Madhureeta Mukherjee (BOMBAY TIMES; April 20, 2018)

His stories are deep-rooted in reality; the emotions are raw, unadulterated and simple, yet, they have the power to move you deeply. Iranian filmmaker Majid Majidi has spent the last two decades crafting some of the most enchanting stories (like Oscar nominee Children Of Heaven, The Color of Paradise and Baran), which stem from the culture and fabric of the country he comes from. This time, he has looked way beyond, towards India. In his latest offering and his first Indian film, Beyond The Clouds, he has captured Mumbai’s streets, slums, creeks and chaos with charming realism — which is his forte. Like his other celebrated Iranian films, this one too, reflects the life of those trapped in poverty, but it clutches on to that one word —hope. The filmmaker reminds us, “Hope is the biggest reference point, not only for me, but for whole of humanity.” In an interview with BT, Majid Majidi talks about his views on Bollywood cinema, how he idolises the legendary filmmaker Satyajit Ray, and his perspective on how art and artistes should remain depoliticised. Read on...

Most of your films show compassion for the underprivileged. You seem to have a deep connect with such subjects...
The middle class and the lower middle class form the majority of any society, so from my point of view, they are the most important and the most vulnerable, too. As a society and as filmmakers, we do not pay enough attention to their stories and lives. The people belonging to this level of society do not have as many opportunities to come out and talk about their trials and troubles, so it is our responsibility as artistes to draw attention to their problems. In India, women have a great role to play in society, but at the same time, they are oppressed and become victims in the same environment. My stories shed light on the bitterness that a human being goes through in life. It is common everywhere. Everyone needs hope, and that is my aim; to bring hope in each and every aspect of my character and my film. So, hope is the biggest reference point, not only for me, but for the whole of humanity.

The common thread in your films is the focus on a strong value system within the family and how that can stand the test of difficult times and circumstances…
Family as an institution has always been a very important part of my films. I believe that protecting and preserving this institution is a crucial function of any society. If cracks appear in the institution of the family, it gets reflected in society. Very often, the disorders that we see around us, is a reflection of the state of the family system. I think before we can build a proper society, we need to put our energies into building a solid family.

What were the challenges of shooting in real locations in Mumbai? Did you explore the length and breadth of the city while conducting recce for locations?
The first day when I showed my crew the locations where we would be shooting, they were taken aback. They said, “We cannot shoot here!” Unless there is no option, I shoot on real locations. I really enjoyed shooting at Dhobi Ghat, though it was a big challenge. Now I know Mumbai better than you (laughs!). I visited almost every place in the city during my previous trips, before I started filming. Since then, I have been observing the city and its people closely. Mumbai is a real city. I find it very fascinating to see the wealthy and the poor living side by side and co-existing. You can rarely see this anywhere else in the world. This is a unique and an absolutely remarkable feature of this city. In every other society, there is a clear geographical divide in the city between the rich and the poor, but in Mumbai it is all mixed up, which makes the city so dramatic and fascinating.

You did hundreds of auditions before signing on Ishaan Khatter and Malavika Mohanan. We also heard that you often identify interesting faces and people around you and go ahead and cast them in your movies?
Yes, besides the location, the casting process is very important for my films. My crew helped me a lot by reaching out to different actors, and showing me pictures that fit the brief for my characters in the film. I even met some extremely popular actors like Deepika Padukone, who is a superstar and a loving personality. For this film, there was no opportunity for us to work together; I hope we can make it happen in the future.

We did a lot of auditions and we were facing a tough time finding the perfect male lead. When Ishaan came to me, he was all beefed up and flexing his muscles. I looked at him and said that everything about him was good, except his amazing physique (laughs!). So my brief to him was to lose all the muscle and become a thin-looking boy. Ishaan is a talented actor; he grabbed this opportunity to the fullest. Even Malavika is a fine actress; I think both of them will shine in Bollywood. The child artiste Asha (played by Amruta Santosh Thakur) in the film, I found her playing outside while scouting for locations. I was so fascinated by her that I requested if I could click a picture, as she fit the character in my film beautifully. There is another lovable child artiste Chotu (played by Shivam Pujar), I lost my breath because of him. He was the director on the set, I wasn’t! Whenever we were ready with the shot, he was in a mood to play, so we all had to wait for him. I think everywhere in the world, children are the same. We have to make the environment comfortable to bring out the best in them.

What is your view of Indian cinema? Our country is very diverse, and so is our cinema. The popular Bollywood fare is what rules the box office mostly, though we’ve seen a growing trend and interest in different kinds of cinema , too, which goes beyond song, dance and drama .
India has all the potential to make good cinema; you have good actors, directors and technicians. India also has plenty of great stories that are deep rooted in their culture, which can resonate strongly with the audience. Let’s say that there are about thousand films that are made in India every year, but only about 200 of them are successful at the box office and the rest don’t even make it there. Remember that there are two key players in the global film industry — Hollywood and Bollywood. Overall, Hollywood has been able to strike a balance between commercial and art cinema. Bollywood has been more inclined towards commercial cinema, even though there is some great art house/parallel cinema being made here. So, even while there is an audience for different kinds of films, the balance has tilted in favour of commercial cinema. India needs to find the right balance between mainstream and parallel cinema as it has the potential to emerge as a major player globally. The youth of India have very strong opinions and they know what good cinema is, hence, they need to be shown more of that as they are the future of this country.

