Showing posts with label Chauranga. Show all posts
Showing posts with label Chauranga. Show all posts
I don’t feel the pressure just because of my National Award-Riddhi Sen
7:55 AM
Lasyapriya Sundaram (BOMBAY TIMES; October 10, 2018)
He is just 20, but has already bagged a National Award. Now, Riddhi Sen is all set to play the lead along with Kajol in Pradeep Sarkar’s Helicopter Eela, a film that revolves around the relationship between a mother and son. In a candid chat with BT, Riddhi talks about why he was eager to do Helicopter Eela, how winning the National Award (in the Best Actor category) last year, inspires him to do good work and how it was easy for him to slip into the role of a transgender in the Bengali film, Nagarkirtan. Excerpts…
You have acted in Hindi films earlier, but you are playing a prominent role for the first time in Helicopter Eela. Tell us about your journey of getting here.
Yes, I have acted in Hindi films like Kahaani, Parched and Bhoomi. I also did Children of War, which was Farooq Shaikh’s last film, but sadly, it didn’t get much recognition. I also featured in Chauranga that was produced by filmmaker Onir. In Helicopter Eela, I am playing the lead role.
Actors dream of getting an opportunity like Helicopter Eela and the credit goes to my director, Pradeep Sarkar. There are many actors waiting to land a role like the one I play in this film, but Pradeepda was confident about me essaying this role. Two years ago, I worked in a commercial with him in Kolkata and that's when he decided that I could pull off my role in the film. I didn’t have to audition a lot. In fact, I was cast in the film because my work in my earlier movies was appreciated. When Sujoy da (Ghosh) came to shoot in Kolkata for Kahaani, people from the Bengali film industry referred me to him. I thought I might have to audition for Helicopter Eela, but I didn’t have to.
Last year, you won a National Award in the Best Actor category at the age of 20 for the Bengali film Nagarkirtan. Having achieved that kind of recognition so early on in life, does it put pressure on you?
I have a long way to go. The fact that I won a National Award right at the start of my career scares me, because I have a lot to learn and explore. Today, thanks to the internet, I can familiarise myself with films which are being made all over the world and stay updated. More than being affected by people’s expectations, I want to live up to my own. I don’t feel the pressure to deliver because I have won a National Award. In fact, I have forgotten that chapter of my life. I have very high regard for the award, as well as for the jury who chose me, including Shekhar Kapur and I am extremely grateful for it. However, if I keep thinking about that achievement, I will not progress. I was the best, according to some people, but the next year somebody else’s performance will be lauded. In the next ten years, if I do good work then I can proudly say that I had won it.
The mother-son relationship that’s being portrayed in Helicopter Eela talks about how parents are overprotective and sometimes can also go overboard. Tell us about your relationship with your mother?
The film talks about what happens in most Indian homes. In the process of bringing up their children, parents don’t pay heed to their needs. They focus on only looking after the children and that is common in Indian society. Also, many parents feel that children should not have an opinion of their own. Some aspects of the relationship showcased between the mother and son in the film are similar to the bond that I share with my mother. Whatever I have achieved in life is because of her. Children observe their parents and I have seen my parents strike a balance between work and home. Both my parents are actors and they don’t have a nine-to-five job. However, that never affected my upbringing. They were there for me when I needed them and they also managed to work as well. My mother is my best friend and I have no inhibitions when it comes sharing my thoughts with her.
You have the experience of working in the Bengali, as well as the Hindi film industry. How different are they from each other?
The industries are different when it comes to the budgets of films. We have talented directors in Kolkata. If a Hindi film is shot in 50 days, a Bengali film has to be shot within 16 days. However, the end product is the same. The preparation before the shoot is immense. I played a transgender in Nagarkirtan for which I won the National Award. Usually, actors get close to six months to prepare for a role like this. The film was shot in 18 days. In the beginning, nobody was willing to produce a movie that revolved around a transgender. My director really rallied for the film. I had to prepare myself for the role much before the film went on floors. I knew the film will be made, but I didn’t know when it would go on floors, so I had to be ready to shoot at any given time. A low budget film shouldn’t look like one and that’s the trick the Bengali film industry has managed to pull off.
