Showing posts with label Aarushi Talwar. Show all posts
Showing posts with label Aarushi Talwar. Show all posts
I’m one of the luckiest few who enjoys going to work every day-Akshaye Khanna
8:37 AM
Akshaye Khanna talks about the choices that he has made and why he opted for risks over security and commercial viability
Roshmila Bhattacharya (MUMBAI MIRROR; December 21, 2019)
Even before you arrive at producer Nitin Manmohan’s office for the interview, you learn, to your surprise, Akshaye Khanna likes chocolates, but only one particular brand, and would order it even when they were shooting for the upcoming romcom, Sab Kushal Mangal, in Jharkhand. He is also always punctual, even when he has to drive to the ‘burbs all the way from town. Noon strictly means 12 pm. By the time we’re done, you know a lot more about the reclusive actor. Excerpts:
You have had two releases this year with one coming up on January 3. For someone who has always been super selective how does it feel?
It’s been a satisfying year as both The Accidental Prime Minister and Section 375 are films I believed in and I’m proud to be a part of them. That’s a great place to be.
So, we can hope to see you around for another five years?
Five years is just a number, a small one. I hope to be around till I drop dead. There’s a perception over the last few years that I tend to not do too much work, but it’s the opposite. Ayushmann (Khurrana) is doing three-four films a year, that’s the space I want to be in. I’ve always preferred a certain pace, but life has not always allowed it. If it happens, I’m the happiest. Sometimes a film requires 150-200 days of shooting, so you end up doing just one film a year. There are so many permutations and combinations in our business, it’s not like a factory assembly line where you can just churn out stuff.
Yet you seem optimistic about the future of Hindi cinema...
That’s because all kinds of films, be it Housefull 4, Bala and Pati Patni Aur Woh, are getting good releases. Ten years ago, if it wasn’t in the commercial bracket, a film wouldn’t get screens. Today, even Section 375 and Saand Ki Aankh get an audience and a voice. It’s like the social media, anyone can offer an opinion. The numbers may be small or large, but at least they get heard. The Accidental Prime Minister was the first authentic political film and that made it controversial in that it evoked different opinions. Ditto Section 375, as the topic itself was sensitive and so people reacted strongly and emotionally.
Yeah, one review described it as “a myopic ignorant train wreck” and another as a “gripping courtroom drama”.
That people would comment on both sides of the spectrum was to be expected. I might not agree with the one who calls it a “train wreck” but I can’t stop the critic from writing what he wants. I, too, have views about other people’s films. I might say I didn’t like it or that it could have been better...
In retrospect, would you have changed anything in the film?
Sometimes I feel—though it’s not my job or specific to one film that we can market and position our films better. You can never control a narrative, but you can balance it out. But that sometimes gets lost in too much information.
From the trailer of Section 375, one perceived a kind of a #MeToo trial so the twist in the tale was disappointing.
I’ve also got such preconceived notions and reactions. But that would be the obvious expectation and end, which is a choice my director didn’t make. Had it been a typical film, it might have fared better commercially. But the choice was to go in another direction. And that’s what made it interesting for me as an actor. If you believe in a certain premise, you have to live with the consequences. I really respected the thought process and the writing, and if I had to choose again, I’d go for the same. Unfortunately, in our country, while we have always celebrated democracy, freedom of speech and expression, and pluralism, when it comes to art—be it a book, an article or a film—if it offers a different perspective, we are not as accepting.
The upcoming romcom, Sab Kushal Mangal, seems less contentious even though it’s about a reality shows, goon politics and abductions.
It’s the sweetest script I’ve heard in a long time, a film I’d watch before I go to sleep as it leaves you with a nice feeling and no tension. I’d not done a comedy in a long time and my co-stars, Priyaank Sharma and Riva Kishan, are cute kids. Though they’re just starting out, I’m sure once people see the film, they’ll be pleasantly impressed by their performance. They have a certain maturity and focus which I didn’t in my first few films. This applies to all debutants across departments, which is fab and brave.
Brave? How so?
When you come into the public eye and put yourself out there as an actor, director or writer, you could be loved, hated, even ridiculed. So, that takes courage. You read about millennials in large numbers going into depression in their own private space, some even committing suicides over social media posts. Then, you see these kids who, irrespective of success or failure, are ready to give it a try. You can only win the game if you are playing it, not sitting outside. Life is about being on the court.
According to IMDB, you have signed up for two sequels, Phir Hulchul and Kick 2?
The information is incorrect.
Do you watch reality shows?
I rarely watch TV, I prefer movies. I’m getting less and less interested in information because anything you read or hear, unless coming directly from the source, arrives with layers of interpretation and so is never completely accurate. Even an article in the op-ed page of the newspaper, reflects someone’s opinions. Take the Talwar case. Despite years of articles, TV reports, films and a court case that cumulatively ran into thousands of hours, do we know the truth of what really happened the night Aarushi was killed? We don’t, which is why I’d rather read fiction, it’s always dependable.
Why aren’t our digital shows meeting expectations?
Our storytellers are used to the three-hour format. We have a history of television where shows go on for years. That’s why we are still struggling. But it won’t take our writers and directors too much time to get there. We are an extremely talented nation, look at the leap we’ve made technologically. We may not be there with the best of the best, but we can still produce a Baahubali which is a milestone in Indian cinema. It’s a beginning, we will build and improve on it. It’s happening already and the audience is rewarding the effort which is good.
That wall behind you has posters of several Nitin Manmohan productions, including your dad Vinod Khanna’s Insaaf and your Deewangee.(Turning to look) Insaaf was one of dad’s fave posters. What an amazing shot! There are so many actors up on this wall, but I don’t know anyone who had his kind of body language... So fluid! It’s nice to be on a wall which has so much talent. You want to hear a great story?
Sure...
Nitin had gone to Mumbai airport to pick up a relative. Two-three decades ago, the entire family would go to pick up or drop off someone. I’ve many pictures of my dad leaving for an overseas shoot, in a suit, with all of us waving. But that day, there was no one to receive dad when he landed in India because hadn’t told anyone in the family that he was coming home from the US. He’d planned on taking a cab, but Nitin recognised him, even with the long white beard when he walked out. Nitin’s dad, Manmohan, and mine used to be very friendly and he insisted on dropping dad home in his car. They must have chatted on the way and that’s how Nitin produced his first film, Insaaf, with my dad making a comeback.
And what’s the story behind Deewangee?
There’s none, it was just a good film and very different from Anees Bazmee’s other movies. After that, he only concentrated on comedies and larger-than-life magnum opuses. He was a delight to work with as he has a good sense of drama. We also did a comedy, No Problem, which didn’t do well.
Looking back, are you happy with your choice of career? At 40, do you wake up eager or are you unhappy about it like so many?
I’m one of the luckiest few who looks forward to going to work every day because our job and days are not filled with monotony. One day, I could be doing a dramatic scene in Ooty, the next, a song in London, and on the third, an action sequence in a city studio. We’re meeting different people. Of course, you never know when the party will pack up, but at least till then, you can do what you love and that’s a gift life gives very few.
You know, I skipped my exams in the first year of junior college on purpose as by then, I was not interested in continuing with academics. I was so underprepared, I knew I’d fail and didn’t go. I had decided this was what I wanted to do. It was a question of when I was going to tell my parents because I was just 17 then. You fear resistance about your career choice from parents, and that delays communication. As a kid you don’t have the power to say “Bugger off!”
How did your parents react?
They were disappointed. Any parent would be hurt. They felt it was not my place to do what I did at that age. Parents of that generation were conservative, taking such risks was frowned upon. Even today, society is chasing security, and for the masses a government job is priority. It’s amazing that millions put their heads down, complete 60 years in service, do their duty with honesty and integrity and retire. It’s an achievement.
You opted for jittery Fridays. How long did it take your parents to accept?
They were fine after a while. Parents always come around.
The way Meghna and her generation approaches cinema is way ahead of mine-Gulzar
9:05 AM
The father-daughter duo on their common passion, different perspectives and working together on films
Kunal Guha (MUMBAI MIRROR; April 29, 2018)
Seated at his desk in the middle of a fortress of books, Gulzar presents the typical picture of a writer. His daughter Meghna, standing over him, picks up a leather diary which has a few Urdu words scribbled on the cover. The title of his next book? “No, that’s just ‘2018’ written in Urdu,” he says with a laugh. The father and daughter have teamed up for a seventh time in her forthcoming espionage drama Raazi, based on the 2008 novel, Calling Sehmat, but two exude an aura of seasoned collaboration. And like other co-workers, they also have disagreements. When Gulzar suggested that Meghna include the prayer Lab pe aati hain dua by Pakistan’s Poet Laureate Muhammad Iqbal in Raazi, she was skeptical. “I used to sing it in school and felt it was perfect, but she was not sure if anyone would remember Dr Iqbal or his work,” says Gulzar. “So I told her that she’d be reminding them that this was the same man who wrote Sare Jahan Se Accha.”
Gulzar’s been in the film industry for 55 years (he started out as a songwriter with composer S D Burman in Bandini), and has a formidable filmography.
Meghna, who has “never felt the pressure of her last name”, began by assisting her father on Maachis and contributed to the screenplay of his political drama Hu Tu Tu, before helming films such as Filhaal, Dus Kahaniyaan and Talvar. That her parents rarely took her along to film events or parties, meant she had a “guarded but well-rounded” childhood, she says. “They’ve complemented each other beautifully despite being separated,” says Meghna, 44, about her upbringing. While her father “spoilt her rotten”, her mother was a “disciplinarian who would keep both of us in check”. Gulzar adds: “I exposed her to sports, music, painting, and it was up to her to choose what she wanted to do.” But he does remember that when her mother Rakhee once enquired if she wanted to be an actor, a young Meghna had said she “didn’t like the scene”. But Meghna, who accompanied her mother for some shoots, remembers being on location for films such as Kasme Vaade and Trishul as being a lot of fun. Mostly because the children of the other film folk were inevitably thrown together. “It used to be a party with Shrishti, Goldie and Tania [Behl], Shweta and Abhishek [Bachchan] and Karisma and Kareena [Kapoor],” she says.
But Meghna, Gulzar adds, wasn’t one for missing school for shoots. “She was always fond of going to school, though I don’t know how fond she was of her studies.”
Despite their obvious camaraderie, the two are very professional. “She reworked four songs that Vishal [Bhardwaj] and I had written for Talvar,” complains the father. Meghna corrects him, saying it was only three. “Bada ehsaan kar diya,” he jokes, but adds that it’s important to understand the director’s vision. “How else will you know what is wrong, or what is required?” Being particular about one’s craft, runs in the family. Averse to the pedestrian use of words such as pyaar, mohabbat and gham in songs, Gulzar was not in favour of Filhaal as the title for his daughter’s directorial debut. “It’s not a very musical word, but then she conspired with [music director] Anu Malik who told me to just write the words, and he would make them musical,” says Gulzar, who has directed films such as Koshish, Parichay and Ijaazat, and once even convinced composer A R Rahman to drop the word ‘sanam’ from a song.
While Meghna’s last film Talvar garnered substantial critical acclaim, her father was not impressed when he read the first draft. “His first reaction was, ‘I don’t see any emotions. It’s just like a 1970s investigative piece’,” says Meghna. “But I was happy because that’s precisely what I wanted. It was important to be objective and not manipulate the audiences’ emotions.” When Gulzar finally watched the film based on the Aarushi Talwar case, he was left speechless for a bit. “The way she and her generation approaches cinema is way ahead of mine,” he says. “I have no hesitation in admitting that they make better films than I did.” He even agrees with his daughter when she says that his generation had it easy. “Filmmaking of our time was easier but then you also made films of that kind — easy chair par baith kar dekh lo, gaana gunguna lo,” he says, flaunting his signature smile.
Credited for the lyrics of over 100 films, Gulzar feels that songs must be a beacon of their times. Just like Bandobast hain from Hu Tu Tu was about ballot manipulation, and Halchaal theek thaak hain from his directorial debut Mere Apne, was a satirical take on society. “That one’s relevant even today,” notes Meghna, who says her choice of subjects is more instinctive. While both agree they’ve never subscribed to industry trends, Gulzar feels that the job a filmmaker is make people believe in the subject if they’re convinced of it. “When you’ve communicated what you wanted to say, in exactly the way you wanted to, it brings a sense of fulfilment,” he adds.
Seated at his desk in the middle of a fortress of books, Gulzar presents the typical picture of a writer. His daughter Meghna, standing over him, picks up a leather diary which has a few Urdu words scribbled on the cover. The title of his next book? “No, that’s just ‘2018’ written in Urdu,” he says with a laugh. The father and daughter have teamed up for a seventh time in her forthcoming espionage drama Raazi, based on the 2008 novel, Calling Sehmat, but two exude an aura of seasoned collaboration. And like other co-workers, they also have disagreements. When Gulzar suggested that Meghna include the prayer Lab pe aati hain dua by Pakistan’s Poet Laureate Muhammad Iqbal in Raazi, she was skeptical. “I used to sing it in school and felt it was perfect, but she was not sure if anyone would remember Dr Iqbal or his work,” says Gulzar. “So I told her that she’d be reminding them that this was the same man who wrote Sare Jahan Se Accha.”
Gulzar’s been in the film industry for 55 years (he started out as a songwriter with composer S D Burman in Bandini), and has a formidable filmography.