Did you ever deliberate over the language of the film, whether it should be made in Hindi or English?
I was contemplating this when I first came here. There were other creative people who said that I should make the film in English for an international audience. I took my time and thought about it. I felt that this is an Indian film and I am making it for the people of India. So, I was ready to take that risk and make it in Hindi. After the film was made and it was translated into English, I knew I had made the right decision.

How important is it for you to see your films reach out to the world, beyond your country? Would you ever make a film with Western sensibilities so that it appeals to a larger section of the audience?
For every filmmaker, it is a dream to be accepted by the audience around the world. But the important thing is that, if a filmmaker wants worldwide acceptance, he needs to tell a story about his or her own culture. Yes, I want my films to be viewed by a wider audience, but I don’t make films just so that they can travel to festivals. I know that all my films are deep-rooted in culture. Even with Beyond The Clouds, I knew that it was a risk making the film in Hindi, but I was aware that it would make it culturally richer and would eventually pay off. For instance, let’s talk about dance. Over the years, you might have seen films which showed their culture through dance. But right now, the dance that we see in movies is very Westernised, which is not a part of our culture. If you want to show that, you can. There’s nothing bad in doing that, but it would also be great to see your own traditional dance forms in your movie.

You have said that you are inspired by the genius filmmaker Satyajit Ray. His stories too, stemmed from the lives of real people, and they were hard-hitting subjects that were a reflection of our society. Is there any one film of his that has impacted you deeply?
One of my favourite Satyajit Ray films is Pather Panchali (1955). It ranks in my top 10 list of most favourite movies. Every time I watch it, I feel like I am discovering something new. Watching Pather Panchali is like going through an entire term of college. I can take a masterclass on the film and discuss every aspect of it for hours and days, because it is not a film, it’s a study of life itself. Even after watching it over fifty times, the acting, direction, cinematography and story doesn’t cease to amaze me.

Iranian filmmakers have often faced opposition and resistance from the government; in some cases they have been banned and imprisoned for their films. Some filmmakers have even moved out of Iran, because of the censorial policies of the nation. Do you ever feel creatively stifled as a filmmaker in your country?
I think art should not be contaminated with politics, because politics is ever changing. So, if I make a movie which makes a political statement, after one year, when the politics change, people will ask, ‘Why did he do this?’ So, an artiste should stay away from politics. That way, your art will not have an expiry date. Politics has an expiry date; art doesn’t. So, an artiste should stay away from political games. I have not seen any successful films by filmmakers who have migrated from Iran to other countries.

DNA (April 19, 2018)

To a cinema-loving audience, Majid Majidi doesn’t need an introduction. His cinema, both Iranian and indi, transcends all barriers. His Iranian film Children of Heaven (1992) got him an Oscar nomination.

And, though Children Of Heaven lost the trophy to Roberto Benigni’s Life Is Beautiful, Majidi’s was the first Iranian film to make it to the prestigious Academy Awards.

The Iranian filmmaker, who has been wooed by Indian studios to make a film here, finally makes his India debut with Beyond The Clouds, starring Ishaan Khatter (Shahid Kapoor’s brother) and Malayalam actress Malavika Mohanan, who is also daughter of cinematographer KU Mohanan (Jab Harry Met Sejal, Raees and Talaash).

We chatted with the celebrated director about his beautiful offering. Excerpts from the conversation...

Beyond The Clouds really touched our hearts. How do you manage to get people moist-eyed especially when you make a film in a language (Hindi) you don’t speak at all.
For years, I have been planning to make a film here in India. I was interested in the ambience, culture and atmosphere here. Do you know that culturally, India and Iran are close? Iran is a very dramatic country as is India. I spent time in Mumbai to get a deep understanding of the vocations here. And what I learnt, inspired me to make a film here. One of the companies here has been following up with me for some years.

So, during my trips to India, I got an idea, which I developed into a script. I did my research in Mumbai, and set it here.

Then came the most challenging part. I decided to make the film in Indian language and not in English. Especially, because of the characters and the cultural aspect, the film had to be a local movie. Language is not a barrier. When you mention emotion, it is very important in the film; you should transport that emotion to the audience.

That’s what your film does..
I believe emotion is the first thing that can touch the audience. That is the most important thing you should do in a film, take the audience with you. I had this concern; that the language of the film should be Hindi, because it is close to this culture. That’s also why I selected my crew from India and not from Iran. They could help translate that cultural and emotional aspects on the screen. This was a big challenge, making the movie in real ambience, real locations and not inside studios. Fortunately, we could make it happen. The other aspect was casting, with the team here I could get the right actors for the characters. I believe a big part of acting is when you select good and proper actors.

Yes, of course. The right actors make that difference.
So, after extensive research and casting correct actors, we mounted the film with Ishaan. As for the other characters, like Jhumpa and the kids; do you know that other little girl? I found her while walking on the streets. She is a common kid.

Even the other boy, in the jail sequences; he is also a fabulous actor.
He was a big challenge as well. He was barely a few years old; and to make him act was very difficult.