Was it important for you to do Nagarkirtan because it focusses on the love story of a transgender man? It’s a brave attempt and relevant to our times…
Aligarh is one of my favourite films. Nagarkirtan also addresses a similar concept. I am proud that the film’s director Kaushik Ganguly chose to narrate a tale that revolves around the love story of a transgender. I could play the role of a transgender with ease because of my upbringing. I grew up in a family of artistes. Also, I was part of theatre. I grew up surrounded by people like Aparna Sen, Soumitra Chatterjee and Rituparno Ghosh, who influenced me as far as my choice of roles was concerned. My upbringing helped in cultivating awareness on what happens. While growing up, my parents didn’t childproof conversations. They always gave an explanation. I watched my first ‘A’ rated film, Parzania, when I was seven years old. I was explained why the film was ‘A’ rated and also why a film with such a rating didn’t indicate that it was bad. By the time I was 19, I had an evolved understanding of gender. My parents also considered acting as a subject. In India, acting is not considered among subjects like Physics and Chemistry. But I hope things change some day.
Tannishtha Chatterjee swears off love making scenes
7:47 AM
Subhash K Jha (DNA; December 10, 2015)
Pan Nalin’s film Angry Indian Goddesses that released recently is partly
about a lesbian marriage, and therefore the one to face the brunt of
the editor’s scissors is Tannishtha Chatterjee who plays Sara Jane
Dias’ lover. Majority of her scenes were chopped off as they were
love-making and intimate same-sex scenes with Sara.
Tannishtha’s scenes were edited out not only in India, but also abroad. Now Tannishtha has sworn off love-making scenes. Heterosexual or same-sex. Says the actress, “This is my third film in a row where my intimate scenes have been chopped off. My love-making scenes in Leena Yadav’s Parched and Bikas Ranjan Mishra’s Chauranga have also been edited out. I won’t do any more intimate scenes. There is no point in doing them when all the effort goes to waste.”
I’m feeling angry and frustrated thanks to the Censors-Onir
5:06 AM
Producer Onir lashes out at the Censor Board for chopping two crucial scenes in Chauranga
Upala KBR (DNA; November 29, 2015)
Onir’s Chauranga, produced by him and Sanjay Suri and
directed by Bikas Ranjan Mishra, based on the story of a Brahmin
zamindar from Jharkhand, has run into censor trouble. Sanjay’s (the
village head) lovemaking scene between him and Tannishtha Chatterjee,
who works in his home, is a very crucial part of the film, but the
Censors have asked Onir to remove part of it, as they feel the
lovemaking scene is derogatory to women. Another scene involving a Dalit
boy being pushed into a well has also been asked to be deleted.Crucial scenes
About these scenes, Onir says, “Every scene is crucial for a film as it contributes to the narrative, otherwise it should not be there. Having said that, I feel the sequence of the boy being pushed into the well being objectionable is ridiculous as we see much more of gender/caste/religious violence on screen even in U/A films. And here, we had no shots of the boy in the water. It is all suggested and not graphic. The act was very important as it depicts caste violence which is so prevalent in our society and how even children are not spared. Similarly, the act of love-making in the film was not to sensationalize but to explain power politics.”
Moving backwards
Does he feel that the Censor Board is being unnecessarily harsh? “I think the film certification board needs a total fresh approach to certification. Introducing grading is long overdue. Also, they need to accept that in the day of internet/TV and print, this form of censorship is discrimination towards the film industry. We have a huge adult population and should have the right to see adult films and they should also be shown by satellite channels post 11 pm. And yes, we seem to be moving backwards in terms of what is acceptable. About the scenes, we are discussing it with the director Bikas Mishra. It is his baby and we will let him make the final call.”