Meghna, who has “never felt the pressure of her last name”, began by assisting her father on Maachis and contributed to the screenplay of his political drama Hu Tu Tu, before helming films such as Filhaal, Dus Kahaniyaan and Talvar. That her parents rarely took her along to film events or parties, meant she had a “guarded but well-rounded” childhood, she says. “They’ve complemented each other beautifully despite being separated,” says Meghna, 44, about her upbringing. While her father “spoilt her rotten”, her mother was a “disciplinarian who would keep both of us in check”. Gulzar adds: “I exposed her to sports, music, painting, and it was up to her to choose what she wanted to do.” But he does remember that when her mother Rakhee once enquired if she wanted to be an actor, a young Meghna had said she “didn’t like the scene”. But Meghna, who accompanied her mother for some shoots, remembers being on location for films such as Kasme Vaade and Trishul as being a lot of fun. Mostly because the children of the other film folk were inevitably thrown together. “It used to be a party with Shrishti, Goldie and Tania [Behl], Shweta and Abhishek [Bachchan] and Karisma and Kareena [Kapoor],” she says.
But Meghna, Gulzar adds, wasn’t one for missing school for shoots. “She was always fond of going to school, though I don’t know how fond she was of her studies.”
Despite their obvious camaraderie, the two are very professional. “She reworked four songs that Vishal [Bhardwaj] and I had written for Talvar,” complains the father. Meghna corrects him, saying it was only three. “Bada ehsaan kar diya,” he jokes, but adds that it’s important to understand the director’s vision. “How else will you know what is wrong, or what is required?” Being particular about one’s craft, runs in the family. Averse to the pedestrian use of words such as pyaar, mohabbat and gham in songs, Gulzar was not in favour of Filhaal as the title for his daughter’s directorial debut. “It’s not a very musical word, but then she conspired with [music director] Anu Malik who told me to just write the words, and he would make them musical,” says Gulzar, who has directed films such as Koshish, Parichay and Ijaazat, and once even convinced composer A R Rahman to drop the word ‘sanam’ from a song.
While Meghna’s last film Talvar garnered substantial critical acclaim, her father was not impressed when he read the first draft. “His first reaction was, ‘I don’t see any emotions. It’s just like a 1970s investigative piece’,” says Meghna. “But I was happy because that’s precisely what I wanted. It was important to be objective and not manipulate the audiences’ emotions.” When Gulzar finally watched the film based on the Aarushi Talwar case, he was left speechless for a bit. “The way she and her generation approaches cinema is way ahead of mine,” he says. “I have no hesitation in admitting that they make better films than I did.” He even agrees with his daughter when she says that his generation had it easy. “Filmmaking of our time was easier but then you also made films of that kind — easy chair par baith kar dekh lo, gaana gunguna lo,” he says, flaunting his signature smile.
Credited for the lyrics of over 100 films, Gulzar feels that songs must be a beacon of their times. Just like Bandobast hain from Hu Tu Tu was about ballot manipulation, and Halchaal theek thaak hain from his directorial debut Mere Apne, was a satirical take on society. “That one’s relevant even today,” notes Meghna, who says her choice of subjects is more instinctive. While both agree they’ve never subscribed to industry trends, Gulzar feels that the job a filmmaker is make people believe in the subject if they’re convinced of it. “When you’ve communicated what you wanted to say, in exactly the way you wanted to, it brings a sense of fulfilment,” he adds.
There is a vindication and there is a victory, but there is also a vacuum-Meghna Gulzar
8:17 AM
We spoke to Meghna Gulzar on the evening of the Aarushi verdict that acquitted the Talwars, after a walk through Jalvayu Vihar, revisiting the scene of the crime that her film Talvar so meticulously dissected
Anshul Chaturvedi Aarushi Nigam (BOMBAY TIMES; October 15, 2017)
"Never in the history of
cinema has a film changed so many opinions“ is how Vishal Bhardwaj
describes the period between Talvar's 2015 release and the Allahabad
High Court's Thursday verdict that finally acquitted Rajesh and Nupur
Talwar, so far officially designated the prime suspects in the murder of
their daughter Aarushi. The director of the film, Meghna Gulzar, is far
more restrained, calling herself only “a small link in that chain“. She
doesn't go so far as to say that the film influenced the verdict, but
just that she believes “they (the judges) also looked at the facts and
the data that we saw, and also saw that it wasn't adding up“. Where both
she and Vishal are on common ground, in a chat with each other and with
us, is that there is finally no holding back in emotionally reacting
to, and feeling validated for, a movie that they tried so hard to be
clinically distanced from while it was being made. Produced by Vineet
Jain and Vishal Bhardwaj, the Junglee Pictures' venture aggressively
challenged the popular narrative about the case when it came out, and
today, when the further judicial interpretation of facts has followed
in the same direction, Vishal and Meghna rewind and explain that the
“slant“ wasn't in their minds, but in the data and proof.Meghna, before the film's release, we had discussed how you had appropriated this topic, that in the future anything related to the case would involve you as an authority on it. You mentioned that it had happened after Filhaal with the subject of surrogacy. Is the same set to happen now?
Meghna: Well, all of that happened today. I was just joking to someone that the amount of calls and messages I've been inundated with, it's almost like I argued the case. Which is not the case. But I'm glad for it. Not because I am getting all the calls or I am getting my name splashed across all platforms. But because of the reason I'm getting the calls, because they've been acquitted.
You've become the ambassador for the cause basically, haven't you?
Meghna: I would call myself a small link in that chain.
Is it politically or legally incorrect to ask whether a movie influences the way the judiciary or other people see a case?
Meghna: When we released, we were saying that we are safe in showing what we're saying because we believe that the judiciary does not get influenced. It's their job not to get influenced. And therefore we can go out and put out that other perspective, purely for the knowledge of the public. Because we are making a film out of a story from the society, for that society. And it's the judiciary's job to keep their blinkers on and not get affected by the film. I don't think that's what's happened here either, I don't think they've gotten affected by the film. I think they have also looked at the facts and the data that we saw. We looked at it objectively, it was laid out in front of us, and we were like, okay this is not adding up which is what we were doing in the movie. And I think that's what they have done as well.
You had recalled how an audience member said, 'Character is not connected to crime, evidence is.' Anything to add to that today?
Meghna: So even then, in 2015, I was saying this, that all the stories that came out in that press conference (by the Noida Police), most of them dropped and didn't make it to even the Sessions Court trial, because they were completely baseless. But it lingers in public memory, the way those things were played up, I think everyone will remember that story about the 12 hotel rooms being booked, the wife-swapping story; I remember the incest story. So it's difficult to erase that from public memory. Which is why I say, yes, there is a vindication and there is a victory, but there is also a vacuum. Because the damage is irreparable. Aarushi's not coming back. Their nine years or 10 years since this happened are not coming back. And that will still rest on us, as a society. But at least now they get to grieve, which they haven't got to do all these years. I'm hoping they find closure.
You had said the film highlights the grey areas that exist and you're hoping the public and the decision-makers pick those up. Do you think the film had a hand in changing the public perception of the case, the dominant narrative at the time?
Meghna: Public perception, I think yes, definitely. Because even when we were making the film, and when it was coming out, we were still being thrown questions by the media ki 'humko toh sab kuch pata hai, aap humein naya kya dikha rahe hain?' So you were still met with those blocks, that 'we know everything'. There has definitely been an attitudinal shift after having watched the movie an attitudinal shift in the belief in the innocence of the Talwars. That much we can say that the film has accomplished, yes. But as late as last year, I was still being questioned, 'you really think they're innocent? Because your film seems to say so. But we know differently, we have friends in the police in Delhi'. So it's not like we just swept away the public and won everybody over.
Some people are still saying, 'arey parents ne hi mara hai. Acquit ho gaye, but I know'...
Meghna: Exactly. The stories that came out then, when it first broke, and the way the media went to town with the stories on the family, and just lapped up everything that the police was giving them, I don't think that will ever get erased from public memory.
Vishal, what calls have you been getting?
Vishal: Bahut phone aa rahe hain. Main feedback yehi aa raha hai that it has never happened in the history of cinema, where a film could change the opinion of everyone. This is the feeling I'm getting from everyone. However, you feel a little frustrated also, that the Talwars lost nine years. How is that going to come back? Baaki toh verdict se ek baat zaroor tay hoti hai ki film ka bahut deep hai penetration, agar honestly kahein... Now, we are looking forward to meet the family. Whenever I am next in Delhi, I'm going to meet them.
You have met them earlier?
Meghna: Yes, in jail. After the film's shoot, though. We didn't want to colour ourselves before that.
So after the film, when you met them, did the impression you got of them validate your story, or did you have any doubts after talking to them that maybe these people...
Meghna: No, it validated it. Not only me, the jail superintendent used to call them 'doctor saab'. And he himself believes that he couldn't have done what is being said. Bada aadar aur samman milta tha dono ko wahan pe.
Vishal: But at the same time, we were also treating it clinically, because we didn't want to colour ourselves, by taking a vibe personally. We wanted to put facts on screen. So we didn't want to take an emotional impact or vibe. We were clinical, we tried to be very neutral. People thought that the film had bias, that we want to show the parents as innocent. Woh intention thi hi nahi. Intention thi ki jo sach hai hum woh rakh rahe thay.
Meghna: Haan, because agar aap woh data ya facts dekhne jaayein toh anyway they used to slant in a particular direction, when you laid it out all together. Toh woh hamara bias lagta tha, but it was actually everything that we had put together, woh apne aap hi ek taraf jhukta tha sara.
Given your repeated assertions that you were clinical, distanced, neutral, while filming, is your validation today intellectual or emotional?
Vishal: Emotional in the sense ki jab humne facts ko dekha, toh of course jo aaj court ko laga hai, humein bhi wohi laga tha. Par humein usse emotional distance rakhna zaroori tha. So intellectually we had to bring it like the way it is.
Meghna: My reasons for making this film were totally intellectual, because there was no space for emotions at that time. The emotional fulfillment was after the film released. But now we've reached a point where khul ke we can become emotional about it, there's no holding back now. Hum sab, I think, apni alag alag jagahon par roye hain thoda sa.
Vishal: Ek badi kamal ki andar ki feeling hai, you're feeling so emotionally liberated today. Ki hum kahin, kisi tareeke se, kisi ke kaam aa sake.
Meghna: I was often asked, 'it's a successful film, it's done well, when are you going to stop hesitating and celebrate it?' And I used to say, 'when it serves a higher purpose', because woh nahi hua tha uss waqt. So maine aaj kaha, I will celebrate the success of Talvar today. That is my feeling right now.
Aarushi Talwar case shook the foundation of the most sacred institution, the family-Meghna Gulzar
8:27 AM
Lasyapriya Sundaram (BOMBAY TIMES; October 14, 2017)
After being sentenced to
life imprisonment by a lower court in 2013, the Allahabad High Court on
Thursday acquitted Rajesh and Nupur Talwar in the Aarushi Talwar-Hemraj
double murder case. BT spoke to Meghna Gulzar, who directed Talvar
(2015) - produced by Vineet Jain and Vishal Bhardwaj, it's a Junglee
Pictures' venture - which chronicled the case from multiple points of
view. The filmmaker spoke about how this case impacted society and the
fact that she is relieved as the “wrong has been redeemed.“Your film Talvar was applauded by the critics and audiences alike. What's your reaction to the High Court verdict, acquitting the parents?
There is relief. I am just grateful. We don't make films with a motive and this (verdict) has got nothing to do with the film. As someone who knows the case and its details so closely, I feel what happened in the session's court was a miscarriage of justice. Now, that wrong has been redeemed. However, for Rajesh and Nupur, there is a big vacuum that can never be filled - their child is gone. But even so, the fact that some sense of justice and truth has prevailed is very heartening.
What were your personal thoughts on
the case when you were making the film? As a director, you had
researched the subject threadbare and were closely following it.I didn't interact with the parents while making the film because I needed to keep my objectivity intact. We showed the film to the family only after it was complete. I didn't let my personal emotions come in the way; they were bottled up till the movie released. It might seem hard to believe it, but that's what happened. I processed the story as a real event. Even after the film released, it took me three-four months to fall asleep peacefully. It was extremely draining. To keep all your emotions in check while making a film like this was challenging.
What kind of an impact do you think this case has had on society and people's psychology?
It was very scary on two levels. One, it shook the foundation of the most sacred institution - the family, because you were talking about parents murdering their child. I remember when the story made headlines, it turned into a media frenzy and everyone believed that the parents were guilty. After hearing about this case, children were asking their parents; 'Would you kill me?' We know of these stories. Secondly, you would shudder to think - if you ever get entangled with the police or the judiciary...God help you! If it has to, then it can go south really badly with no hope of recovery. So, it was a very gloomy scenario to be looking at. But fortunately, that light has broken right now and that is a very big thing.
It is a triumph of justice-Meghna Gulzar on verdict in Aarushi Talwar murder case
7:50 AM
MID-DAY (October 13, 2017)
In an interview in 2015, Vishal Bhardwaj had said that truth is stranger than fiction, referring to the investigation in the Aarushi Talwar double murder case — the 2008 murder was the subject of his production, Talvar.
As doctor couple Rajesh and Nupur Talwar were acquitted of the murder charges by the Allahabad High Court yesterday, the film’s team, including director Meghna Gulzar, views it as their own triumph.
When mid-day reached out to Gulzar, she said, “It is a triumph of justice. I can only imagine what the parents must have gone through.”
Gulzar added that with her critically acclaimed film, she tried to present a neutral narrative of the case. “I did not do that film to tell the story of a particular side. Our intention all along was to see that all the versions of the case are out in the open. I think this is what has happened in this appeal. The facts and testimonies were examined carefully.”