While there is no comparison between Beyond The Clouds and Slumdog Millionaire, coincidentally both are based in Mumbai slums. Have you seen Slumdog Millionaire?
Yes, and unfortunately in my opinion, that had a very touristy look.

What has been your approach for the movie?
I’ve tried to take a really realistic and correct look into the city. All the characters are real. In this film, we can see the real Mumbai.

One can feel that besides the actors, the place also is a character and has a soul.
Yes, that was very important for me. I wanted you to see Mumbai through my film.

Is there anything else you consider as a reward or award, having won many awards internationally, like in Montreal, Cannes among others?
Usually, when I make film, I try to reach the common audience and the specific audience. In this case, I’ve tried to keep a balance between both sides. And then, winning or not winning is another aspect.

Considering that you don’t speak the language, how much of Indian cinema have you seen?
I’ve mentioned it before, I knew Indian cinema for long time. I’m a big fan of Satyajit Ray’s cinema. When you watch Pather Panchali, you get such a strong feeling, it’s like magic. After watching the film, you can visualize local Kolkata culture from wherever you are. Mostly, I know the art cinema of India. And Shyam Benegal makes beautiful films.

Acclaimed Iranian filmmaker Majid Majidi insists it's time for Hindi cinema to rethink its choice of stories and preferential treatment to its superstars
Sanyukta Iyer (MUMBAI MIRROR; November 22, 2017)

Acclaimed Iranian filmmaker Majid Majidi, 58, is exhausted. He's spent 14 hours on a flight, attended the opening ceremony of IFFI in Goa and addressed two press conferences. Before his flight back to Turkey, Ishaan Khatter, his leading man from Beyond the Clouds, is giving him a back massage. Majidi couldn't be happier.

"Would love to spend more time with you," a fan interrupts them. Majidi replies politely, "Of course", confiding in Iranian that that's the only bit of English he knows.

While every director at the festival is trying to avoid questions about Sanjay Leela Bhansali's Padmavati or issues that Bollywood and IFFI are grappling with, Majidi is candid.

Through his translator, Reza, he says that he loves India and has kicked off his second production here. But he refuses to work with Bollywood superstars despite them queuing up for him. "I didn't want to work with Bollywood superstars. I always wanted to shoot at different locations in Mumbai, because places are also characters in my films. But even for one audition, it was difficult with Deepika (Padukone) as there was a large crowd and even more curiosity. That was the reason for not wanting to cast a superstar," he explains, adding that the quality of a real superstar is adjustment and talent, and applauds Vishal Bhardwaj's dialogues, A R Rahman's music, Anil Mehta's cinematography and makes a special mention of producers Shareen Mantri Kedia and Kishor Arora, with whom he is reuniting for his second Indian film. "I chose my cast and crew from India because I needed them to understand the social situations. Anil's shooting style is close to mine. We scouted for locations for months. Rahman is my special friend and a real star. He scored a track which I didn't like. One day when I was going to sleep, he asked me to listen to a song. The biggest challenge with him is that he wants you to work all night with him," Majidi adds.

The opening sequences of Majidi's film showcase Mumbai slums and fish markets. He says that his heroes are real men and like Amir (Ishaan's character), they fight for hope. "For the opening sequence, we chased life with the camera. It took three days just to get the set right. We used natural lighting and Anil captured the city beautifully," he says.

He is all praise for India, "the land of stories" and is sad with Bollywood's choice of subjects and casts in its films. "In countries where cinema is a prolific industry, younger filmmakers don't understand the scope for innovation because they believe they are working under a shadow. India has the most brilliant young talent that does not stand a chance of getting cast. It is our responsibility to see that this changes," he says, ruing that Hindi cinema isn't highlighting the social problems that exist in a large population and democracy. "I have no problem if it continues with its set patterns but if you don't give new talent a chance you are walking into a dead-end."

A fan of American classics and the Italian school of filmmaking, Majidi believes Bollywood needs to look at his favourite filmmaker Satyajit Ray for techniques and hidden stories. "A commercial filmmaker came to me once and told me how much he loves my work. I asked him if he loved it so much, why was he making such horrible, commercial films. He insisted he'd never be able to raise the budget needed to make a Children Of Heaven. Valid point but I don't think that is the case with Bollywood anymore," he adds.

He shared these thoughts with I & B Minister Smriti Irani who told him about the NFDC and how it encourages regional and indie films. "While I appreciate that, I believe mainstream cinema needs to change too in the way it writes and casts its actors for the movement to begin," he reasons.

Bryan Durham (MID-DAY; April 7, 2017)

Getting to Yari Road is something of a chore. But the lure was worth the effort taken. Iranian auteur Majid Majidi is in town shooting Zee Studios and Eye Candy Films’ Beyond The Clouds. It’s a film that has captured public imagination more for Deepika Padukone being considered for a look test and not making it to the cast than for it being the debut of Shahid Kapoor’s brother Ishaan Khattar.

It’s early evening, the sun’s still beating down on us and Majid finds the time to sit down for our interview, interpreter in tow, and he’s probably been out and about the whole day, but he betrays no signs of fatigue.

