opened up doors for me to act in other plays like Mohan Rakesh’s Adhe Adhure, Shankar Shesh’s Mayavi Sarovar and Willie Russell’s Educating Rita.
All of us call her 'Bai' respectfully. She was already quite a big name and I was quite chuffed she chose me to play Shabbo in Anil Barve's Hamidabai chi Kothi (1978). The grammar, craft and technique of her theatre work is at a complete variance from SatyadevJi. She wants you to find your character yourself. Given my enthusiasm, I adapted and picked up soon. It set the stage for me to do iconic plays like Mahasagar and Savitri with her. Later I did other plays like DhyaaniMani, Prem Patra and Vatvat Savitri. A few years ago in a hugely emotional development, I got to step into Bai's shoes and play Hamidabai's character which she played when the play was revived. At her behest, I have joined her to conduct workshops for young actors.
Yes, a lot of people saw resonances of her life in a play I did with my late husband Dilip, Aaicha Ghar Unhaat. I only met her much later personally when she was asking many of us to join her in the Narmada Movement.
No, I didn’t. I felt it should be something one does full-fledged and not as occasional photo-ops. I was by then faced with the prospect of running a home by myself and couldn’t make time.
Yes, till it happened very suddenly in 2002, I’d thought of what I do as only a passion. True, I contributed to the family kitty, but he was the man of the house in my head. You know, he acted as a part-time thing, but worked in a cooperative bank full time. With his passing away, once I was past the sorrow what stared at me was providing for my two children and running the house.
I know it’s been 15 years. I’ve reconciled to the idea of his passing away, but how can one not miss a partner one loved and shared a life with? You know when we first met during rehearsals for a play, he’d maintain a shy distance. That drew me to him and made me fall in love. We came from really different backgrounds. He came from a working class background in Deolali and was settled here in a bank job. On my insistence, he agreed to buy a flat in the same housing society I grew up in from early childhood and set home here. Even now when I’m by myself I feel like talking to him.
Yes, but both have decided to be behind the scenes. My daughter is into TV production and my son is into advertising.
Well, I began early. I was the Clearasil girl when I was barely 16. I have played everything from young girl, wife, mother, elderly old age home inmate selling everything from hair oil, insurance and what have you. I have never sought work. But over the years, people have always approached me and I feel lucky to have done campaigns like Bisleri, Sprite, Mother Diary, Cadbury and Life Insurance Corporation and others. Besides, ads don’t tie you down to a project for long.
TV is no longer the poor cousin of the big screen. With its wide reach, it has pulled actors towards it. Actors of my seniority too get a lot of different characters without getting stereotyped. Many big
actors are coming to the small screen since it gives them a direct connect with fans. But I must mention here that sometimes TV can be a blur. Some people think as long as they look good and say their lines properly, it’s fine. This is unfair to other actors really working on their craft. But given the rush, even a not-so-good take is canned and often makes it on air too. That hurts because I come from a culture of worshipping my work.
I’ll continue to do theatre till I breathe. I only feel the work should challenge me. Wedding Album or a Mahatma versus Gandhi with Naseeruddin Shah was quite fulfilling and I want more of that kind of work. The last play I was doing was Chaapa Kaata. After I point, I was unhappy about turning up at work. The idea of travelling long distances for a three-hour-show, which is not doing anything for me got to me and I stopped doing that play.
The medium seems to love me. I’ve worked with greats like Mani Ratnam, Amol Palekar, Priyadarshan and Shankar. I even played a cameo opposite Amitabh Bachchan (Bhootnath) because it was a BR Films project. Also, many new indie filmmakers are doing fascinating stuff. It will be great to work with them. Unlike TV, here it matters who the director is and what the set-up is.
The modesty and humility of a legend like Judy Dench can only be seen to be believed. For a scene in The Best Exotic Marigold Hotel where she was not even in the frame, just to cue me she came and stood in front. Here if an actor realised that s/he was not in the frame a spot boy would replace her/him.
French was what I majored in while graduating from Elphinstone College. I did occasional translation jobs till I got drawn to fashion, modelling and acting. Of course, my French is quite rusty but in both these projects, it suited the context of my characters. I haven't quite gotten over the fun we had while shooting for Noces in Luxembourg last year.
I think almost all of them bring such energy and drive to what they are doing that its almost inspiring. When we began we were just looking for work. These guys come looking careers.
Who am I to advise anyone anything when I learn so much from them? I have learnt to lighten up, live the moment and have fun. They help me stay young. Who would have thought, but it’s also kept me busy on social media.
Given my innings, I get along with almost everyone. But in the passing away of Reema Lagoo, I have lost a soulmate. A fellow acolyte of Vijaya Bai, I’d discuss anything personal/professional with her with complete ease. I’ve now reached a stage where I prefer being a loner.