Bhardwaj echoed Gulzar’s sentiment. “I’m relieved to hear of their acquittal. This strengthens my faith in the Indian judicial system. However, it pains me to think about the precious years lost in prison and the emotional trauma that the parents had to go through, so much so that they couldn’t even mourn their daughter’s demise.”
The High Court upheld the Talwars’ appeal against the special CBI court order, which had convicted them in 2013 for the murder of their 14-year-old daughter.
If being cocooned is the answer, how will we get to be a better people, a better country?-Meghna Gulzar
8:30 AM
Anshul Trivedi (BOMBAY TIMES; October 11, 2015)
Is there a sense of
vindication - in the sense that you've managed to stir a debate - with all
the feedback you've received after Talvar released?
I won't say vindication, because that wasn't the purpose. I would say redemption. When you say vindication, then it comes across as ghamand, ki mujhe toh ye pata tha. But mujhe ye nahi pata tha ki ye iss tarah se hoga.
How much of this film is emotion-driven ideology for you?
Strangely, I am processing it emotionally now. I didn't get an opportunity to do it while I was making the film. There is an emotional ideology, but I hesitate to voice it too openly because I don't want it to look like I'm doing publicity for the film. But I very, very strongly feel that there are questions and a serious doubt whether the two people who are behind bars today, are there because they are guilty beyond reasonable doubt.
So when you entered the film, you entered it with intellectual curiosity or with emotion?
Curiosity.
I won't say vindication, because that wasn't the purpose. I would say redemption. When you say vindication, then it comes across as ghamand, ki mujhe toh ye pata tha. But mujhe ye nahi pata tha ki ye iss tarah se hoga.
How much of this film is emotion-driven ideology for you?
Strangely, I am processing it emotionally now. I didn't get an opportunity to do it while I was making the film. There is an emotional ideology, but I hesitate to voice it too openly because I don't want it to look like I'm doing publicity for the film. But I very, very strongly feel that there are questions and a serious doubt whether the two people who are behind bars today, are there because they are guilty beyond reasonable doubt.
So when you entered the film, you entered it with intellectual curiosity or with emotion?
Curiosity.
And now you are emotional, once the film is out and stirring up questions?
Yes, because I was also gullible to what ever was happening. There were stories of incest as well which people have for gotten now. They only remember stories about wife-swapping and Aarushi having an illegitimate relationship with Hemraj. Before all that, there were stories of incest as well and they were so appalling. Family photos were shown in the news where, if his (Rajesh Talwar's) hand was around his daughter, I was trying to read the body language and see if this is just a picture of a father hugging his daughter or can I see incest over here? I have gone through those emotions. So, for me, it was completely curiosity that triggered the immediate, spontaneous urge to do this film. Jaise hi yeh suggestion aaya, I grabbed it, without thinking about it for a second. And that was from curiosity. Emotions started coming in during the research. Then one had to shut it down to work on the script with Vishalji (Bhardwaj), discuss it and then make the film. Now, the emotions are coming back. Yes, the film is being liked and it is doing well, and then what? There's a reason why it is resonating with the people.
How troubled were you when you started doing your homework (for the film)? As you said, you started with a presumption, which changed as you did homework and then your opinions changed....
My opinion changed by the time the first CBI team was disbanded. By then you knew that there is more to the case than what you're hearing. It became clear by then. By the time the second team started investigating, there was already a Supreme Court order on the reporting of the case. So there was no news on at all. By the time the trial started, I was already researching for the film; going back to 2008. It was mind-boggling. You are reading about a person, for example the inspector who came on to the crime scene first, you are reading about what he did in 2008 and then you're reading his testimony in court, where he is saying 'cooler ka panel bhaari tha'. The absurdity of it just smacks you. I can't even use the word surreal because I give that word a positive connotation. It was frightening.
There are people who say that after following the case, though they're intrigued, they cannot watch the film because it would be too disturbing for them. What would you say to them?
Well, we are showing that harsh reality and we are living with that disturbance. Movie dekh ke kya disturb ho jaoge? Hum toh jee rahe hain usko. If you think being cocooned is the answer and things are going to get better automatically, then how will we get where we are aspiring to be? Being a better people, a better country? That piece which came in print a few days back, where reporters went and spoke to people in Jal Vayu Vihar, that line just stuck with me - ki haan woh thi, bahut log aaye tamasha dekhne, aur phir chale gaye. You thank your stars that this misfortune passed your door and landed at your neighbours'.
Is there a class divide in India when it comes to being vulnerable to this, or is it across all strata?
Our vulnerability towards our law enforcement, towards our system, is the same. If you think having money is going to oil the machinery for you, it can work against you as well. And if you don't have the money, then God help you. Being a Gulzar, or being somebody known, that doesn't give you immunity against something happening tomorrow?
Do you feel as vulnerable to the legal process?
Of course! Look at all the high-profile cases. I hate bringing this case up in reference to Talvar (which I had to do before the film's release and had to answer a lot of questions), but every time something new emerges in the Sheena Bora murder case, it is scary. This is a high-profile case, everyone knows who she is, and whether she (Indrani Mukerjea) is the murderer or not is not the point. The point is when you pitch this against the custodial death of somebody unknown, we're all vulnerable.
What is the most sensitive thing you have heard about the movie since it released? One thing that is stuck in your head? One is the art form - the brilliance of execution, or that scene was shot very smartly, that's one part; the craft of it.
Strangely, the majority of the responses are not about the craft. It is about the story. And this is something I am not surprised by. Because even when I was showing the film to the technicians who were supposed to comment on the post-production process, the technicality, they didn't want to talk after watching the movie. They were so shaken by the story. And when they left, they started researching and Googling about the story. Kaam ki baat humari teen-char din baad hui.
What is your satisfaction quotient?
I am happy. The first reason why I am happy is because my parents could see this. My struggles could have been difficult for me, but it must have been ten-fold for them. Because of their frustration at their own helplessness of not being able to help me in reaching the heights that they reached. That could not have been easy. So for me, primarily on a personal level, this is my fulcrum of it - that they got to see this. That I gave them a day like this.
What did your father say when he saw the film?
He didn't speak. We finished our screening and during the 20-25 minute drive from there to the restaurant where we were going to eat, he didn't speak. I kept probing, ki ye bata dijiye, woh bata dijiye. And then finally, in the politest possible way to get me to shut up, he said, 'Baat karne ka mann nahi kar raha.' He wasn't soaking in the fact that I could make this film, and it was so good. It was, again, the story that did it.
You do realise that you have now appropriated this case for all time to come? If there is any new development in the trial, acquittal or confirmation, each time your film's stills will be shown, people will come to talk to you.
If this happens, I will be very proud. That happened with me with Filhaal also. When Filhaal came out, nobody knew what surrogacy was. When our first surrogacy laws were being drafted, there was a whole debate about patients' rights, safeguarding the rights of the mother, how it should not become a business. And every time there was a debate on TV, they would call me. Not that I am an authority on it, it is not as in-depth a film as this (Talvar) is. But it always feels good, especially if you want your film to have some kind of relevance to the society it is made in and for. If it is remembered, when that issue comes up, I don't think there is anything more satisfactory.
Yes, because I was also gullible to what ever was happening. There were stories of incest as well which people have for gotten now. They only remember stories about wife-swapping and Aarushi having an illegitimate relationship with Hemraj. Before all that, there were stories of incest as well and they were so appalling. Family photos were shown in the news where, if his (Rajesh Talwar's) hand was around his daughter, I was trying to read the body language and see if this is just a picture of a father hugging his daughter or can I see incest over here? I have gone through those emotions. So, for me, it was completely curiosity that triggered the immediate, spontaneous urge to do this film. Jaise hi yeh suggestion aaya, I grabbed it, without thinking about it for a second. And that was from curiosity. Emotions started coming in during the research. Then one had to shut it down to work on the script with Vishalji (Bhardwaj), discuss it and then make the film. Now, the emotions are coming back. Yes, the film is being liked and it is doing well, and then what? There's a reason why it is resonating with the people.
How troubled were you when you started doing your homework (for the film)? As you said, you started with a presumption, which changed as you did homework and then your opinions changed....
My opinion changed by the time the first CBI team was disbanded. By then you knew that there is more to the case than what you're hearing. It became clear by then. By the time the second team started investigating, there was already a Supreme Court order on the reporting of the case. So there was no news on at all. By the time the trial started, I was already researching for the film; going back to 2008. It was mind-boggling. You are reading about a person, for example the inspector who came on to the crime scene first, you are reading about what he did in 2008 and then you're reading his testimony in court, where he is saying 'cooler ka panel bhaari tha'. The absurdity of it just smacks you. I can't even use the word surreal because I give that word a positive connotation. It was frightening.
There are people who say that after following the case, though they're intrigued, they cannot watch the film because it would be too disturbing for them. What would you say to them?
Well, we are showing that harsh reality and we are living with that disturbance. Movie dekh ke kya disturb ho jaoge? Hum toh jee rahe hain usko. If you think being cocooned is the answer and things are going to get better automatically, then how will we get where we are aspiring to be? Being a better people, a better country? That piece which came in print a few days back, where reporters went and spoke to people in Jal Vayu Vihar, that line just stuck with me - ki haan woh thi, bahut log aaye tamasha dekhne, aur phir chale gaye. You thank your stars that this misfortune passed your door and landed at your neighbours'.
Is there a class divide in India when it comes to being vulnerable to this, or is it across all strata?
Our vulnerability towards our law enforcement, towards our system, is the same. If you think having money is going to oil the machinery for you, it can work against you as well. And if you don't have the money, then God help you. Being a Gulzar, or being somebody known, that doesn't give you immunity against something happening tomorrow?
Do you feel as vulnerable to the legal process?
Of course! Look at all the high-profile cases. I hate bringing this case up in reference to Talvar (which I had to do before the film's release and had to answer a lot of questions), but every time something new emerges in the Sheena Bora murder case, it is scary. This is a high-profile case, everyone knows who she is, and whether she (Indrani Mukerjea) is the murderer or not is not the point. The point is when you pitch this against the custodial death of somebody unknown, we're all vulnerable.
What is the most sensitive thing you have heard about the movie since it released? One thing that is stuck in your head? One is the art form - the brilliance of execution, or that scene was shot very smartly, that's one part; the craft of it.
Strangely, the majority of the responses are not about the craft. It is about the story. And this is something I am not surprised by. Because even when I was showing the film to the technicians who were supposed to comment on the post-production process, the technicality, they didn't want to talk after watching the movie. They were so shaken by the story. And when they left, they started researching and Googling about the story. Kaam ki baat humari teen-char din baad hui.
What is your satisfaction quotient?
I am happy. The first reason why I am happy is because my parents could see this. My struggles could have been difficult for me, but it must have been ten-fold for them. Because of their frustration at their own helplessness of not being able to help me in reaching the heights that they reached. That could not have been easy. So for me, primarily on a personal level, this is my fulcrum of it - that they got to see this. That I gave them a day like this.
What did your father say when he saw the film?
He didn't speak. We finished our screening and during the 20-25 minute drive from there to the restaurant where we were going to eat, he didn't speak. I kept probing, ki ye bata dijiye, woh bata dijiye. And then finally, in the politest possible way to get me to shut up, he said, 'Baat karne ka mann nahi kar raha.' He wasn't soaking in the fact that I could make this film, and it was so good. It was, again, the story that did it.
You do realise that you have now appropriated this case for all time to come? If there is any new development in the trial, acquittal or confirmation, each time your film's stills will be shown, people will come to talk to you.
If this happens, I will be very proud. That happened with me with Filhaal also. When Filhaal came out, nobody knew what surrogacy was. When our first surrogacy laws were being drafted, there was a whole debate about patients' rights, safeguarding the rights of the mother, how it should not become a business. And every time there was a debate on TV, they would call me. Not that I am an authority on it, it is not as in-depth a film as this (Talvar) is. But it always feels good, especially if you want your film to have some kind of relevance to the society it is made in and for. If it is remembered, when that issue comes up, I don't think there is anything more satisfactory.
Aarushi case was not cut-and-dry, black-and-white case that it was made out to be-Meghna Gulzar
7:52 AM
Aarushi Nigam and Saloni Bhatia (BOMBAY TIMES; October 7, 2015)
It was fitting that the team
of Talvar, the film based on the Aarushi Talwar murder case, was in the
city of the crime, so to speak, when they discussed what the case
revealed about Nyodda (this was supposed to be the film's title
initially). The movie shows, among other things, a fundamental cultural
divide between the UPwallahs investigating the case and the upper
middle-class, urban family they were looking at, in this uneasy suburban
mingling of gaon and sheher. How this shaped the investigation, and
what, in a broader sense, it reveals about the 'us' and 'them' mindset
of the middle class and Indian suburbia, is what the team explored.
Excerpts from a conversation with director Meghna Gulzar, writer Vishal
Bhardwaj, and actors Irrfan and Konkona Sen Sharma.
There's a strong sense in the film of the divide between the state and middle class, the pervasive attitude of 'the other' -poor and rich, urban and rural, 'English medium' and 'Hindi medium', all think of the other as 'these people'...