We get down to it and he’s every bit as genial I’ve imagined him to be. It’s easy to see why mainstream actors have been clamouring to work with this director. Excerpts from our conversation…

You’re working in India on a Hindi/English film. You only speak Farsi. How do you manage?
The film has very few English dialogues. It’s mostly in Hindi. That’s why I selected most of my team exclusively from India, because they are well accustomed to the culture here and that helps me a lot. I have called hardly one or two of my crew members from Iran. One of them is my interpreter. Since the team is totally Indian, it helps us build the plot organically. Moreover, I’ve made several trips to India over the years. For this film, too, I kept coming back and trying to study everything around me, before I got started. I’ve specially focussed on Mumbai with this film and you’ll see the city from all angles, once I’m done.

In earlier interviews, you’ve mentioned watching the works of Satyajit Ray. Have you seen any Indian films or Hindi ones? What kind of films do you like to watch?
I’ve watched Indian cinema since a very young age. Over the years, I felt a closeness to Ray and his movies and the persona he carried as a human being. Many years ago, I made my acquaintance with Shyam Benegal as well. I’ve seen him and his work. Mrinal Sen, also I’ve met with.

You mentioned somewhere that our cultures are similar. How do our working styles differ?
(Breathes heavily) Cinema is cinema. The basic formula remains the same. India has professionals in this field. As far as my own DoP, Anil Mehta is concerned, I find him exceptionally professional and his experience has impressed me.

We hear that Deepika Padukone auditioned for a role. And was dropped from consideration. Could we know the reason for that?
My producers tell me that Deepika had shown some interest in the beginning and it is because of that, that I wanted her to be part of my movie. And when I asked her for a look test, it was not to doubt her professionalism. She is an excellent actress. But how much she befits the role, that is in my vision, I wanted to see. Let me tell you though, that the circumstances were such that they weren’t favourable and nothing materialised of it.

The Hindi film industry is India’s biggest. Why not work with mainstream actors? Why a newcomer like Ishan Khattar?
I work with professionals in my movies. If you see my films, I pick up people randomly from the actual habitat. In my movie, if there is an old lady or a young man, a small child, if I picked them before they had ever seen the lens (of a camera), they come out as natural actors and I get the maximum out of them.

The last time you worked with A R Rahman, it took him six months to understand what you wanted. A year-and-a-half to compose. Will it be easier this time around?
We worked together on The Messenger. There’s a big contrast between these two films. There were many things he had to understand and learn with that one. He had to come to Iran, to the sets. Get accustomed to the history of Prophet Mohammad. I had to give him pointers. He had a lot to learn before he could begin to produce the music. Finally, he was interested and made several trips to Iran. This one has nothing complicated for it to be time-consuming. I’m sure this will be a different experience for him.

Most of your film titles have to do with freedom or the expanse of the sky or paradise/heaven. As does Beyond The Clouds. Is there a connection?
I’d like to be honest with you. I don’t ponder. I do not plan think or select names. It comes to me from nowhere. Automatically. For example, once we were on location, in a jungle. It rained, there came a clear bright sky after. I looked up at the sky and asked the children in the film what name they would give the sky. They all came up with colours to describe it. But I said to them, if I’d call it something, I’d call it the Colour of God (the film would eventually be called Colours of Paradise). It came to me spontaneously. And then, I saw that it merged with the subject of the film as well.

From what we’ve seen in film after film from you, is the innocence of children and grown-ups learning from them how to really live. What did you learn from the youngsters on your set here?
It is my experiences during my childhood and my youth that have made me the mature man you see today. When I connect myself with the children, I feel they play a vital role in building a character in adults. My overall experience has been that a particular cleanliness of the soul of a child, the originality that comes through, helps me envisage, create and build something in a very original manner.

Most of your feature films tend to have bittersweet endings. Has that changed with Beyond the Clouds?
This film is in continuation with the films that I’ve already made. Whenever I make a film, it’s a part of a whole. Think of it as a continuity of movies. On the whole, it’s one single move. Like a trunk that is the main tree. The other films are like branches, part of the tree, yet going in different directions with different characters. Films are a process, you’re not cutting it and making something else. All my successive films are part of my first film as well. Here’s an analogy. As one single tree, not all branches are alike or as strong as the other. There are branches that don’t get proper nourishment. We don’t chop it off, we prune it. And pruning doesn’t mean letting it go. It means filling it up with more energy. The energy coursing through it, gives us a better idea how to groom the whole tree, make it stronger and more stable.

Mid-day goes on a Yari Road set with Iranian maestro Majid Majidi, who’s here to make his first Indian film
Mayank Shekhar (MID-DAY; March 5, 2017)

Supple belly, a thick moustache, sitting in a make-shift tent, gently caressing religious beads between his fingers, this calm, soft-spoken gentleman could pass for any other genial desi Uncleji in Versova. And since we’ve driven down serpentine, narrow gullies of Yari Road — arguably the armpit of Mumbai, but very much the heart of Bollywood — good chances are he’s a filmmaker.

Everyone on Yari Road is a filmmaker, arent they? An open space off Versova Beach has been taken over by metal roads with white cloths fluttering. It is a film set all right. But business as usual. Nobody really disturbs a film shoot in these parts. It could be for anything feature.