Censoring minds
The Board’s decision has left the filmmaker feeling angry and very frustrated. Onir says, “One seems to be subconsciously censoring one’s mind. The creative process is getting hampered as this affects the economics of the film. I am angry when I see people get away with what is actually questionable. While the Board is apparently strict with films like Chauranga, they let others with more adult/controversial scenes. I suppose it has to do with sensibility. There are people who understand that the way many “item numbers” depict women” need to be questioned in terms of what it tells a largely male chauvinistic society is okay and others think “just harmless entertainment’. I wondered why would I AM gets certified ‘A’ and Bombay Talkies ‘U/A’. The reason for this dialogue and the constant discussion is a hope for change. The film industry as a whole, and not just me, want the certification process revamped.”
The ‘real’ story
Bikas says, “Chauranga was prompted by a news story. The film is my understanding of the village life where a gruesome act of killing is possible in the name of preserving the sanctity of caste system. It’s a fictional re-telling of the actual incident set in a real village where I grew up and which I was part of.”
Chauranga is the story of an infatuated young boy, Santu, who faced death for writing a love letter in a remote village, steeped deeply in caste hierarchy, oppression and debauchery. Unaware of the consequences, Santu nurtures defiance and infatuation. It won the Best Indian Film award at MAMI last year and also the Grand Jury prize at Indian Film Festival of Los Angeles IFFLA, is slated to release on January 8 next year.
Indian filmmakers' open up about torturous experiences while shooting in certain parts of country
9:06 AM
Sanat Mehra (MID-DAY; January 4, 2015)
There were several highs and lows in 2014 vis-à-vis the Hindi film industry, but the one thing that is encouraging is the rise of small-budgeted films. Not only that. Even the fact that they are released alongside big budget films was an appealing highlight of the elapsed year. However, the remedy of one problem has also brought to light another obstacle. Turns out filmmakers — big ticket or small — are finding it increasingly difficult to shoot in certain parts of the country.
(L-R): Nawazuddin Siddiqui, Chitrangada Singh and Tahir Raj Bhasin
In the news for his misadventure with the Federation of Cine Technicians and Workers of Eastern India, director Kushan Nandy recently claimed in a tweet that he was a victim of extortion, blackmail and his unit was held hostage for 72 hours. That might sound like a situation that mirrors the murkiness of AfPak but we are talking about West Bengal here. In Bolpur, a municipality in Birbhum district, to shoot his latest film, Nandy faced a number of problems that one would generally not associate with filmmaking. His film features Nawazuddin Siddiqui, Chitrangada Singh and Tahir Raj Bhasin in leading roles and is chugging on towards completion.
Nandy revealed that the screenplay of his film could be best picturised against the landscape of West Bengal, and after shooting for more than a month in parts of the state, the director was unable to shoot further in some interiors because of the “terrible” experience with the aforementioned federation. “While shooting in Bengal, according to rule, we have to hire 30 per cent of manpower from the local area. But the set number keeps increasing. It doubles and triples proving that there is no parity in what they say and do. Once 60 people become 180, the budgets begin to go haywire and because you have planned to do other things with that budget — instead of paying those who weren’t even present for the shoot — those feigning non-payment start hounding you,” rues the Mumbai-based director.
When we contacted Aparna Ghatak of the Federation of Cine Technicians and Workers of Eastern India, for her side of the story, she said that the matter had been resolved. According to her, the shooting would resume shortly once the payments are received. “However, what angered the workers was that they have been portrayed in a bad light, even after the team from Mumbai was aware that the hooliganism was not caused by workers registered with the federation,” clarifies the general secretary. Ironically, this federation has gathered flak from quite a few filmmakers based in the region.
Kashmir
Bollywood’s romance with Kashmir has been elaborated over more than 20 blockbusters, but recently to document the harsh realities other than the beauty of the state, the few filmmakers who have ventured out there with a small crew and big plans have faced the suspicion of political groups. Take for example, Aamir Bashir’s experience, on shooting the film Harud. In an earlier interview he had said, “Kashmir being a politically volatile place, one had to face the mistrust that local people have for anyone coming from outside with a camera. So, there was a lot of negotiating involved on a day to day basis. With just 18 people in the crew, everyone had to multi-task. A lot of the scenes are outdoors on the streets of Srinagar and crowd-control was a big headache.” While that was the experience of a filmmaker operating on a low budget, not so long ago the crew of Haider was forced to retreat after students of the Kashmir University violently opposed the shooting of a sequence that was based on a fedayeen attack.