Vishal Bhardwaj: Actually, there is a significant class divide, bahut hi purana aur bada problematic, because rich is becoming richer and poor is becoming poorer. Till that divide narrows. But that would need a revolution, and a revolution will never happen in this country. Kyunki hum log jo, hamara iss zindagi mein ho raha hai, uss par toh kabhi hum log question nahin karte hain, jo hamare saath bura ho raha hai usey pichhle karmon pe daal dete hain. That is very deeply rooted in our society, and that has also come from the rich. Otherwise in this country, there is such a large divide with a slum and a 25 crore ka industrialist existing side by side aur phir bhi nahin woh chheen raha hai gareeb uss se, toh there is something wrong in our DNA.
Irrfan: Also, the way the police is deputed, the way the laws are, they come from the Raj. It needs amendment, it needs to be updated. Poore taur tareeke tab ke chale aa rahe hain. The way the policewallah functions, uske bechaare apne ke liye hi bahut badi dikkat ki baat hai. The class divide begins at home. Our lifestyles are such that we can't do without servants, but there are two separate worlds that exist within the confines of our houses. It's a politically incorrect thing to say, but then isn't the feudal model a safer model kai pushton se hamaari sewa karte aa rahe hain, you would be less afraid of them murdering you?
Vishal: Feudal system hamaare andar hi kahin hain. When we go to the US, we live without maids, we wash our own dishes in the dishwasher. We can buy dishwashers here too, in our homes, but naukar mil raha hai na, ek jeeta jaagta insaan jo aapki aawaaz sunke aa raha hai. The feudal system is within us. Middle class jo shareef ban kar khadi hui hai, woh itni shareef bhi nahin hai. Depending on what it finds convenient, the middle class picks what it wants from the feudal system and from the modern life. Aur phir gareeb bhi bani rehti hai, ki hum toh middle class hain. Everyone has maids and servants in their homes.
Apparently, the film was supposed to be called 'Nyodda' earlier with that spelling (the exaggerated Hindi pronunciation Nyodda, not Noida). What was the reason for the name change to Talvar?
Vishal: Actually, we were apprehensive about using the title Talvar earlier it's the family's surname, plus that title also belonged to someone else then. At the time, we thought Nyodda would be a very good title. I even made a song for it, but Gulzar sahab said I will not write lyrics for a song like this woh boley thay ki Noida mein yeh hota hai, yeh hota hai aur yeh hota hai. He also thought ki Noida ke log bura maan jayenge.
As regards all the commentary on Aarushi's 'character' during the investigation, if you say something like that about a living 14-15-year-old today or name a rape survivor, it's a non-bailable offence. But if someone is dead, it's an open house. Is there a legal question here in our country, in one model, we have this great reverence towards someone who passes away, but in the younger lot, we are very quick to say stuff we wouldn't dare to say for someone who's alive because that would be defamation.
Meghna: I think that was the turning point in this particular case. Because I think the request for a CBI investigation was being made for a while, but it was because of this particular press conference and the irreverence with which he spoke about the family and specially about the girl.
Vishal: That he was as 'characterless as his daughter'.
Meghna: And she was a minor, and to insinuate all this! I think that was the turning point, because it was so huge. That was the one time the media, the society actually reacted correctly. There was a huge uproar and the case went to the CBI. It's a different story that it went downhill from there.
Phrases like 'frivolous party circuit' were used to describe the family, even by the cops.
Irrfan: As soon as it's clear that these are sexually independent people, society forms a bias. (The mindset is) 'Achha, yeh bhog raha hai, humein nahi bhogne ko mil raha.' But it does lead to a kind of angst, the moment you make an allegation of that sort. It's easier for everyone to feel biased about it.
Meghna: Aur kaafi imaginative thi kahaaniyaan that 12 hotel rooms were booked etc. There are swinging couples aur yeh sab wife-swapping chal raha hai. They had a very creative backstory to all their stories.
All of them not linked to the crime, but to the character of the parents.
Meghna: Exactly, and this was a very pertinent point which this lady in Toronto had said 'You know what, character is not connected to crime. Evidence is connected to crime. You want to go on character, it's fine, but at least find the evidence to support it.'
We've often heard people say, 'How could a parent have done this?' So everybody bought that it was a high-profile honour killing. Do you have a take on why, in North India, honour killing is such a comfortable narrative?
Meghna: Because it happens. And forget about honour killing, it happens before birth. You have female foeticide...
So the counter-question is that there is a division - middle-class India and lower-class India - but what is the common element between them? Foeticide and honour killing. Then there is no social difference between the constable and the high-end.
Meghna: Even among the super-rich, this is one common thread - that lust for a male heir. Why was it appalling was because haan, woh gaon mein hota hai, woh tribals mein hota hai... arre yeh hamare backyard mein ho gaya! That is what made it scandalous. Honour killing par se was not what was the scandal. It was honour killing by two educated, working doctors in this society like, wow, that was cocky.
Irrfan: (The rumours of) Infidelity played a huge role in convincing the masses (of the Talwars' alleged guilt).
You guys came so close to giving a verdict why didn't you?
Meghna: Honestly, our position is not that we know the truth. That is not the intent of this film. The intent of this film is to highlight the questions that still don't have answers, or don't have convincing answers, and let it not become a dusty file in some cabinet somewhere. The intent of this film is not to give you the answers or give you the truth. We weren't there, we don't know what happened. We are also basing our information on what is available. But what is available points very clearly not to the cut-and-dry, black-and-white case that it was made out to be.
But the grey that you all are exposed to is probably very near to what the truth could be.
Meghna: I am hoping society and the decision makers will pick up on those grey areas that we have shown in the film and do what we can't do.
There's a strong sense in the film of the divide between the state and middle class, the pervasive attitude of 'the other' -poor and rich, urban and rural, 'English medium' and 'Hindi medium', all think of the other as 'these people'...
Vishal Bhardwaj: Actually, there is a significant class divide, bahut hi purana aur bada problematic, because rich is becoming richer and poor is becoming poorer. Till that divide narrows. But that would need a revolution, and a revolution will never happen in this country. Kyunki hum log jo, hamara iss zindagi mein ho raha hai, uss par toh kabhi hum log question nahin karte hain, jo hamare saath bura ho raha hai usey pichhle karmon pe daal dete hain. That is very deeply rooted in our society, and that has also come from the rich. Otherwise in this country, there is such a large divide with a slum and a 25 crore ka industrialist existing side by side aur phir bhi nahin woh chheen raha hai gareeb uss se, toh there is something wrong in our DNA.
Irrfan: Also, the way the police is deputed, the way the laws are, they come from the Raj. It needs amendment, it needs to be updated. Poore taur tareeke tab ke chale aa rahe hain. The way the policewallah functions, uske bechaare apne ke liye hi bahut badi dikkat ki baat hai. The class divide begins at home. Our lifestyles are such that we can't do without servants, but there are two separate worlds that exist within the confines of our houses. It's a politically incorrect thing to say, but then isn't the feudal model a safer model kai pushton se hamaari sewa karte aa rahe hain, you would be less afraid of them murdering you?
Vishal: Feudal system hamaare andar hi kahin hain. When we go to the US, we live without maids, we wash our own dishes in the dishwasher. We can buy dishwashers here too, in our homes, but naukar mil raha hai na, ek jeeta jaagta insaan jo aapki aawaaz sunke aa raha hai. The feudal system is within us. Middle class jo shareef ban kar khadi hui hai, woh itni shareef bhi nahin hai. Depending on what it finds convenient, the middle class picks what it wants from the feudal system and from the modern life. Aur phir gareeb bhi bani rehti hai, ki hum toh middle class hain. Everyone has maids and servants in their homes.
Apparently, the film was supposed to be called 'Nyodda' earlier with that spelling (the exaggerated Hindi pronunciation Nyodda, not Noida). What was the reason for the name change to Talvar?
Vishal: Actually, we were apprehensive about using the title Talvar earlier it's the family's surname, plus that title also belonged to someone else then. At the time, we thought Nyodda would be a very good title. I even made a song for it, but Gulzar sahab said I will not write lyrics for a song like this woh boley thay ki Noida mein yeh hota hai, yeh hota hai aur yeh hota hai. He also thought ki Noida ke log bura maan jayenge.
As regards all the commentary on Aarushi's 'character' during the investigation, if you say something like that about a living 14-15-year-old today or name a rape survivor, it's a non-bailable offence. But if someone is dead, it's an open house. Is there a legal question here in our country, in one model, we have this great reverence towards someone who passes away, but in the younger lot, we are very quick to say stuff we wouldn't dare to say for someone who's alive because that would be defamation.
Meghna: I think that was the turning point in this particular case. Because I think the request for a CBI investigation was being made for a while, but it was because of this particular press conference and the irreverence with which he spoke about the family and specially about the girl.
Vishal: That he was as 'characterless as his daughter'.
Meghna: And she was a minor, and to insinuate all this! I think that was the turning point, because it was so huge. That was the one time the media, the society actually reacted correctly. There was a huge uproar and the case went to the CBI. It's a different story that it went downhill from there.
Phrases like 'frivolous party circuit' were used to describe the family, even by the cops.
Irrfan: As soon as it's clear that these are sexually independent people, society forms a bias. (The mindset is) 'Achha, yeh bhog raha hai, humein nahi bhogne ko mil raha.' But it does lead to a kind of angst, the moment you make an allegation of that sort. It's easier for everyone to feel biased about it.
Meghna: Aur kaafi imaginative thi kahaaniyaan that 12 hotel rooms were booked etc. There are swinging couples aur yeh sab wife-swapping chal raha hai. They had a very creative backstory to all their stories.
All of them not linked to the crime, but to the character of the parents.
Meghna: Exactly, and this was a very pertinent point which this lady in Toronto had said 'You know what, character is not connected to crime. Evidence is connected to crime. You want to go on character, it's fine, but at least find the evidence to support it.'
We've often heard people say, 'How could a parent have done this?' So everybody bought that it was a high-profile honour killing. Do you have a take on why, in North India, honour killing is such a comfortable narrative?
Meghna: Because it happens. And forget about honour killing, it happens before birth. You have female foeticide...
So the counter-question is that there is a division - middle-class India and lower-class India - but what is the common element between them? Foeticide and honour killing. Then there is no social difference between the constable and the high-end.
Meghna: Even among the super-rich, this is one common thread - that lust for a male heir. Why was it appalling was because haan, woh gaon mein hota hai, woh tribals mein hota hai... arre yeh hamare backyard mein ho gaya! That is what made it scandalous. Honour killing par se was not what was the scandal. It was honour killing by two educated, working doctors in this society like, wow, that was cocky.
Irrfan: (The rumours of) Infidelity played a huge role in convincing the masses (of the Talwars' alleged guilt).
You guys came so close to giving a verdict why didn't you?
Meghna: Honestly, our position is not that we know the truth. That is not the intent of this film. The intent of this film is to highlight the questions that still don't have answers, or don't have convincing answers, and let it not become a dusty file in some cabinet somewhere. The intent of this film is not to give you the answers or give you the truth. We weren't there, we don't know what happened. We are also basing our information on what is available. But what is available points very clearly not to the cut-and-dry, black-and-white case that it was made out to be.
But the grey that you all are exposed to is probably very near to what the truth could be.
Meghna: I am hoping society and the decision makers will pick up on those grey areas that we have shown in the film and do what we can't do.
None of my films have had a premiere at Toronto or at any other international festival-Gulzar
8:02 AM
Meena Iyer (BOMBAY TIMES; September 29, 2015)
Feted, felicitated and
much-loved writer, film maker, poet, author and lyricist Gulzar has many
facets to his personality. His daughter Meghna Gulzar is three films
old, her latest being the muchtalked about Talvar , which recently
premiered at the 40th Toronto Film Festival (TIFF). In a candid
conversation with us, the father-daughter duo speaks on their
professional and personal equation.
Gulzar saab, please tell us about your contribution to Talvar?
I must tell you an interesting story. An alley cat taught a tiger how to hunt and actually go for the kill. After learning the technique, the first person the tiger attacked was the cat. She was smart. To save her life, she climbed a tree. The tiger stood below, looking at the cat and said, “Hey , but you didn't teach me this.“ To which the cat replied, “I could foresee that this is exactly what you would do once you mastered the killing technique. Hence, I didn't teach you this last trick.'' (Laughs) Likewise, I taught Meghna how to pen screenplay, dialogues and script etc. She knows direction and post-production. Now she has become a tigress. But, I didn't teach her how to write songs. So, she still has to depend on me (the cat in this context) for that aspect. I write songs for her films and that is my contribution to her cinema. It is challenging to write songs for her. When she wants something, no one can make her change her mind. She has a passion for movie making. This time around both Vishal (Bhardwaj) and I had to deliver. Sometimes she didn't like the tune, if she liked the tune, she didn't like the lyrics. She is hard to please. Vishal and I had to keep working continuously to present different versions to director sahiba.
Meghna: Papa would hum some words and Vishal sir would compose a tune around it. They would only come to me when it was nearly ready. So, I told them both, “Hello, please include me in your song-making sessions.'' It is a treat to watch them work. When they are working together, there is so much that is left unsaid. Vishal is humming and dad is able to know where the tune is going and throw words at him accordingly. It is not a director thing; it's a purely selfish thing. I wanted to be in that experience.
Gulzar saab, had you followed the Aarushi Talwar case when it happened in May 2008?
I had seen Meghna meticulously making newspaper cuttings of the case. Her involvement and fascination for the subject automatically rubbed onto me. I, too, started taking a keen interest in the subject. I would see her jotting down notes. That is how I followed the case. I knew Meghna was researching the subject. If I came across any snippet or report on the Aarushi Talwar murder case, I would quickly cut it and give it to her. I have seen Vishal and her do a thorough job.