Except, this is slightly more historic than that. The genial man before me with a zen-like aura around him, is arguably the world’s most acclaimed filmmaker, the Iranian Majid Majidi, 58, to be making his first film in Hindi, and partly in English — both languages he doesn’t speak. I can spot a few familiar Persian words while chatting with him through his translator Jawaid. Beyond the Clouds, produced by Indian companies, Zee and Eyecandy Films, has an all-desi cast and crew.

Majidi has essentially recreated a dhobi ghat (an open-air laundromat) in Andheri to finish off remaining portions of a sequence he shot at Mahalaxmi’s Dhobi Ghat. While there isn’t much buzz on this Versova film set, the excitement in the local press, in particular, has been palpable. Only a few weeks ago, Majidi had held the ‘mahurat’ shot of this film with Ishaan Khattar (actor Shahid Kapoor’s half-brother), who makes his debut with the Persian maestro. Bollywood star Deepika Padukone had expressed an interest in the  film. She’d done a ‘look test’ for the female lead’s part, images of which had leaked online. It didn’t quite work out for Padukone. She’s already working on Sanjay Leela Bhansali’s Padmavati. Majidi prefers his actors to be ideally present throughout the film’s shoot, and not for their portions before the camera.

Investigating further on Majidi’s method, I realise, he doesn’t write a script, and then recce for locations. It’s the other way round. He visits locations and hopes a script will emerge! Shareen Mantri Kedia, the producer on the set, tells me, “Majidi has been coming to India for about two and half years. We’ve taken him to various parts of the country. Eventually, he settled on Mumbai, and through places he went, he found a story to tell.”

The filmmaker, who burst onto the international scene with his phenomenal debut, Children Of Heaven — that, I reckon, unfairly lost out to Roberto Benigni’s Life Is Beautiful for the best foreign film Oscar in 1998 — is a humanist filmmaker. He represents the best of Iranian contemporary cinema, that’s rich in realism, poetry, and finely under-stated, allegorical storytelling, involving lives, mainly of the marginalised, and the under-class.

Ever since Children Of Heaven, Majidi’s films have been staple fare at top film festivals, besides living rooms of film buffs. Much in line with a full constellation of star-directors from Iran — right from Majidi’s mentor of sorts, Mohsen Makhmalbaf (Kandahar), now his daughter Samira (Blackboards); late Abbas Kiorastami (Close- Up); Jafar Panahi (Taxi); Asghar Farhadi (A Separation)… It’s an astoundingly growing list of world-class talent from a country that supposedly lives behind an iron curtain.

Majidi recalls, “Until people began to watch films from Iran, they felt it was a harsh place. Their views changed drastically once these pictures were screened.”

He ascribes the rise of the Iranian New Wave in cinema to the advent of the Iranian Revolution (1979), when the US-backed Shah of Iran was thrown out. Chronologically speaking, he may be right. But Joe-public really took notice of Iranian movies across the world only in the mid to late '90s. Majidi agrees. It’s around the same time that he and several other top directors stormed the global scene. The last time I watched a Majidi film on the big screen (The Song Of Sparrows) was at the Berlinale in 2008. The film itself, although lovely and lyrical no doubt, was very predictably Iranian: “If there’s an Iranian master’s work (like Majidi’s), it will play in the (premier) competition section. That’s a given,” I was told by those in the know.

In fact, if Majidi stepped out to coffee-shops in Versova after shoot, a common question he’s likely to face is around the film viewing culture of Iran that spawns the kind of personal, expressive, yet subtle and subversive cinema. The world’s best filmmakers would wish for such a mainstream audience. Most Versova directors bemoan the commercial pressures of the Mumbai film industry they operate in. It’s in fact no different for Iran, as I discovered at a mainstream theatre in Teheran once — hoping to catch a Majidi/Makhmalbaf type of movie. People were laughing their heads off to a very David Dhawan kind of bawdy, slapstick comedy in there! Majidi smiles, “Well, that’s the trend everywhere. And there’s a certain group of people who enjoy (a different kind of) cinema.”

It’s hard to tell how much of our short conversation is getting lost in translation. Majidi’s films have hardly suffered as a result of that. At least one of them, Baran (2001), had had a theatrical release in Mumbai, and was widely loved.

He’s been living in this city for “four to five months now,” and what’s brought him here, he says is “the simultaneous beauty and suffering of India that grabbed my attention. Also, Iran and India, as societies, are so culturally close.” They’re, in fact, fairly close, cinema-wise as well. Hindi film, for instance, as the cliché goes, owes its origins to Parsee theatre. Parsees in turn owe their origins to Iran. Getting more factual still, few know that Ardeshir Irani, who made India’s first talkie (Alam Ara; 1931) is also credited with producing the first Persian talkie (Dokhtare Lor; 1932) — likewise a landmark moment in Iranian cinema.

Majidi is no stranger to Indian movies either. He says he’s closely followed works of, among others, Shyam Benegal, and Mira Nair. As with the Indian film he is shooting, A R Rahman had scored music for his last, Muhammad (2015), which was his way of “showing people the real side of Islam, which is nothing but a religion of peace, love, and friendship. Fanatics have nothing to do with Islam. They’re hell bent on portraying it in an ugly manner.” Fanatics from all ends, of course. Which doesn’t preclude the blanket ‘Muslim ban’ imposed by President Donald Trump in the US, the reason why Majidi’s contemporary Asghar Farhadi didn’t go to pick up his Academy Award last week: “I think Asghar’s reaction was fantastic, a matter of pride for all of us. It exceeds receiving the Oscar itself.”