West Bengal
Intriguingly enough, the matter does not come as a shock to Onir. The filmmaker whose films include My Brother... Nikhil (2005), Sorry Bhai! (2008) and I Am (2010), is no stranger to the situation faced by Nandy. According to Onir, while producing Chauranga (2014), he too had a run-in with the federation at Bolpur, the same location where Kushan’s local crew played truant. After shooting 70 per cent of the film in West Bengal, both Onir and co-producer Sanjay Suri had to hunt for a new location in the neighbouring state of Odisha. Onir adds, “The problem faced by Kushan or me is because the federation is not able to differentiate between a big-budget and small-budget film. In order to continue shooting for Chauranga we had to shift to Odisha where we did not face any problem.” The shoot was resumed at Keonjhar, a small town in the northern part of the state.
Kerala
“Great content can float a great film on a low budget, but just because we have the technical means to reduce costs doesn’t mean that all visual offerings are up to the mark.” Down South, filmmaker Bijukumar Damodaran, better known as Dr Biju, has several anecdotes to share on his clash with political realities. His doses of moving images might have insured that Indian cinema is far from ailing whether it was his film Perariyathavar or Veettilekkulla Vazhi but behind the scene, as can be noted, there are problems that continue to persist. According to this doctor-turned-filmmaker, the issue that compelled Nandy to cancel his shoot was a common problem until a few years back in Kerala. For better, the rules have been relaxed after a few directors, including Dr Biju himself, approached the Film Employees Federation of Kerala. “Numerous arthouse films come from our state. And to shoot these kind of films, the federation is more cooperative. This change has taken place over the past four to five years. As for the big budget productions, the rules remain the same,” the National Award-winning director asserts.
Uttar Pradesh and Bihar
The size of a film matters. Many a time, the budget makes all the difference — from a director's point of view — before it hits the marquee. Vasan Bala’s Peddlers (2012) collected a major part of its budget through crowdsourcing. It gave us deeper insight into how miniscule budget can be a boon as well as a curse for an indie filmmakers. “No matter what permission one procures there are always those extra payments that become difficult to pay for new filmmakers. Try shooting in UP and Bihar. It is a different ballgame all together; if you do not bring on board a producer who has some clout in that area then your shoot is bound to get disrupted sooner or later.” Would the big budget films reach a standstill in a similar situation? To elaborate further, Bala throws a word of caution for young filmmakers who might wish to venture out shooting our country’s backyard. “In hindsight, shooting without anyone knowing is the biggest thrill of any indie filmmaker, although it might curb the director’s vision. There might be filmmakers who might want a more nuanced approach to a scene; however, opting for a minimal crew can make the experience more thrilling.”
Madhya Pradesh
Prakash Jha has a special corner for the State of Madhya Pradesh and its people, so much so that he has already crossed a hat-trick and shot four films in the region. Popularly dubbed as a filmmaker who manages to etch a story that mirrors the harsh political realities of our nation, Jha has sucessfully built a niche for himself. Neither a commercial filmmaker nor one who woos the outsiders, Jha manages to give a balanced mix of reality and romanticism that he finds hidden against the backdrop of Madhya Pradesh. Raajneeti, Aarakshan, Chakravyuh and Satyagraha are some of the films shot extensively in the state. However, the idea of shooting in Madhya Pradesh came to him after he had some bad experiences shooting in other parts of India. It has been reported that he is proud that Madhya Pradesh is getting considerable visibility through his films. Interestingly, from the Prakash Jha Banner another film starring Arshad Warsi, playing a conman with 13 wives, is being shot in the city of Bhopal. The film that is being directed by Saurabh Shukla will bring the audience, yet again, to the central heartland of India.