Sir, have you seen a growth in Meghna's graph as a director?
Yes from Filhaal to now, her graph has seen a steady rise. What I like about her is that she is so focussed. She knows exactly what she wants. I have seen her handling her unit also. It so happened that she was shooting in Delhi and she expressed to me that she was missing her son Samay. So her husband Govind, my grandson Samay and I went to the shoot. You know, as a filmmaker, I must tell you that handling a machine is different but handling human beings needs a special tact. I was impressed with the way Meghna did that. I also have deep admiration for her unit. Her cameraman (Pankaj Kumar) is a good listener. He would patiently hear her out before executing the shot. Another assistant who was very attentive and helpful was a guy called Honey. I guess his name is Honey because he is so sweet. Meghna has made documentaries for Saeed Akhtar Mirza. So I know she knows her job. However, in the case of Talvar, this kind of maturity comes only when you have been deeply involved with the project. Like any parent, I, too, was anxious about her. But now I'm less worried because she has taken a step ahead of me. She has actually beaten me to it. None of my films have had a premiere at Toronto or at any other international festival.
Meghna: Papa, you have won an Oscar.
Gulzar: (Chuckles) Now let's see how you achieve that. However, I have made so many movies and I have not been invited to any international film festival. I even got the Dadasaheb Phalke Award but none of my films have had a foreign premiere. As a filmmaker, I'm very happy and confident of this girl's growth.
Gulzar saab, what did you think of Talvar?
Talvar is an important social comment. Everyone knows that the law has long hands; however, no one knew that the law travels through a narrow alley. That is how the song came in, Patli gali aana. I must say that we have good laws, we have a good judiciary but our system of implementing laws is something like what is shown in Talvar. Meghna has put her finger on this. It is not a murder thriller. It is much more. That is why I feel the audience has to be prepared for it. You are not going to see a thriller in which bullets are flying. I'm also happy that the producers of this film (Vineet Jain and Vishal Bhardwaj) had conviction in the story that they were making and have allowed Meghna to make the film the way she knew best.
Meghna, speak about your key cast.
I must start with Tabu. By now everyone knows that she is not playing Aarushi's aunt. She has a special appearance in the film. Though I have made movies in the past, this time around, I felt like I was starting over probably because the genre was new to me. And I couldn't have done this without Tabu. It was gracious of her to accept the small part. The actual shooting was a breeze. It was like two friends (she and I) were catching up for lunch. It was as casual as that.
In sharp contrast, is Irrfan sir who is very tricky. You are well aware that Talvar presents multiple viewpoints on the Aarushi murder case. He plays an investigative officer and till today, I have no idea which side of the story he believes. Throughout the making he was playing the devil's advocate. Every time he would have to do a scene he would question--what if this had transpired like this and not like this? It took me a while to understand that he was asking so many questions so that he could plug all the holes. He took in all the information and then delivered his performance. Irrfan sir has given an evolved performance. The way he has conveyed his sense of restlessness and his appearing distracted, etc. are all things which he has put into his character. This can only happen when an actor internalises not just the part but the entire film.
Gulzar: Irrfan has portrayed the character so beautifully.
Meghna: Neeraj Kabi sir and Konkona (Sen Sharma) have the toughest job in the film because they both play the guilty and the damned. And they have to do both these things convincingly. Moreover, they had to do everything twice over. But I must tell you that their approach as actors was diametrically opposite. There was Konkona (Koko) who would ask what the scene is, seek a few clarifications and say, 'Cool, let's go'. If it was an intense scene, she would cry and when I called cut, she would be smiling with her eyes shining bright. Neeraj sir, on the other hand, is the exact opposite. After the entire briefing, he would ask for 30 seconds. Then he would stroll off to a part of the set where no one was allowed to enter. And then he would come, stand in front of the camera and give the perfect take. From the spot boys to the costume and light departments, everyone would maintain pin drop silence. Honestly, who does this for an actor anymore? I had a really good unit. Neeraj sir also didn't snap out of a shot, after I would say cut. At the end of the day, he would bid everyone goodbye and say, 'See you tomorrow'. Though Koko and Neeraj sir's style of working is diverse, you cannot tell the difference on screen because both of them have delivered pitch-perfect performances.
Meghna, were you prepared for the reactions that you got at TIFF?
Not at all. I knew Cameron Bailey, the artistic director of TIFF, was in Mumbai to look at films but we couldn't connect with him and he went back. It was another festival director who asked if we had sent Talvar to Toronto. It was after this that Vishal wrote to Cameron and we sent a screener within a short time. We had to pull up our deadline by a month. But nothing could have been more worth it than showing our film in Toronto.
How would you describe your relationship with Vishal Bhardwaj?
Meghna: Vishal has done all the rituals as my brother at my wedding. But at that time, we were not as close as we are today. Our personal equation has evolved over the years. I had done a couple of scripts with him in the past, but Talvar is actually our first full-fledged attempt at making a movie. I was to do Timbuktu and Mr Mehta And Mrs Singh for him. Both didn't materialise because I was in my world, making different kind of movies. For me, the biggest learning has been watching him as a writer. You can understand him as a filmmaker when you see his films. He always shares his scripts with dad and me. So, I know the script and I see what he does with his films. Vishal sir writes his characters beautifully. That is his biggest forte. He gives each one a texture. There will always be some distinguishing trait in each character. He brings them to life and that, for me, was a huge learning experience. He visited us on the sets just twice. It was so good to have him there because it felt like someone was standing behind you. I felt protected. Having that sense of support made me do that job better. I must explain to you, the kind of equation I share with Vishal sir. When I was explaining to Sohum Shah, who plays Irrfan sir's assistant in the film on how to approach his character visà-vis his equation to his senior (Irrfan), I gave the example of Vishal sir and me. I explained to Sohum that Vishal and I have dinner together, we crack jokes and laugh, but when he is around on the sets, I always stand there respectfully with my hands behind me and address him as sir.
Gulzar: I'm proud of how Meghna has defined her relationship with Vishal. She has described it beautifully.
Meghna: Everything about Talvar is two-sided, including the relationship between the film's writer-producer and director.
Has your mother seen this film?
Gulzar: Actually, Raakhee is even more anxious about Talvar than Meghna.
Meghna: I have shown my mother the first print that I made for India. I didn't want her to see a subtitled print. However, I had shown my father the first international print with subtitles on August 18. It was his birthday and it was my surprise gift for him.
Gulzar: It was a great gift. Every year we go out to celebrate my birthday. This time she was busy with Talvar but she told me, 'Dad, I will still give you a gift'. I'm a happy man.
Gulzar saab, please tell us about your contribution to Talvar?
I must tell you an interesting story. An alley cat taught a tiger how to hunt and actually go for the kill. After learning the technique, the first person the tiger attacked was the cat. She was smart. To save her life, she climbed a tree. The tiger stood below, looking at the cat and said, “Hey , but you didn't teach me this.“ To which the cat replied, “I could foresee that this is exactly what you would do once you mastered the killing technique. Hence, I didn't teach you this last trick.'' (Laughs) Likewise, I taught Meghna how to pen screenplay, dialogues and script etc. She knows direction and post-production. Now she has become a tigress. But, I didn't teach her how to write songs. So, she still has to depend on me (the cat in this context) for that aspect. I write songs for her films and that is my contribution to her cinema. It is challenging to write songs for her. When she wants something, no one can make her change her mind. She has a passion for movie making. This time around both Vishal (Bhardwaj) and I had to deliver. Sometimes she didn't like the tune, if she liked the tune, she didn't like the lyrics. She is hard to please. Vishal and I had to keep working continuously to present different versions to director sahiba.
Meghna: Papa would hum some words and Vishal sir would compose a tune around it. They would only come to me when it was nearly ready. So, I told them both, “Hello, please include me in your song-making sessions.'' It is a treat to watch them work. When they are working together, there is so much that is left unsaid. Vishal is humming and dad is able to know where the tune is going and throw words at him accordingly. It is not a director thing; it's a purely selfish thing. I wanted to be in that experience.
Gulzar saab, had you followed the Aarushi Talwar case when it happened in May 2008?
I had seen Meghna meticulously making newspaper cuttings of the case. Her involvement and fascination for the subject automatically rubbed onto me. I, too, started taking a keen interest in the subject. I would see her jotting down notes. That is how I followed the case. I knew Meghna was researching the subject. If I came across any snippet or report on the Aarushi Talwar murder case, I would quickly cut it and give it to her. I have seen Vishal and her do a thorough job.
Sir, have you seen a growth in Meghna's graph as a director?
Yes from Filhaal to now, her graph has seen a steady rise. What I like about her is that she is so focussed. She knows exactly what she wants. I have seen her handling her unit also. It so happened that she was shooting in Delhi and she expressed to me that she was missing her son Samay. So her husband Govind, my grandson Samay and I went to the shoot. You know, as a filmmaker, I must tell you that handling a machine is different but handling human beings needs a special tact. I was impressed with the way Meghna did that. I also have deep admiration for her unit. Her cameraman (Pankaj Kumar) is a good listener. He would patiently hear her out before executing the shot. Another assistant who was very attentive and helpful was a guy called Honey. I guess his name is Honey because he is so sweet. Meghna has made documentaries for Saeed Akhtar Mirza. So I know she knows her job. However, in the case of Talvar, this kind of maturity comes only when you have been deeply involved with the project. Like any parent, I, too, was anxious about her. But now I'm less worried because she has taken a step ahead of me. She has actually beaten me to it. None of my films have had a premiere at Toronto or at any other international festival.
Meghna: Papa, you have won an Oscar.
Gulzar: (Chuckles) Now let's see how you achieve that. However, I have made so many movies and I have not been invited to any international film festival. I even got the Dadasaheb Phalke Award but none of my films have had a foreign premiere. As a filmmaker, I'm very happy and confident of this girl's growth.
Gulzar saab, what did you think of Talvar?
Talvar is an important social comment. Everyone knows that the law has long hands; however, no one knew that the law travels through a narrow alley. That is how the song came in, Patli gali aana. I must say that we have good laws, we have a good judiciary but our system of implementing laws is something like what is shown in Talvar. Meghna has put her finger on this. It is not a murder thriller. It is much more. That is why I feel the audience has to be prepared for it. You are not going to see a thriller in which bullets are flying. I'm also happy that the producers of this film (Vineet Jain and Vishal Bhardwaj) had conviction in the story that they were making and have allowed Meghna to make the film the way she knew best.
Meghna, speak about your key cast.
I must start with Tabu. By now everyone knows that she is not playing Aarushi's aunt. She has a special appearance in the film. Though I have made movies in the past, this time around, I felt like I was starting over probably because the genre was new to me. And I couldn't have done this without Tabu. It was gracious of her to accept the small part. The actual shooting was a breeze. It was like two friends (she and I) were catching up for lunch. It was as casual as that.
In sharp contrast, is Irrfan sir who is very tricky. You are well aware that Talvar presents multiple viewpoints on the Aarushi murder case. He plays an investigative officer and till today, I have no idea which side of the story he believes. Throughout the making he was playing the devil's advocate. Every time he would have to do a scene he would question--what if this had transpired like this and not like this? It took me a while to understand that he was asking so many questions so that he could plug all the holes. He took in all the information and then delivered his performance. Irrfan sir has given an evolved performance. The way he has conveyed his sense of restlessness and his appearing distracted, etc. are all things which he has put into his character. This can only happen when an actor internalises not just the part but the entire film.
Gulzar: Irrfan has portrayed the character so beautifully.
Meghna: Neeraj Kabi sir and Konkona (Sen Sharma) have the toughest job in the film because they both play the guilty and the damned. And they have to do both these things convincingly. Moreover, they had to do everything twice over. But I must tell you that their approach as actors was diametrically opposite. There was Konkona (Koko) who would ask what the scene is, seek a few clarifications and say, 'Cool, let's go'. If it was an intense scene, she would cry and when I called cut, she would be smiling with her eyes shining bright. Neeraj sir, on the other hand, is the exact opposite. After the entire briefing, he would ask for 30 seconds. Then he would stroll off to a part of the set where no one was allowed to enter. And then he would come, stand in front of the camera and give the perfect take. From the spot boys to the costume and light departments, everyone would maintain pin drop silence. Honestly, who does this for an actor anymore? I had a really good unit. Neeraj sir also didn't snap out of a shot, after I would say cut. At the end of the day, he would bid everyone goodbye and say, 'See you tomorrow'. Though Koko and Neeraj sir's style of working is diverse, you cannot tell the difference on screen because both of them have delivered pitch-perfect performances.
Meghna, were you prepared for the reactions that you got at TIFF?
Not at all. I knew Cameron Bailey, the artistic director of TIFF, was in Mumbai to look at films but we couldn't connect with him and he went back. It was another festival director who asked if we had sent Talvar to Toronto. It was after this that Vishal wrote to Cameron and we sent a screener within a short time. We had to pull up our deadline by a month. But nothing could have been more worth it than showing our film in Toronto.
How would you describe your relationship with Vishal Bhardwaj?