In the current times then, does he see his role dually of an activist and an artiste? Isn’t it harder still to make political statements, given censorship imposed by the suppressive Islamist regime in his own country? Majidi doesn’t agree, “Governments come and go. People remain. Films, unlike newspapers, don’t get stale in a week. Cinema is made for generations. Take Children Of Heaven, for example, which deals with universal human emotions. Three generations are still watching it.” And will continue to, of course.

Sun’s down. It’s pack-up time in Versova for now. Looking ahead at his first Indian film, Majidi observes my hair, and says it resembles his lead actor’s: “Do you want to join us on our shoots?” he jokes. I knock one off my bucket list — being approached by Majidi to act in his movie. So what if it’s as a bloody body-double!

On the sidelines of his latest project in Mumbai, one of Iran's most acclaimed directors talks about his nation's resilience, why cinematic trends don't bother him, and why his Prophet film fell prey to Saudi Arabia's needless politicking
Vishwas Kulkarni (MUMBAI MIRROR; March 5, 2017)

At the fag end of Yari Road, well past its tiny bylanes and faux-bohemian cafés, is a makeshift football field, abutting the shanties of Versova fishing village. The football field also doubles up as a garbage dump; an ecosystem of stray dogs, pigs, storks, and a murder of crows are in perfect harmony. A thin gaggle of delighted residents of all age groups have gathered to watch the shooting of Beyond The Clouds, a film by Iranian auteur Majid Majidi. Everyone likes a slice of tinsel town.

Three make-up vans together make a border between the dump and a sandpit, which, in turn, has been converted into an ersatz Dhobi Ghat. Triangles of bamboo sticks hold up undulating, defiled sheets of cloth (“a section of the original Dhobi Ghat in Mahalaxmi didn't work for us, so we are recreating it here,“ explains producer Shareen Mantri of Eyecandy Films). On arriving, we are immediately corralled in a makeup van and offered beverages. “I think it's better for you to be here, it's too hot outside,“ says the PR agent. However, the air-conditioner is not working, so we step out with some club soda.

“Mr Majidi will be ready shortly, but may not be ready for photographs, mind you,“ says the PR agent. The sun is about to set and a camera crane hovers above the post-apocalyptic terrain.“Where is Mr Majidi by the way?“ “He's in the blue tent,“ says the PR agent. “Is that Boman Irani playing cricket?“ “No, but everyone seems to think he is and everyone calls him Boman Irani! Isn't that hilarious!“ says Mantri. The Boman Irani lookalike is incidentally Mr Majidi's assistant, and someone who has taken a liking to gully cricket. “This is the first time that Majid Majidi is working with an all-Indian crew. It's a very special film,“ she adds. At some point, before our interview with Mr Majidi, we also meet Kishor Arora, co-producer of Beyond the Clouds. “How is it to work with the auteur?“ we ask him. “Hum sirf maang sangte hain. Lekin deta toh uparwaala hee hain.“ (Us mortals can merely ask, but only the Almighty can grant you your wish.)

We enter the blue tent. On the table are half a dozen boxes from what appears to be a neighbourhood bakery. “Oh, no, I'm on a diet,“ I plead. “No, it's not a cake, it's a samosa!“ says someone from the production team. Mr Majidi, 58, and his translator, Jawad Askari, 67, are delighted to meet Mumbai Mirror again; the duo has incidentally met us in 2010.

For a man who is a star in many worlds, Majidi, with his beige cap, black casual tee, military green trousers, thick moustache and a never-ending supply of Marlboro Lights, exudes a disarming air that belongs more to a 'Visit Iran' brochure than an elite film club. As part of a post-Islamic Revolution generation of filmmakers, the man heralded a new era in Persian cinema. His 1998 film, Children of Heaven, was the first Iranian film to have then been nominated for Best Foreign Picture at the Oscars. In addition, his 2002 documentary, Barefoot To Berat, dealt with the plight of Afghan refugees in the wake of America's ill-fated 2001 military offensive. His last film, Muhammad: Messenger of God (2015), was hailed as “intellectually honest, committed and poetic“ by Phil Hoad in The Guardian, but also earned him a fatwa from the Mumbai-based Raza Academy and brickbats from Sunni quarters of the Middle East. Were the more artistic virtues of his operatic oeuvre lost in the Sunniversus-Shia polemic? “My last film focuses on the childhood part of Mohammed. I made this film precisely to give a very clear picture of Islam, to erase the misconception that it is a violent religion. But to my shock, Saudi Arabia and Egypt picked up a point and tried to accuse me of making something un-Islamic. I request their knowledgeable priests to watch this film and tell me what is so objectionable about my film. Let me be very clear: their approach to this was purely political. And I am of the firm belief that Islam teaches you to respect everyone.“