Mumbai
Mumbai is home to the best studios but what happens when our new age filmmakers, as Vasan Bala rightly pointed out, “want their visuals to be as close as possible to reality?” Well, they opt out of the studios and shortlist locations that would complement their screenplays. Filmmaker and screenplay writer who directed and scripted the film Ungli, Rensil D’Silva says, “Mumbai is a difficult city to shoot in. Right from permissions to managing crowds who invade your frame. It has also become hugely expensive whether it is an advertisement or a feature.” His point is in sync with what Rajkumar Gupta had stated on his experience working on Aamir back in 2008: “I’ve done two films in Mumbai so far and in terms of logistics, it’s getting costlier day by day. There is no one particular office to take all the possible permissions from. I don’t wish to blame anyone in general, but given the scale our industry is at present, ideally speaking, it should be far more convenient for the filmmakers.” We must not forget that the authorities have become more vigilant after the 26/11 terror attacks, but “with the internet there has been a rise in visual exchange of ideas that cannot be ignored,” concludes Bala.
Andhra Pradesh
The situation in Andhra Pradesh and Telangana isn’t a unique one, especially, after the recent incident faced by the crew from Mumbai in West Bengal. Only last year, in the month of December, over a thousand cine workers called a strike after their demands were not met by the AP Film Chamber of Commerce. As mentioned above, the situation was similar to the problem faced by Nandy, only here the situation has been resolved. The workers were demanding a raise in wages, a change that the AP Chamber of Commerce was willing to oblige to, but with a few clauses. Two of these clauses throw light on the major issues that our new breed of filmmakers has been eyeing in the face of budget constraints: To be given the liberty to choose workers even if they aren’t from the federation and not to pay the same wages that the big budget film producers pay. Probably, that explains maverick filmmaker Ram Gopal Varma’s tweet: “Federation workers shud open their eyes 2 the misleadings of their federation leaders nd start a new federation suited to today’s times.”
Indian states that were beautifully depicted
A still from Aarakshan
Madhya Pradesh: The central heart of India is a paradise for filmmakers. Director Prakash Jha who has shot four films in the state says that the authorities and federation give able support to filmmakers who come to shoot in the state.
Alia Bhatt, Imtiaz Ali and Randeep Hooda on the sets of Highway
Himachal Pradesh: If you have been bowled over by the scenic vistas shown in Imtiaz Ali’s Highway, a part of the credit also goes to Himachal Pradesh government that has eased out procedures to shoot in the state. They have adopted a single window clearance system that has made it easier for film crews.
A still from the film, Haider
Jammu and Kashmir: The state has been the location for films such as Haider, Yeh Jawaani Hai Deewani, Rockstar and Jab Tak Hain Jaan. While filmmakers have faced many issues in the region, it is still hard to ignore. Most probably, it is the manner in which the state can be depicted: some resurrect its beauty and others dissect its so-called polity.
Assam: In the eastern region, particularly Assam, our Bollywood filmmakers have avoided what can very well be the initial steps towards introducing the country to a region they are still in the dark about.
There were several highs and lows in 2014 vis-à-vis the Hindi film industry, but the one thing that is encouraging is the rise of small-budgeted films. Not only that. Even the fact that they are released alongside big budget films was an appealing highlight of the elapsed year. However, the remedy of one problem has also brought to light another obstacle. Turns out filmmakers — big ticket or small — are finding it increasingly difficult to shoot in certain parts of the country.
(L-R): Nawazuddin Siddiqui, Chitrangada Singh and Tahir Raj Bhasin
In the news for his misadventure with the Federation of Cine Technicians and Workers of Eastern India, director Kushan Nandy recently claimed in a tweet that he was a victim of extortion, blackmail and his unit was held hostage for 72 hours. That might sound like a situation that mirrors the murkiness of AfPak but we are talking about West Bengal here. In Bolpur, a municipality in Birbhum district, to shoot his latest film, Nandy faced a number of problems that one would generally not associate with filmmaking. His film features Nawazuddin Siddiqui, Chitrangada Singh and Tahir Raj Bhasin in leading roles and is chugging on towards completion.
Nandy revealed that the screenplay of his film could be best picturised against the landscape of West Bengal, and after shooting for more than a month in parts of the state, the director was unable to shoot further in some interiors because of the “terrible” experience with the aforementioned federation. “While shooting in Bengal, according to rule, we have to hire 30 per cent of manpower from the local area. But the set number keeps increasing. It doubles and triples proving that there is no parity in what they say and do. Once 60 people become 180, the budgets begin to go haywire and because you have planned to do other things with that budget — instead of paying those who weren’t even present for the shoot — those feigning non-payment start hounding you,” rues the Mumbai-based director.