Meghna: Vishal has done all the rituals as my brother at my wedding. But at that time, we were not as close as we are today. Our personal equation has evolved over the years. I had done a couple of scripts with him in the past, but Talvar is actually our first full-fledged attempt at making a movie. I was to do Timbuktu and Mr Mehta And Mrs Singh for him. Both didn't materialise because I was in my world, making different kind of movies. For me, the biggest learning has been watching him as a writer. You can understand him as a filmmaker when you see his films. He always shares his scripts with dad and me. So, I know the script and I see what he does with his films. Vishal sir writes his characters beautifully. That is his biggest forte. He gives each one a texture. There will always be some distinguishing trait in each character. He brings them to life and that, for me, was a huge learning experience. He visited us on the sets just twice. It was so good to have him there because it felt like someone was standing behind you. I felt protected. Having that sense of support made me do that job better. I must explain to you, the kind of equation I share with Vishal sir. When I was explaining to Sohum Shah, who plays Irrfan sir's assistant in the film on how to approach his character visà-vis his equation to his senior (Irrfan), I gave the example of Vishal sir and me. I explained to Sohum that Vishal and I have dinner together, we crack jokes and laugh, but when he is around on the sets, I always stand there respectfully with my hands behind me and address him as sir.
Gulzar: I'm proud of how Meghna has defined her relationship with Vishal. She has described it beautifully.
Meghna: Everything about Talvar is two-sided, including the relationship between the film's writer-producer and director.
Has your mother seen this film?
Gulzar: Actually, Raakhee is even more anxious about Talvar than Meghna.
Meghna: I have shown my mother the first print that I made for India. I didn't want her to see a subtitled print. However, I had shown my father the first international print with subtitles on August 18. It was his birthday and it was my surprise gift for him.
Gulzar: It was a great gift. Every year we go out to celebrate my birthday. This time she was busy with Talvar but she told me, 'Dad, I will still give you a gift'. I'm a happy man.
There's no attempt to create a sensation but reinvent media-created perceptions-Irrfan Khan
7:51 AM
Irrfan Khan refuses to court controversy with his upcoming film, Talvar
Roshmila Bhattacharya (MUMBAI MIRROR; September 29, 2015)
Irrfan Khan has done a fair share of prep to play the role of the investigative officer in Meghna Gulzar's upcoming crime thriller, Talvar, which opens this Friday. The film is inspired by the Noida double murders which grabbed headlines in 2008, following the unnatural deaths of Aarushi Talwar,14, and her domestic help, Hemraj Banjade, 45.
"This film impresses on people the need to look beyond headlines and dig deep to discover what lies beneath. Cinema should go beyond news and gossip. If you make snap judgements before the court has processed the case, it can sometimes influence the judiciary, which is unfortunate," says Irrfan.
He chatted with an officer who knew the case well to get a better grip on his character, CDI detective, Ashwin Kumar, who builds a case against the father's resentful assistant and his two accomplices and on June 22, 2008, officially exonerates Shruti Tandon's parents. On July 9, the CDI hands over the case to a new probe team. On February 20, 2011, it files a closure report in a Ghaziabad court, naming the parents, as the prime suspects, Ramesh and Nutan Tandon. There are strong parallels with CBI officer Arun Kumar who was working the Aarushi case till July 2008 when he was recalled by the UP government. A year later, in September, the case was transferred to a new CBI team, headed by SP Neelabh Kishore with Additional SP AGL Kaul as the investigating officer. On December 29, 2010, the CBI filed a closure report, naming Aarushi's father, Rajesh Talwar, as the sole suspect.
Irrfan refuses to be drawn into a discussion on the controversial case or Avirook Sen's just-released book, Aarushi. "I've yet to read it, I've been travelling extensively. Anyway, it came out after the film was shot. I have a lot of books with me which can lend themselves to good cinema and future projects, including Amitav Ghosh's Sea Of Poppies and The Hungry Tides," the actor smiles.
The film premiered at the Toronto International Film Festival to an overwhelming response. Irrfan believes it will reinstate that India is producing a new kind of cinema. "The perception that Indian cinema is all about song and dance is changing, it's now about different kinds of drama," he maintains.
He adds that Talvar is not your usual potboiler so they were cautious during its making. "We were constantly questioning, debating and ensuring that we didn't take sides but rather we raised questions about the system. There's no attempt to create a sensation but reinvent media-created perceptions," Irrfan asserts.
The actor's been filming a Japanese TV mini series, The Tokyo Trials, but is quick to point out that's a different show in which international politics can colour and influence judgement. "It is far removed from this film, just as Lithuania is far distanced from India. But it's a beautiful country and I see it getting more and more popular with both tourists and filmmakers alike," he signs off with a smile.
I had to stay objective as a writer to make sure Talvar remains neutral-Vishal Bhardwaj
9:31 AM
Mohar Basu (BOMBAY TIMES; September 26, 2015)
With more than a dozen films
to his credit, Vishal Bhardwaj has charmed us into awaiting movies from
his stable. Basking under the glorious sense of satisfaction after
receiving rave reviews for Talvar at the recently-concluded Toronto
International Film Festival (TIFF), the filmmaker admits that he has
finally learnt script writing. The movie, which is based on the 2008
Noida double murder, was once again in the news after Sheena Bora's
death made headlines. Bhardwaj, who is currently in the US, talks to
Bombay Times about the bizarreness of these cases, how we live in a
dysfunctional society and why the film's black humour evoked laughter at
the TIFF. Here's how our conversation with the Bollywood Bardman
rolled...
You are synonymous with the Bard and are popular for your rendition of Shakespearean plays. So, what was it about the Aarushi Talwar murder case that prompted you to foray into the sphere of investigative thrillers?
I've always had an affinity for crime dramas and police procedurals in films. I like all genres equally except horror, which I am not very comfortable with. But, as a filmmaker, you've to take your picks because it is impossible to make so many movies. What script you take up depends on what you are most excited about when you decide to make a film. Talvar is an investigative whodunit and for the first time, I was excavating truths about a real incident and trying to make a drama based on it. As the saying goes, truth is stranger than fiction and in this case, it was much stranger than fiction. It was so tragic and dramatic that you rarely get a chance to write such a film.
Whose idea was it to make a film on this case?
It was my idea. Meghna Gulzar (the director) wanted me to write a script for her. Pritish Nandy, our common friend, had approached me. Meghna is like a daughter to him. He wanted to give her a surprise. When she and I met, I told her about this idea. People didn't know the minute details of the Noida double murder. I'd happened to meet Arun Kumar, the first investigating officer of the case, over a drink. He told me a few appalling things that intrigued me. Meghna did all the research and then we kept meeting people involved in the case. In fact, we've met all the parties concerned - from the three investigating teams to the parents.
How was it working with Meghna?
She is extremely passionate and her gusto is infallible. She would be researching constantly, tabulating matter and deducing conclusions from the different investigations that happened. She helped me a lot with the film's groundwork, varna main toh woh sab padhne mein hi reh jaata.
Did you feel possessive about your script and anxious about the treatment?
I decided to let go because as a filmmaker I know that a writer can be annoying. To translate what is written on paper to cinema needs changes. It is inevitable when sketches become characters of flesh and blood. When the story comes to life on celluloid, it has to be the director's vision. I had a lot of faith in Meghna because of her passionate involvement in the whole process. Her spunk and conviction bowled me over. I barely visited the sets because I didn't want to be intrusive. Towards the end, she would literally drag me to the shoot. In any case, I don't think I would've directed it better than her.
How did you remain sensitive as well as objective while writing he story?
One has to be responsible because it is a bizarre case. Nobody knows what happened that night and people have different theories. Each of these is backed by their respective evidences. I found it to be a strong case for a Rashomon scenario. Since the parties are still involved in the case, we didn't have the scope of going wrong in any way. Neither did we want to offend anyone. When you see and hear the three distinct perspectives, you make an informed choice knowing the theories vis-à-vis each other.
I might have a personal take on this film but as a writer, I had to be unbiased. Some theories sound fake and then, you are bound to question them. I had to stay objective as a writer to make sure the film remains neutral. As filmmakers, we haven't declared anyone guilty. But, depending on the viewer's perspective, they will make their choice on what really happened that night.
Is there a conclusive ending to the film?
There is an unresolved revelation at the end of this movie. The judiciary has given its verdict and you can't go against it. But then, it is up to us whether the verdict is satisfactory or tragic. You can't have a final word because the parents have appealed to a higher court. The case is expected to reopen soon. But our intention was to initiate a discussion before the court proceedings start. People are not aware of what really happened. For instance, the servants who were the prime suspects earlier are now scot-free and in Nepal. People should be made aware of these details before the case reaches the court again.
A few scenes from the trailer have a satirical hint. Have you used black humour in the film?
Satire is the most potent tool to convey your dissatisfaction with the system. The film's climax has a natural satirical quality. In parts, it is hilarious. It is a disturbing combination when you laugh and feel bad about cracking up. At TIFF, there was laughter in some scenes. I can not live without black humour in my movies. I might make dark films but I am not a boring man. I am a very juicy, interesting person.
There are disturbing similarities between the double murder and the Sheena Bora case. Both are honour killings involving the crème de la crème of society. Why do you think such incidents happen frequently?
As these are high-profile cases, they are in the limelight. Our society is a lot more dysfunctional than we can see. Won't you call the regular bans dysfunctional? When I was shooting for Matru Ki Bijlee Ka Mandola in Haryana, I met middle class people who were as rational and civil as us. But when prodded on the question of honour killings, their hearts tilted towards the ghastly idea. If a couple elopes, the families meet the Khap Panchayat. They make a pact that if the boy's family catches them first, then they will kill the girl and vice versa. How inhuman, insensitive and barbaric is that? It is not restricted to an Aarushi Talwar or a Sheena Bora murder case. We are becoming really dysfunctional as a society, in every aspect and are regressing by the day.
Why do you think there is a prodigious interest in these cases?
Not many cases are as sensational as these, which questions the fundamentals on which our society is based. They question our morals as parents and so it evokes interest in people. It is very titillating and amusing to the level of disturbing. The way the Sheena Bora case has been covered is insensitive. There are headlines which read Indrani ate a sandwich in jail. Sholay had this dialogue which said Court, kachery ka chakkar ho jaayegaa mausi. Every time I watch Talvar, I shudder to think that if people get caught in the whirlpool of this faulty judicial system, how will they come out of it?
Is there a déjà vu that Talvar releases on the same day as Haider did last year?
Shah Rukh Khan reserved Diwali. Salman Khan reserved Eid. Aamir Khan reserved Christmas. So, we decided to take the Gandhian way. I want to own this day every year. But for Talvar, the date has a special significance. Coincidentally, our film is releasing on October 2, which is the International Wrongful Conviction Day. It makes so much more sense.
Like last year, even this time your film is pitted against a commercial potboiler.
I am happy to be the ignorant man I am. Mujhe lagta hai mujhse accha toh koi hai hi nahin. Obviously, Akshay Kumar is a big star. I don't care about clashes because every film decides its own audience.
You are synonymous with the Bard and are popular for your rendition of Shakespearean plays. So, what was it about the Aarushi Talwar murder case that prompted you to foray into the sphere of investigative thrillers?
I've always had an affinity for crime dramas and police procedurals in films. I like all genres equally except horror, which I am not very comfortable with. But, as a filmmaker, you've to take your picks because it is impossible to make so many movies. What script you take up depends on what you are most excited about when you decide to make a film. Talvar is an investigative whodunit and for the first time, I was excavating truths about a real incident and trying to make a drama based on it. As the saying goes, truth is stranger than fiction and in this case, it was much stranger than fiction. It was so tragic and dramatic that you rarely get a chance to write such a film.
Whose idea was it to make a film on this case?
It was my idea. Meghna Gulzar (the director) wanted me to write a script for her. Pritish Nandy, our common friend, had approached me. Meghna is like a daughter to him. He wanted to give her a surprise. When she and I met, I told her about this idea. People didn't know the minute details of the Noida double murder. I'd happened to meet Arun Kumar, the first investigating officer of the case, over a drink. He told me a few appalling things that intrigued me. Meghna did all the research and then we kept meeting people involved in the case. In fact, we've met all the parties concerned - from the three investigating teams to the parents.
How was it working with Meghna?
She is extremely passionate and her gusto is infallible. She would be researching constantly, tabulating matter and deducing conclusions from the different investigations that happened. She helped me a lot with the film's groundwork, varna main toh woh sab padhne mein hi reh jaata.
Did you feel possessive about your script and anxious about the treatment?
I decided to let go because as a filmmaker I know that a writer can be annoying. To translate what is written on paper to cinema needs changes. It is inevitable when sketches become characters of flesh and blood. When the story comes to life on celluloid, it has to be the director's vision. I had a lot of faith in Meghna because of her passionate involvement in the whole process. Her spunk and conviction bowled me over. I barely visited the sets because I didn't want to be intrusive. Towards the end, she would literally drag me to the shoot. In any case, I don't think I would've directed it better than her.
How did you remain sensitive as well as objective while writing he story?
One has to be responsible because it is a bizarre case. Nobody knows what happened that night and people have different theories. Each of these is backed by their respective evidences. I found it to be a strong case for a Rashomon scenario. Since the parties are still involved in the case, we didn't have the scope of going wrong in any way. Neither did we want to offend anyone. When you see and hear the three distinct perspectives, you make an informed choice knowing the theories vis-à-vis each other.
I might have a personal take on this film but as a writer, I had to be unbiased. Some theories sound fake and then, you are bound to question them. I had to stay objective as a writer to make sure the film remains neutral. As filmmakers, we haven't declared anyone guilty. But, depending on the viewer's perspective, they will make their choice on what really happened that night.
Is there a conclusive ending to the film?