Yet, for all his good intentions, does it sometimes get tiresome to come from Iran, a nation that is always threatening to emerge from the shroud of sanctions, only to slide back into isolation? How does Mr Majidi negotiate his Iranian identity in a world fraught with Islamophobia? “Our biggest crime is that we want to be independent, but we always have to face hurdles. History shows us that Iranians do not give in so easily. We hate to be governed by any other country. We are considered to be rich, based on the oil and gas that we have, but our main power lies with our own ambitions, our desire to work hard. Thirty-seven years of sanctions have not crushed us. On the contrary, such oppression has only made our resolve stronger.“ Yet, doesn't Iran also play a part in the unending, and sometimes horrific, sectarian violence that has balkanised the Middle East? Will the nightmare ever end? “Other countries do follow a formula of dividing the region. I'd love to bring forth an important point here: 10 per cent of Iranians are Sunnis and there is never a tussle between Sunnis and Shias in Iran.“

The atmosphere in the blue tent has darkened, even though Mr Majidi and his translator seem perfectly chatty; Mantri, who so far was part of the delegation that entered the tent at the beginning of our interview, is fuming and storms out. It's like a UN refugee crisis meeting that has gone wrong. “Can we steer the conversation towards the film, please?“ says a second PR agent seated to my right. Sure. How is it to be working with an all-Indian production? “I have long cherished the desire to make a film in India and the team that I have found here is excellent. Work is progressing rather well. My current film follows the same skein of thought that informed my earlier cinema; it carries the message of humanity, of love, of bringing people closer to each other.“

Coming from the second wave of Iranian cinema (post-Islamic Revolution), a movement that brought Iranian cinema to the world stage, what does he think of the metastasising influence of digital cinema. After all, a younger, brasher generation with their nano-cameras and what have you is forever threatening to take over the world. “As far as I am concerned, I am still absorbed by my own concerns as an artist. New trends do not bother me. Despite technological progress, the soul of a film will always be the message it carries, the story.“

What has been his most inspiring moment whilst shooting in Maximum City? “One day, on location [at Babulnath, we are later informed], I saw a three-to four-year-old girl. She impressed me a lot. Her name is Asha and she is playing a pivotal role in my film. I did cast some children via a child casting agent, but this chance encounter has changed my film. It's exactly the face that I require, I realised. She is at present creating some of the best moments in our film. I had an extraordinary realization that she is the one. She has a charisma that I cannot express in words. Besides, her English is as good as mine!“ he laughs. Mantri is back in the tent: “I think the girl can be a separate story altogether,“ she interjects.

The interview ends with Mr Majidi telling us that his favourite Hindi word, one that he has picked up on his Mumbai sojourn, is “chalo“. We tell him that it seems that our “chalo, chalo“ moment has indeed arrived and we all cackle as we step out of the tent into the lavender of a Versova dusk. Outside, the PR agent is huddled by the clotheslines, and visibly worried. “Look, the producers really don't want any of that Sunni-Shia stuff, yaar. We don't want any trouble. Can you please, please, please leave that bit out?“ Our larger concern though is getting a photograph of the genius. In the gloaming, there seems to be little chance of this. “There is no light, you see,“ says the PR agent. “Why don't we shoot him on the set tomorrow and email you a photograph instead? Besides, he may not want to be shot. Listen, I'm being bitten by red ants here. Can't we just do the shoot tomorrow?“ When we ask Mr Majidi, who comes from a tradition of experimental theatre, he is only too happy to strike a pose. After all, who would know better than him that all you need to put up a good show is a star and an unfurling piece of cloth.

Madhureeta Mukherjee (BOMBAY TIMES; April 7, 2016)

Taran N Khan (MUMBAI MIRROR; September 20, 2015)

Celebrated Iranian director Majid Majidi, whose film Muhammad: The Messenger of God has landed in trouble in India - earning him and its music director A R Rahman a fatwa from a Mumbai-based Sunni organisation - has strongly defended the film, Rahman, and the need to present Islam in a new light. In an exclusive interview to Taran N Khan for Mumbai Mirror, Majidi, known across the world for his moving portraits of childhood, like the acclaimed Children of Heaven and The Colour of Paradise, said he is surprised that people have raised objections, even demanded a ban, without watching the movie.

Mumbai-based Raza Academy has objected to physical representation of the Prophet, which many Muslims consider taboo, in Majidi's movie, and demanded that Rahman read the kalmas again and re-solemnise his marriage to make amends. Last week, the group wrote to Union Home Minister Rajnath Singh and Maharashtra Chief Minister Devendra Fadnavis, seeking a ban on the film. Some clerics at Egypt's Al Azhar University too have sought a ban.

Speaking extensively about how the film, first of a planned trilogy, was made and the many hurdles it faced, the director clarified that at no point in the film is the Prophet's face revealed. "You only see his hands and feet in the cradle as a baby, and as a child from the back," he said.

Referring to Rahman as one of the best musicians in the world, Majidi said that apart from his creativity, the other most important thing for him was that Rahman is an observant Muslim. "And so I thought he can touch the spirit of the film better than anyone else."

Majidi said even when they were recording for the film with an orchestra in Berlin, Rahman would take breaks to offer his prayers.