When we contacted Aparna Ghatak of the Federation of Cine Technicians and Workers of Eastern India, for her side of the story, she said that the matter had been resolved. According to her, the shooting would resume shortly once the payments are received. “However, what angered the workers was that they have been portrayed in a bad light, even after the team from Mumbai was aware that the hooliganism was not caused by workers registered with the federation,” clarifies the general secretary. Ironically, this federation has gathered flak from quite a few filmmakers based in the region.
Kashmir
Bollywood’s romance with Kashmir has been elaborated over more than 20 blockbusters, but recently to document the harsh realities other than the beauty of the state, the few filmmakers who have ventured out there with a small crew and big plans have faced the suspicion of political groups. Take for example, Aamir Bashir’s experience, on shooting the film Harud. In an earlier interview he had said, “Kashmir being a politically volatile place, one had to face the mistrust that local people have for anyone coming from outside with a camera. So, there was a lot of negotiating involved on a day to day basis. With just 18 people in the crew, everyone had to multi-task. A lot of the scenes are outdoors on the streets of Srinagar and crowd-control was a big headache.” While that was the experience of a filmmaker operating on a low budget, not so long ago the crew of Haider was forced to retreat after students of the Kashmir University violently opposed the shooting of a sequence that was based on a fedayeen attack.
West Bengal
Intriguingly enough, the matter does not come as a shock to Onir. The filmmaker whose films include My Brother... Nikhil (2005), Sorry Bhai! (2008) and I Am (2010), is no stranger to the situation faced by Nandy. According to Onir, while producing Chauranga (2014), he too had a run-in with the federation at Bolpur, the same location where Kushan’s local crew played truant. After shooting 70 per cent of the film in West Bengal, both Onir and co-producer Sanjay Suri had to hunt for a new location in the neighbouring state of Odisha. Onir adds, “The problem faced by Kushan or me is because the federation is not able to differentiate between a big-budget and small-budget film. In order to continue shooting for Chauranga we had to shift to Odisha where we did not face any problem.” The shoot was resumed at Keonjhar, a small town in the northern part of the state.
Kerala
“Great content can float a great film on a low budget, but just because we have the technical means to reduce costs doesn’t mean that all visual offerings are up to the mark.” Down South, filmmaker Bijukumar Damodaran, better known as Dr Biju, has several anecdotes to share on his clash with political realities. His doses of moving images might have insured that Indian cinema is far from ailing whether it was his film Perariyathavar or Veettilekkulla Vazhi but behind the scene, as can be noted, there are problems that continue to persist. According to this doctor-turned-filmmaker, the issue that compelled Nandy to cancel his shoot was a common problem until a few years back in Kerala. For better, the rules have been relaxed after a few directors, including Dr Biju himself, approached the Film Employees Federation of Kerala. “Numerous arthouse films come from our state. And to shoot these kind of films, the federation is more cooperative. This change has taken place over the past four to five years. As for the big budget productions, the rules remain the same,” the National Award-winning director asserts.
Uttar Pradesh and Bihar
The size of a film matters. Many a time, the budget makes all the difference — from a director's point of view — before it hits the marquee. Vasan Bala’s Peddlers (2012) collected a major part of its budget through crowdsourcing. It gave us deeper insight into how miniscule budget can be a boon as well as a curse for an indie filmmakers. “No matter what permission one procures there are always those extra payments that become difficult to pay for new filmmakers. Try shooting in UP and Bihar. It is a different ballgame all together; if you do not bring on board a producer who has some clout in that area then your shoot is bound to get disrupted sooner or later.” Would the big budget films reach a standstill in a similar situation? To elaborate further, Bala throws a word of caution for young filmmakers who might wish to venture out shooting our country’s backyard. “In hindsight, shooting without anyone knowing is the biggest thrill of any indie filmmaker, although it might curb the director’s vision. There might be filmmakers who might want a more nuanced approach to a scene; however, opting for a minimal crew can make the experience more thrilling.”