There is an unresolved revelation at the end of this movie. The judiciary has given its verdict and you can't go against it. But then, it is up to us whether the verdict is satisfactory or tragic. You can't have a final word because the parents have appealed to a higher court. The case is expected to reopen soon. But our intention was to initiate a discussion before the court proceedings start. People are not aware of what really happened. For instance, the servants who were the prime suspects earlier are now scot-free and in Nepal. People should be made aware of these details before the case reaches the court again.
A few scenes from the trailer have a satirical hint. Have you used black humour in the film?
Satire is the most potent tool to convey your dissatisfaction with the system. The film's climax has a natural satirical quality. In parts, it is hilarious. It is a disturbing combination when you laugh and feel bad about cracking up. At TIFF, there was laughter in some scenes. I can not live without black humour in my movies. I might make dark films but I am not a boring man. I am a very juicy, interesting person.
There are disturbing similarities between the double murder and the Sheena Bora case. Both are honour killings involving the crème de la crème of society. Why do you think such incidents happen frequently?
As these are high-profile cases, they are in the limelight. Our society is a lot more dysfunctional than we can see. Won't you call the regular bans dysfunctional? When I was shooting for Matru Ki Bijlee Ka Mandola in Haryana, I met middle class people who were as rational and civil as us. But when prodded on the question of honour killings, their hearts tilted towards the ghastly idea. If a couple elopes, the families meet the Khap Panchayat. They make a pact that if the boy's family catches them first, then they will kill the girl and vice versa. How inhuman, insensitive and barbaric is that? It is not restricted to an Aarushi Talwar or a Sheena Bora murder case. We are becoming really dysfunctional as a society, in every aspect and are regressing by the day.
Why do you think there is a prodigious interest in these cases?
Not many cases are as sensational as these, which questions the fundamentals on which our society is based. They question our morals as parents and so it evokes interest in people. It is very titillating and amusing to the level of disturbing. The way the Sheena Bora case has been covered is insensitive. There are headlines which read Indrani ate a sandwich in jail. Sholay had this dialogue which said Court, kachery ka chakkar ho jaayegaa mausi. Every time I watch Talvar, I shudder to think that if people get caught in the whirlpool of this faulty judicial system, how will they come out of it?
Is there a déjà vu that Talvar releases on the same day as Haider did last year?
Shah Rukh Khan reserved Diwali. Salman Khan reserved Eid. Aamir Khan reserved Christmas. So, we decided to take the Gandhian way. I want to own this day every year. But for Talvar, the date has a special significance. Coincidentally, our film is releasing on October 2, which is the International Wrongful Conviction Day. It makes so much more sense.
Like last year, even this time your film is pitted against a commercial potboiler.
I am happy to be the ignorant man I am. Mujhe lagta hai mujhse accha toh koi hai hi nahin. Obviously, Akshay Kumar is a big star. I don't care about clashes because every film decides its own audience.
There are so many men who are more sensitive than women-Konkona Sen Sharma
7:54 AM
Meena Iyer (BOMBAY TIMES; September 22, 2015)
A day before this meeting
Konkona Sen Sharma happened, her with husband Ranvir Shorey and she took
to Twitter to announce their separation. Both of them also conveyed their
decision to co-parent their young son Haroon. Konkona is clear she
will not answer any questions pertaining to the above because she has
never spoken about her personal life. However, the National
Award-winning actress is happy to discuss Talvar, which releases on
October 2 and has been receiving praise from many quarters.Here's how
our conversation went...
What attracted you to Talvar?
I did Talvar because I liked the script and my role. It is a mainstream film but slightly different because investigative thrillers have not been Bollywood's forte. What attracted me to it was that it had a certain ambiguity. I found that very interesting. There is a fine line between guilt and innocence. I also loved the treatment of this film. It highlights three aspects of the investigation. I have not done anything like this before. Talvar is nice because it is not like we are trying to solve the case through the film. We are just highlighting the investigation. For me, the three different scenarios and my own part in those three scenarios was interesting. To me as a performer, this whole 'did she do it, did she not' thing was truly interesting. I was also drawn to the project because of the fantastic people involved with it. There is Irrfan of course, Neeraj Kabi, Vishal Bhardwaj and his team and Meghna Gulzar.
Did you follow the Aarushi Talwar murder case in 2008?
It was such a high-profile case that one couldn't avoid it. The facts kind of filtered down to you, but it wasn't as if I made any special effort to follow the case at length.
One sees less of you, especially in Bollywood. Is this deliberate?
I had three Bengali releases this year. I have travelled to a couple of festivals with those films. I have a small child and I have written my own script. It keeps me fairly occupied. Nowadays I do less work in Hindi than before because I have a kid. Besides, I have to get interesting work to do it. I've cut down on work due to various factors. I do not mind extending myself to a certain amount if I really have something substantial to do. However, if it is to do. However, if it is something silly then I do not have so much of an incentive. I like to keep busy because it gives me a lot of balance and perspective. At the same time, I also enjoy spending time with my son. It is a great example for Haroon to see me as a strong, working mother. If I can be that for him, it is great.
Just before she returned to the studios for round two, Aishwarya Rai Bachchan had said that when she leaves home for shooting, she tells her daughter Aaradhya, 'Mummy has to go to office' because shooting is hard for a child to comprehend. Do you also tell Haroon something like that?
In Haroon's case, this didn't happen because he has been coming for shootings since he was a child. He understands that shooting is work. And he knows that when shooting is on, mummy cannot be disturbed. Frankly, I like having him around even when I am at work. If I am in Mumbai, he hangs around in my vanity van. Of late, I have done a lot of work in Bengal. When this happens, I take him with me to Kolkata. Sometimes I leave him with my mother (Aparna Sen) who lives there.
Does your mother spoil her grandson?
She tries but she is also kind of shy when she is around him. She goes, 'Oh no, I don't think he likes me.' Incidentally, I have just finished a short film with mum called Saari Raat. It has travelled to festivals abroad, but I do not know when it is releasing.
You have done interesting work with your mother and now with Meghna Gulzar. Any observations on women directors?
As far as women directors in India go, I think we should have more of them. We do not have enough. Beyond that, I cannot say anything on this subject based on gender. Women directors can have every negative quality that we associate with men in terms of them being not so sensitive, etc. There are so many men who are more sensitive than women. Frankly, it is hard to differentiate like that.
One hears you will veer towards direction yourself?
Yes, I hope to direct. I have written a script. But it is a long and arduous task to raise funds for a non-mainstream film.
When the promos of Talvar were out, you got a lot of support from your friends in Bollywood. Does Mumbai feel like home now?
I am happy that people reacted to the Talvar promos so positively. It felt good. As far as living in Mumbai goes, I have lived in this city for slightly over a decade now. I am beyond settled here.
What attracted you to Talvar?
I did Talvar because I liked the script and my role. It is a mainstream film but slightly different because investigative thrillers have not been Bollywood's forte. What attracted me to it was that it had a certain ambiguity. I found that very interesting. There is a fine line between guilt and innocence. I also loved the treatment of this film. It highlights three aspects of the investigation. I have not done anything like this before. Talvar is nice because it is not like we are trying to solve the case through the film. We are just highlighting the investigation. For me, the three different scenarios and my own part in those three scenarios was interesting. To me as a performer, this whole 'did she do it, did she not' thing was truly interesting. I was also drawn to the project because of the fantastic people involved with it. There is Irrfan of course, Neeraj Kabi, Vishal Bhardwaj and his team and Meghna Gulzar.
Did you follow the Aarushi Talwar murder case in 2008?
It was such a high-profile case that one couldn't avoid it. The facts kind of filtered down to you, but it wasn't as if I made any special effort to follow the case at length.
One sees less of you, especially in Bollywood. Is this deliberate?
I had three Bengali releases this year. I have travelled to a couple of festivals with those films. I have a small child and I have written my own script. It keeps me fairly occupied. Nowadays I do less work in Hindi than before because I have a kid. Besides, I have to get interesting work to do it. I've cut down on work due to various factors. I do not mind extending myself to a certain amount if I really have something substantial to do. However, if it is to do. However, if it is something silly then I do not have so much of an incentive. I like to keep busy because it gives me a lot of balance and perspective. At the same time, I also enjoy spending time with my son. It is a great example for Haroon to see me as a strong, working mother. If I can be that for him, it is great.
Just before she returned to the studios for round two, Aishwarya Rai Bachchan had said that when she leaves home for shooting, she tells her daughter Aaradhya, 'Mummy has to go to office' because shooting is hard for a child to comprehend. Do you also tell Haroon something like that?
In Haroon's case, this didn't happen because he has been coming for shootings since he was a child. He understands that shooting is work. And he knows that when shooting is on, mummy cannot be disturbed. Frankly, I like having him around even when I am at work. If I am in Mumbai, he hangs around in my vanity van. Of late, I have done a lot of work in Bengal. When this happens, I take him with me to Kolkata. Sometimes I leave him with my mother (Aparna Sen) who lives there.
Does your mother spoil her grandson?
She tries but she is also kind of shy when she is around him. She goes, 'Oh no, I don't think he likes me.' Incidentally, I have just finished a short film with mum called Saari Raat. It has travelled to festivals abroad, but I do not know when it is releasing.
You have done interesting work with your mother and now with Meghna Gulzar. Any observations on women directors?
As far as women directors in India go, I think we should have more of them. We do not have enough. Beyond that, I cannot say anything on this subject based on gender. Women directors can have every negative quality that we associate with men in terms of them being not so sensitive, etc. There are so many men who are more sensitive than women. Frankly, it is hard to differentiate like that.
One hears you will veer towards direction yourself?
Yes, I hope to direct. I have written a script. But it is a long and arduous task to raise funds for a non-mainstream film.
When the promos of Talvar were out, you got a lot of support from your friends in Bollywood. Does Mumbai feel like home now?
I am happy that people reacted to the Talvar promos so positively. It felt good. As far as living in Mumbai goes, I have lived in this city for slightly over a decade now. I am beyond settled here.
People form opinions based on headlines that may not be the truth-Irrfan Khan
8:14 AM
Priya Gupta (BOMBAY TIMES; September 14, 2015)
While Aarushi Talwar's
murder in 2008, had sent shock waves across the people of India, the
recent Sheena Bora murder case has reminded us of the gruesome reality
of the possibility of a parent killing a child in society. Unlike many
of us who formed our judgement on the case based on newspaper headlines
and television debates, Meghna Gulzar followed every detail of the case
with all its twists and turns and gaps in the investigation. It affected
her so much that she chose to make Talvar that has been written by
Vishal Bhardwaj and produced by Vishal along with Junglee Pictures. The
film is being internationally premiered at the Toronto Film Festival and
will have both Meghna and its lead star Irrfan attend it.
Excerpts from a conversation with Irrfan just before leaving for Toronto
on his reasons for doing Talvar and his understanding of this most
talked about case.
Your upcoming film Talvar allegedly involved parents killing their 14-year-old daughter Aarushi. The recent Sheena Bora case too involves the mother Indrani Mukherjea killing her daughter. In Aarushi's case, the concerned investigating officer was transferred before the final verdict. In the Sheena Bora case too, Police Commissioner Rakesh Maria has been transferred. Do you draw any similarities between the two cases?
I am not aware of the Sheena Bora case as I have been out of the country. But my main point of view in Aarushi's case is the way in which the police investigated the case and how things changed due to internal politics of the case. In all of that, the truth of the verdict lost its importance. What was important for me in the Aarushi case was the gaps between what was really happening, what the media was telling me and the real truth behind the case. And why it is important is that in today's times, there is so much information that people just read headlines and form their opinion. It's important for everyone to know that headlines may not be the truth. There could be truth beyond what the media is saying. And even the material that is being written and talked in media may not be the truth. It is the media's point of view. Even during the trial in the courts, media wants to pronounce judgement directly or indirectly. If you really care about knowing the truth, then you should find your own truth. And you should not be so gullible that you form opinions without even reading the full article. We just want to read the headline and make up our mind. And sometimes, it's a compulsion for media to create a sensational headline that may not even be in the article. We are living in a headline culture today. And that's why Talvar is important to me as Meghna unearths all the intricacies of the case and has shown beyond what was told to us. Everyone's trying to control us in our lives, be it the judiciary, the media or the politicians. So it's a kind of war for power. It's saddening to know when in a few cases the judiciary has been quoted saying that the judgement has considered even the emotions of the people.
Having gone through some of the researched material, what is your own view now on the Aarushi Talwar case?
Based on whatever I researched or understood, I feel that there were incapabilities during the investigation. I don't even know if they are properly trained or not. Possibly they are not even given the full authority to do proper investigation. They have so many compulsions and priorities and then they are asked to do such investigations, so it becomes a pathetic kind of situation. I don't want to blame them but the circumstances are like that.
Post Haider, you are once again working with Vishal Bhardwaj who has produced Talvar.
Vishal was one of the main reasons for me being a part of Talvar. Also, I could see the seriousness of Meghna Gulzar. I could see the investment that she had made in this film. I wanted to be a part of the film to make it possible for them to make the film.
What is Meghna Gulzar (director of Talvar) like?
She researched the film a lot, so we used to feel that she is an authority. Whenever we had a question, for instance, despite Aarushi's neck being slit, how could her chaadar look so proper when her body was found? Meghna could give us all the answers.
What in your view got Meghna interested in this case?
I think she was following it and she saw so many discrepancies in the process and she got obsessed by it, just as some journalists get obsessed. And the thing doesn't leave you then and that must have happened with her too. And that must have compelled her to make the film.
As a father in real life, does the thought of killing your child disturb you emotionally?