The film is set in the sixth century and made on a budget of around $35 million, Iran's most expensive production yet. It is also only the second major film to take on the subject, after the 1977 The Message by Moustapha Akkad. Stressing on the need for a new film on the Prophet, Majidi said there have been around 200 films made on Jesus Christ and around 120 on Moses. "Even the other prophets have nearly 70 films made on them.There are 42 films made on the Buddha. For the prophet of Islam, there are only two. I would invite all the religious figures who have condemned the film to first watch it, including the leaders in India. I am sure if they see it with honesty and without pre-judgement, they will love the film."

What was the idea behind making Muhammad: The Messenger of God? What is the main message of this film?
In recent years, there have been many wrong interpretations of Islam in the Western world. They have made very harsh references to Islam and the Prophet Muhammad, for example through the 2005 cartoons in Denmark. At the same time, in Islamic countries, we have seen the rise of extremist groups like Taliban and more recently the Daesh (IS), who have performed acts of terrible violence. They have also created a very horrible image and imagination of Islam in the eyes of the world. All these actions, I feel, are not related to Islam or to the Prophet Muhammad. They are just taking advantage of the name of Islam. I decided to make this film to give the right information and interpretation, and correct the image of Islam. The real idea of Islam is kindness and morality, and respect for human values. If I were to put the film's message in one sentence, it is to show that Islam is the religion of kindness, peace and love.

What were the key challenges you faced while making the film?
For making a film of this scale, there were many problems of administration and logistics that had to be overcome. About 40 per cent of the story takes place in Mecca in the 6th century. So we had to recreate the city to what it would have been 1400 years ago. Added to that was the problem that we didn't have enough sources, not even paintings from that period to help us in this process. We tried to make the location as historically accurate as possible. And now the location can be used by other Islamic countries to make their own productions. (A large part of the film was shot at a specially constructed location called 'Prophet Muhammad Cinematic City', 80 km from Tehran).

Besides this, in other locations we had problems with constructions, with providing costumes and animals, transporting elephants and handling the huge number of people on the shoot, as some days we had nearly 3000 extras present on the site.

On the other hand, we benefited from some wonderful collaborations with people from across the world, including Italy, the USA, England, Germany, India, Serbia and so on. While the film was an Iranian production, it saw a creative collaboration of artists from different countries. So it was a very difficult process, but everything went well!

Who was the audience you had in mind when you thought of making the film?
From the very beginning, I was planning to make it a film for people around the world. At the same time, I have tried to make a film that can overcome the differences between different Islamic groups, like Shias and Sunnis. For this reason I have used all historical resources, from Sunni and Shia references alike, so the film can create a feeling of unification between them. I believe the film can change the way Western audiences feel towards Islam and it can also be a bridge between different Islamic countries. The film has also given respect to other religions like Christianity and Judaism.


How did you get the idea of asking A R Rahman to contribute to the music?
Rahman is one of the best musicians in the world and I was familiar with his work as a composer. He is very creative and the most important thing for me was that he is also a believing Muslim. And so I thought he can touch the spirit of the film better than anyone else. I believe he has done exceptional work on this film, and others who have heard it also feel that it is unique. When the music is released, it will be very well received as he has used all his talents.

I feel Rahman is not only a great musician, but a great spirit. One of the best days of our working together over the past two years came when we were recording with the orchestra in Berlin. At the time of prayer, he stopped his work and offered his prayers. He gave it priority even when working with the orchestra. I learned a lot from Rahman because he respects human values. He is not only my friend but my brother.

What is the response to the film so far in Iran? When can we hope to see it in other countries too?
The film was released in Iran on August 29 and has had a great reception ever since. So far it has been seen by over a million people, which is unique in the history of cinema in Iran till date. It will most likely set a new record at the box office and it looks like it will continue in the theaters for another five months. We are hopeful of releasing it in other countries soon and are already in discussions and negotiations with agents across the world. We hope to release it in India too once we find the right distributor.

What is your response to the controversies around the film, for example the fatwa in India?
Unfortunately, some religious leaders have asked people to boycott the film, as they believe it is not according to the spirit of Islam. I want to ask them, how can they give these opinions or voice such demands when they have not watched the film yet? I also want to ask them: then how should we introduce real Islam to the world? Other religions have made many films on their leaders. There have been around 200 films made on Jesus Christ. On Moses, 120 films. Even the other prophets have nearly 70 films made on them. There are 42 films made on the Buddha. For the prophet of Islam, there are only two. One is called Al Risala (The Message) and was made nearly 40 years ago by the late Moustapha Akkad. The other is mine. I would invite all the religious figures who have condemned the film to first watch it, including the leaders in India. I am sure if they see it with honesty and without pre-judgement, they will love the film.

People have objected to physical depiction of the Prophet Muhammad in the film ...
I have avoided showing the face of the face of the Prophet, which is not seen anywhere in the film. You only see his hands and feet in the cradle as a baby, and as a child from the back. I based this on the opinions of many religious scholars and religious leaders who I consulted, both Sunnis and Shias, and who agreed that it is not a problem as I am not showing the face of the Prophet.

Your message to audiences in India?
I love India and also Indians. I feel there are so many similarities between our countries, which is why I am planning to make my next project in India. I hope to do two productions there in the next two years. I know that Indians and people working in Indian cinema industry know me and my work, and I am grateful for their kindness and attention. Because of my feelings for India, I feel we will be able to do remarkable collaborations.