Gulzar, in conversation with his daughter about her upcoming film, Talvar, and equations
Roshmila Bhattacharya (MUMBAI MIRROR; September 24, 2015)


After a seven-year break, you have chosen to return with Talvar, a film on the controversial Aarushi Talwar double murder case. Gutsy move...
MEGHNA GULZAR: I took time off to raise my son, Samay, but the mind was churning as I worked on corporate films and documentaries. But the inspiration to get into a real space came from Vishalji (Vishal Bhardwaj). I've following the case since it broke, believed every story put out, it flummoxed me. Yesterday it was one thing, today another, and tomorrow something else. That, I thought, would be exciting to explore.

When the idea of the film came, the trial was on, conclusions had been formed, but the journey towards it was still foggy. So, we decided to focus on the investigation rather than murders. We were clear Talvar wouldn't be a biopic, a placard-bearing bandwagon or a voyeuristic look at a tragic incident. What was left was showing all sides fairly and leaving the audience to make their conclusions.

(Smiles) And as for the move being gutsy, if you are going to leap off a cliff, it's better to leap into the ocean rather than swimming pool.

GULZAR: (Laughs)Well said. I saw her filing cuttings and contributed with my own. It's an intriguing journey, based on the mysterious way the case was handled, raised a personal concern about the law or as TS Eliot puts it, "streets that follow like a tedious argument". But Talvar is not my kind of a subject. I wouldn't have been able to handle it. Even Filhaal was not a subject I'd have thought of on my own. I'm glad Meghna went to Vishal who has dealt with such characters before. He gave her a sharp script. (Smiles) I can only write songs for her.

When my daughter was seven, based on what she was hearing on TV, she asked my husband if a father could kill his daughter. Did your son raise any awkward questions too?
MEGHNA: He's too young, only five-and-a-half. For him Talvar is a film which has Irrfan Khan, Gulzar saab and Vishal mamu. I wouldn't know how to answer such a question. As a daughter, with age and experience on my side, I can process it, but as a mother, it's difficult.

There's still reasonable doubt about whether the parents, Rajesh and Nupur Talwar, killed Aarushi but the Sheena Bora case is supposedly black-and-white. I shudder to think what impact this could have on the psyche of our children who have been raised to believe their parents are their protectors and will love them unconditionally.

What do you think would be the mindset of Rajesh and Nupur Talwar who are in jail?
MEGHNA: If I assumed that they were guilty I'd think they would probably be remorseful, suffering and trying to a find way out. If I assumed they were innocent, I can't image worse circumstances for a human being to be in. If we go by the honour killing theory, then it's an admission that she was having an affair with the household help, Hemraj. They have done this to their 14-year-old child and no one would want to be in their place today. It makes me question the arguments against capital punishment. In a case like this it's easier for them to be hanged than die everyday.

Will the Talwars see the film before it opens on October 2?
MEGHNA: I know the family asked to see it, but I left for the Toronto International Film Festival and don't know if they did. I know a member of the family, a journalist whose writings on the case were part of my research, saw it at TIFF, reviewed it, believed it presented a balanced view. I'm sure the family must have got that feedback.

The response at TIFF was pretty overwhelming given that it was a localised case?
MEGHNA: But it's a human case, about the failure of the system. Human beings letting down human beings, and that happens everywhere in the world. That was what resonated with the audience.

After both screenings, at the Q-and-A sessions, the inevitable question I was asked is: "Are the parents still in jail?" That proves the film has engaged the person asking it. At Toronto, the question was asked by a non-Indian, who also wondered where the people who were accused of the murder are today. That threw me off!

Gulazar saab, which has been your most difficult film?
GULZAR: On human relationships it would be Ijaazat, revolving around three good people wanting to do good for each other and all of them suffering in the process. Then, Maachis. If Talvar looks at the way the judiciary works, then Maachis, like my first film, Mere Apne, was on how politics works vis-a-vis youngsters who get involved in violent movements.

Meghna, any work of your father's that put you on the road to becoming a filmmaker?
MEGHNA: For me to process him as a filmmaker is difficult because he's such a great father who left his filmmaker coat outside when he came home. I got familiar with his work when I was about 16, by which time other influences had played their part too. But yes, he put me on the road with lessons in music, dance, painting, ballet and karate. And eventually, I settled for visual communication. I've not discriminated between ads, music videos, documentaries or films. But films are the biggest and the final milestone and I'm gratified I got the opportunity to make them.

Getting back to your question, I wasn't influenced by my father's work because our sensibilities and subjects are different. What I have consciously imbibed are his qualities of brevity and simplicity. He keeps things simple, short. If a scene lends itself to a moment he won't meander but get to it fast.

How much have you changed between Just Married and Talvar?
MEGHNA: There's more patience and gravity that motherhood brings and translates itself in the way I look at and handle things. This subject required to be treated realistically and I found the realism liberating. I had entered the space with Pooranmashi in Dus Kahaniyaan, tasted it again during the documentary Closer on pervasive development disorders. I was veering towards it subconsciously.

GULZAR: Even Filhaal was a mature film. I wouldn't have been able to write that way. Just Married was aai wai, she was tired of being seen as a serious thinker and wanted to break with a chalnewali comedy.

MEGHNA (CUTS IN): Arranged marriages was a relevant issue.

GULZAR: Yes, there was serious substance under the light narrative. She never seemed like junior, now she's my senior. She's made a strong social film. Her film is better than any I have made. My films were never invited to festivals, hers got an international premiere. I'm so proud my child is leading me today.

Any partnership in the offing?
GULZAR: That depends on whether any of my stories inspire her. But I wouldn't want to script it. Let her do it herself or go to Vishal. She makes me write two-three versions of the songs. I'm not ready to do that with a script. But gaane ke liye sher ko bhilli ke paas hi aana padega. I taught her everything except how to climb a tree.

Hopefully, this time the gap wont be seven years?
MEGHNA: Naukri milegi to kar lenge, I love making films.

GULZAR: It makes her more relaxed and Govind is so supportive, taking over the baby sitting and even the cooking. She's lucky, every woman should get a husband like Govind. You should give him full marks in your film, Meghna?

MEGHNA: Oh, I forget to thank him in the credits.

GULZAR: Then we will have to rely on Mirror to thank him. (Laughs) And don't forget to say that Megna forgot.

MUMMY'S DAY OUT

Meghna Gulzar had not wanted to show her mother, Raakhee, her upcoming film, Talvar, with subtitles. So she waited till she got the domestic print to arrange for a screening for mom, dad Gulzar, Salim Khan and Helen. The actress looked happy, directing a reluctant Salim Khan as he posed for a photograph. When he presented his best profile to the camera, she smiled approvingly, "You look like a hero."After that she disappeared inside the theatre to watch the movie her daughter had directed. Gulzar was convinced that after seeing Talvar, she would start looking at their Bosky as a 'senior' too. His daughter was cautious, "Pata chal jayega."