There are so many cases where parents have killed their children before. I feel a lot of things are based on your economic security. Sometimes your circumstance, your situation is such that you are so much into survival that parenthood takes a backseat. I had gone to Jaipur to my house a few days back and was thinking about it. There is a dhobi right outside our house who irons clothes. He would get his eight-year-old son with him and he would find his kid useful. If he kept an external person, he would have to pay him. So, he uses his son for his work. It's his necessity to survive and thus, he cannot think of parenthood. Likewise, a parent under circumstances can kill a child. It's not impossible for a parent to kill a child. Anything can happen with a human being. But in the Aarushi case, you have to see the film to decide for yourself on the reality.
Tabu and you have shared a great onscreen and offscreen relationship. How was it once again working with her in Talvar?
Tabu has been coming in my life again and again in an unplanned way. It just happens. And whenever she and I have done any film together, be it Maqbool, The Namesake or Haider, it has become special. Incidentally, we also got our Padma Shri awards together. There is something special being with Tabu. We are very good friends and sometimes when we talk, we talk. I feel for her. I can call her at any time, even at 2 am and so can she. We can talk about anything and that's the comfort I have with her. I feel for her, for her well-being and I am really attached to her even though sometimes we may not be in touch with each other for many many months. I wish to do a comedy with her.
What is Tabu like?
She is very sensitive and independent. She is deeply rooted in culture but also has an understanding of the modern world. She is deeply spiritual and straddles many ends. She values true connection with people and has beautifully retained herself as such a spontaneous actor.
Will we ever see you both doing a romantic film together?
I would love to.
Would Tabu agree?
I think so. I can say on her behalf that yes she would if the role is good and the producer is good. For her, what kind of human being is making the film matters a lot. She is self-made and the kind of journey she has gone through and the kind of world she has seen makes her very special. Her sensitivity, her longing, the way she serves her mother, the way she has taken care of things from such an early age, working and making her life. She has been like a man making her own empire. I wish she gets a lot of love in her life.
You are amongst the best known actors from Bollywood in Hollywood. How do you feel?
Yesterday I was supposed to do ADR (Hollywood's terminology for dubbing) for Inferno. Resul Pookutty was doing it from here. So I went for dubbing and Resul had seen the scenes between Tom Hanks and me before the dubbing.So as soon as he saw me, he just went mad and came and hugged me and kissed me and said, 'I am so proud of you.' His warmth stayed with me even till the next morning. I could see what it had done to him and was overwhelmed with his warmth that meant such a lot to me.
How was your experience working with the legendary Tom Hanks?
It was one of my life's best experiences. What a khoobsoorat insaan he is. For me just like Tabu, it matters a lot as to what kind of human being I am working with. He has so much warmth and he is so free from inside. Acting job makes actors have a kind of insecurity everywhere. But as a personality he is above that. Even in Hollywood, there is insecurity but there after a certain point, people start giving importance to their personal lives unlike here in our industry where stars get caught up in their image. Stars cannot differentiate between their perceptual and real image. There because of them being a consumerist society, I think they are compelled to come out of it. I remember the first time I went to work with Gabriel Byrne, he knew that I came from a different country from a different language and so knew that it was difficult for me. So the first thing he did to make me feel comfortable was that he sent his secretary, asked her to give me her personal number so that I could call him whenever he needed me. I have never called him and don't even have his number now, but that gesture meant a lot to me. Likewise Tom, on the first day there was an envelope with his signature carrying a message for me. It talked about how we were doing a film together and he wished that we had more scenes together. But he said, 'Anyways if not, we will save the world as is.' He has a great sense of humour. In Hollywood they are working but they do not take themselves as seriously as we do here.
Do you prefer working in Bollywood or Hollywood?
There are certain things in our country that cannot be replaced. The casualness of it, the informality, the disorder, the song and dance, the celebration in our society... our Gods are also dancing, unke affairs ho rahe hain. Our philosophies of life, we sometimes even celebrate death. We see death as a part of our evolution. There however, you are challenged and you cannot do it superficially. You have to be prepared and have to dive into it. Also they are so punctual unlike us. If the shoot needs to start at 7am, it has to start at 7am. If you are even two minutes late to start from your hotel pick up point, the message will reach within seconds to hundreds of people working on the film. Once it happened with me during The Namesake. In India, we are used to the car coming to the hotel, then the driver will call us and then we will come down from our room. So in effect the car will find us. There the car will come dot on time and it's your job to find it. I kept waiting for the car driver to call me due to which I got late by seven minutes. Mira Nair, my director, came to know that I was late by 7 minutes and I was shocked. From that day, I always find the car myself and have never been late by even a minute.
Your upcoming film Talvar allegedly involved parents killing their 14-year-old daughter Aarushi. The recent Sheena Bora case too involves the mother Indrani Mukherjea killing her daughter. In Aarushi's case, the concerned investigating officer was transferred before the final verdict. In the Sheena Bora case too, Police Commissioner Rakesh Maria has been transferred. Do you draw any similarities between the two cases?
I am not aware of the Sheena Bora case as I have been out of the country. But my main point of view in Aarushi's case is the way in which the police investigated the case and how things changed due to internal politics of the case. In all of that, the truth of the verdict lost its importance. What was important for me in the Aarushi case was the gaps between what was really happening, what the media was telling me and the real truth behind the case. And why it is important is that in today's times, there is so much information that people just read headlines and form their opinion. It's important for everyone to know that headlines may not be the truth. There could be truth beyond what the media is saying. And even the material that is being written and talked in media may not be the truth. It is the media's point of view. Even during the trial in the courts, media wants to pronounce judgement directly or indirectly. If you really care about knowing the truth, then you should find your own truth. And you should not be so gullible that you form opinions without even reading the full article. We just want to read the headline and make up our mind. And sometimes, it's a compulsion for media to create a sensational headline that may not even be in the article. We are living in a headline culture today. And that's why Talvar is important to me as Meghna unearths all the intricacies of the case and has shown beyond what was told to us. Everyone's trying to control us in our lives, be it the judiciary, the media or the politicians. So it's a kind of war for power. It's saddening to know when in a few cases the judiciary has been quoted saying that the judgement has considered even the emotions of the people.
Having gone through some of the researched material, what is your own view now on the Aarushi Talwar case?
Based on whatever I researched or understood, I feel that there were incapabilities during the investigation. I don't even know if they are properly trained or not. Possibly they are not even given the full authority to do proper investigation. They have so many compulsions and priorities and then they are asked to do such investigations, so it becomes a pathetic kind of situation. I don't want to blame them but the circumstances are like that.
Post Haider, you are once again working with Vishal Bhardwaj who has produced Talvar.
Vishal was one of the main reasons for me being a part of Talvar. Also, I could see the seriousness of Meghna Gulzar. I could see the investment that she had made in this film. I wanted to be a part of the film to make it possible for them to make the film.
What is Meghna Gulzar (director of Talvar) like?
She researched the film a lot, so we used to feel that she is an authority. Whenever we had a question, for instance, despite Aarushi's neck being slit, how could her chaadar look so proper when her body was found? Meghna could give us all the answers.
What in your view got Meghna interested in this case?
I think she was following it and she saw so many discrepancies in the process and she got obsessed by it, just as some journalists get obsessed. And the thing doesn't leave you then and that must have happened with her too. And that must have compelled her to make the film.
As a father in real life, does the thought of killing your child disturb you emotionally?
There are so many cases where parents have killed their children before. I feel a lot of things are based on your economic security. Sometimes your circumstance, your situation is such that you are so much into survival that parenthood takes a backseat. I had gone to Jaipur to my house a few days back and was thinking about it. There is a dhobi right outside our house who irons clothes. He would get his eight-year-old son with him and he would find his kid useful. If he kept an external person, he would have to pay him. So, he uses his son for his work. It's his necessity to survive and thus, he cannot think of parenthood. Likewise, a parent under circumstances can kill a child. It's not impossible for a parent to kill a child. Anything can happen with a human being. But in the Aarushi case, you have to see the film to decide for yourself on the reality.
Tabu and you have shared a great onscreen and offscreen relationship. How was it once again working with her in Talvar?
Tabu has been coming in my life again and again in an unplanned way. It just happens. And whenever she and I have done any film together, be it Maqbool, The Namesake or Haider, it has become special. Incidentally, we also got our Padma Shri awards together. There is something special being with Tabu. We are very good friends and sometimes when we talk, we talk. I feel for her. I can call her at any time, even at 2 am and so can she. We can talk about anything and that's the comfort I have with her. I feel for her, for her well-being and I am really attached to her even though sometimes we may not be in touch with each other for many many months. I wish to do a comedy with her.
What is Tabu like?
She is very sensitive and independent. She is deeply rooted in culture but also has an understanding of the modern world. She is deeply spiritual and straddles many ends. She values true connection with people and has beautifully retained herself as such a spontaneous actor.
Will we ever see you both doing a romantic film together?
I would love to.
Would Tabu agree?
I think so. I can say on her behalf that yes she would if the role is good and the producer is good. For her, what kind of human being is making the film matters a lot. She is self-made and the kind of journey she has gone through and the kind of world she has seen makes her very special. Her sensitivity, her longing, the way she serves her mother, the way she has taken care of things from such an early age, working and making her life. She has been like a man making her own empire. I wish she gets a lot of love in her life.
You are amongst the best known actors from Bollywood in Hollywood. How do you feel?
Yesterday I was supposed to do ADR (Hollywood's terminology for dubbing) for Inferno. Resul Pookutty was doing it from here. So I went for dubbing and Resul had seen the scenes between Tom Hanks and me before the dubbing.So as soon as he saw me, he just went mad and came and hugged me and kissed me and said, 'I am so proud of you.' His warmth stayed with me even till the next morning. I could see what it had done to him and was overwhelmed with his warmth that meant such a lot to me.
How was your experience working with the legendary Tom Hanks?
It was one of my life's best experiences. What a khoobsoorat insaan he is. For me just like Tabu, it matters a lot as to what kind of human being I am working with. He has so much warmth and he is so free from inside. Acting job makes actors have a kind of insecurity everywhere. But as a personality he is above that. Even in Hollywood, there is insecurity but there after a certain point, people start giving importance to their personal lives unlike here in our industry where stars get caught up in their image. Stars cannot differentiate between their perceptual and real image. There because of them being a consumerist society, I think they are compelled to come out of it. I remember the first time I went to work with Gabriel Byrne, he knew that I came from a different country from a different language and so knew that it was difficult for me. So the first thing he did to make me feel comfortable was that he sent his secretary, asked her to give me her personal number so that I could call him whenever he needed me. I have never called him and don't even have his number now, but that gesture meant a lot to me. Likewise Tom, on the first day there was an envelope with his signature carrying a message for me. It talked about how we were doing a film together and he wished that we had more scenes together. But he said, 'Anyways if not, we will save the world as is.' He has a great sense of humour. In Hollywood they are working but they do not take themselves as seriously as we do here.
Do you prefer working in Bollywood or Hollywood?
There are certain things in our country that cannot be replaced. The casualness of it, the informality, the disorder, the song and dance, the celebration in our society... our Gods are also dancing, unke affairs ho rahe hain. Our philosophies of life, we sometimes even celebrate death. We see death as a part of our evolution. There however, you are challenged and you cannot do it superficially. You have to be prepared and have to dive into it. Also they are so punctual unlike us. If the shoot needs to start at 7am, it has to start at 7am. If you are even two minutes late to start from your hotel pick up point, the message will reach within seconds to hundreds of people working on the film. Once it happened with me during The Namesake. In India, we are used to the car coming to the hotel, then the driver will call us and then we will come down from our room. So in effect the car will find us. There the car will come dot on time and it's your job to find it. I kept waiting for the car driver to call me due to which I got late by seven minutes. Mira Nair, my director, came to know that I was late by 7 minutes and I was shocked. From that day, I always find the car myself and have never been late by even a minute.
Talvar's script being reworked so as to avoid similarities with Rahasya?
8:16 AM
Makers of Aarushi Talwar murder case-inspired whodunit, 'Talvar', are said to be reworking the film's script due to apparent similarities with the recently released 'Rahasya', which is based on the same subject
Sonali Joshi Pitale (MID-DAY; February 13, 2015)
If sources are to be believed, Meghna Gulzar is making a few changes to her upcoming film 'Talvar' inspired by the Aarushi Talwar murder case. Reason? The filmmaker apparently wants to avoid any kind of similarities with Manish Gupta's 'Rahasya', which hit the marquee two weeks ago and was loosely based on the same incident.
A source says, "Post Rahasya's release, the makers of 'Talvar' are wary of repetition. Though their film is more or less narrated from the point of view of Aarushi's parents, who have been convicted for the murder, they are considering incorporating a few changes in the film."
Written by Vishal Bhardwaj, the film stars Irrfan, Konkona Sen Sharma and Tabu in a special appearance. It is slated to release on October 2. A source close to the Talvar project says, "The film's shoot has been wrapped up and received a green signal from the Talwars. It will have a completely different take on the incident with an exciting climax. There is no similarity between the two films."
The director says the film's edit is locked. "There is no question of making any changes. We always knew the film we wanted to make and that there were other films being made, announced and even completed before we began filming in June 2014.
When we didn't bother about 'Rahasya' then, why would we do so now? Everyone is proud and happy with the way our film has turned out. Thankfully, two years of research and a year's writing has paid off. Most importantly, this is a fictional dramatisation of an investigation of a real-life case, not a biopic. Hence, there is no question of book rights or any money changing hands," Meghna states.
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