Madhya Pradesh
Prakash Jha has a special corner for the State of Madhya Pradesh and its people, so much so that he has already crossed a hat-trick and shot four films in the region. Popularly dubbed as a filmmaker who manages to etch a story that mirrors the harsh political realities of our nation, Jha has sucessfully built a niche for himself. Neither a commercial filmmaker nor one who woos the outsiders, Jha manages to give a balanced mix of reality and romanticism that he finds hidden against the backdrop of Madhya Pradesh. Raajneeti, Aarakshan, Chakravyuh and Satyagraha are some of the films shot extensively in the state. However, the idea of shooting in Madhya Pradesh came to him after he had some bad experiences shooting in other parts of India. It has been reported that he is proud that Madhya Pradesh is getting considerable visibility through his films. Interestingly, from the Prakash Jha Banner another film starring Arshad Warsi, playing a conman with 13 wives, is being shot in the city of Bhopal. The film that is being directed by Saurabh Shukla will bring the audience, yet again, to the central heartland of India.
Mumbai
Mumbai is home to the best studios but what happens when our new age filmmakers, as Vasan Bala rightly pointed out, “want their visuals to be as close as possible to reality?” Well, they opt out of the studios and shortlist locations that would complement their screenplays. Filmmaker and screenplay writer who directed and scripted the film Ungli, Rensil D’Silva says, “Mumbai is a difficult city to shoot in. Right from permissions to managing crowds who invade your frame. It has also become hugely expensive whether it is an advertisement or a feature.” His point is in sync with what Rajkumar Gupta had stated on his experience working on Aamir back in 2008: “I’ve done two films in Mumbai so far and in terms of logistics, it’s getting costlier day by day. There is no one particular office to take all the possible permissions from. I don’t wish to blame anyone in general, but given the scale our industry is at present, ideally speaking, it should be far more convenient for the filmmakers.” We must not forget that the authorities have become more vigilant after the 26/11 terror attacks, but “with the internet there has been a rise in visual exchange of ideas that cannot be ignored,” concludes Bala.
Andhra Pradesh
The situation in Andhra Pradesh and Telangana isn’t a unique one, especially, after the recent incident faced by the crew from Mumbai in West Bengal. Only last year, in the month of December, over a thousand cine workers called a strike after their demands were not met by the AP Film Chamber of Commerce. As mentioned above, the situation was similar to the problem faced by Nandy, only here the situation has been resolved. The workers were demanding a raise in wages, a change that the AP Chamber of Commerce was willing to oblige to, but with a few clauses. Two of these clauses throw light on the major issues that our new breed of filmmakers has been eyeing in the face of budget constraints: To be given the liberty to choose workers even if they aren’t from the federation and not to pay the same wages that the big budget film producers pay. Probably, that explains maverick filmmaker Ram Gopal Varma’s tweet: “Federation workers shud open their eyes 2 the misleadings of their federation leaders nd start a new federation suited to today’s times.”
Indian states that were beautifully depicted
A still from Aarakshan
Madhya Pradesh: The central heart of India is a paradise for filmmakers. Director Prakash Jha who has shot four films in the state says that the authorities and federation give able support to filmmakers who come to shoot in the state.
Alia Bhatt, Imtiaz Ali and Randeep Hooda on the sets of Highway
Himachal Pradesh: If you have been bowled over by the scenic vistas shown in Imtiaz Ali’s Highway, a part of the credit also goes to Himachal Pradesh government that has eased out procedures to shoot in the state. They have adopted a single window clearance system that has made it easier for film crews.
A still from the film, Haider
Jammu and Kashmir: The state has been the location for films such as Haider, Yeh Jawaani Hai Deewani, Rockstar and Jab Tak Hain Jaan. While filmmakers have faced many issues in the region, it is still hard to ignore. Most probably, it is the manner in which the state can be depicted: some resurrect its beauty and others dissect its so-called polity.
Assam: In the eastern region, particularly Assam, our Bollywood filmmakers have avoided what can very well be the initial steps towards introducing the country to a region they are still in the dark about.
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