Director Anup Singh remembers the much-beloved star who died on Wednesday
MUMBAI MIRROR (April 30, 2020)

Irrfan and I — we could chat non-stop or sit in silence for hours. While shooting, we communicated wordlessly, often through a simple glance, a shake of the head, a small gesture of the hand or we would play some music for each other to try and get a sense of what we needed in a scene. Let me try and share with you as to how we came to this kind of intimate communication and what that really tells us about this very special human being - Irrfan Khan.

When we were shooting Qissa in Punjab and then The Song Of Scorpions in the immense Thar desert of Rajasthan, Irrfan would often disappear during breaks, between shots or at lunch. When we were ready to shoot, everyone on the film set knew where to find him. We just had to look up at the sky. And wherever there was a kite dancing, we knew that’s where Irrfan was. He was obsessed with kite flying. When he arrived to shoot The Song Of Scorpions, he carried about twenty kites of all colours with him. “What’s with you and kites?” I asked him once.

“You can control it, with skill you can control it quite a bit and let it play and dance with all kinds of wind. But there’s always some gust of wind that will send it crashing to the earth. How you get it to rise again takes more than skill. Flying a kite teaches me that every little shift in the wind is important. Isn’t that what acting is, really?”

Early, during the shooting of Qissa, I chanced upon him humming and singing softly. It was a strange song, because he was improvising the rhythms and the tune with the film’s dialogue. I sat there listening to him and understood slowly what he was doing. By humming, singing the dialogue, he was finding its tone, its inflection, its melody. That which plays under the drama, that which is the real story of a character—his or her inner spirit, often hidden even from the person articulating the dialogue. But, always there, just under the surface, relating us to the deepest recesses of what it means to be a human being.

And, of course, that’s what made so many filmmakers all over the world want to work with him. It was a joy to work with him. There was no mask that he hid behind. He refused to fake his feelings or his thoughts. Those who have worked with him know that once you won his trust, he would be there for you—open, with child-like curiosity and an intense desire to travel into the creative unknown with you.

While shooting Qissa, I once walked off the set because of a problem with one of the producers. Later that night, Irrfan came into my room with his music system. He set it up himself and then played the music of Nusrat Fateh Ali Khan for me for hours. It was only early in the morning that he left when he finally saw me smiling.

He was just as giving with his co-actors. With Tillotama Shome, for instance, during the same shoot, he would never give her advice but if he saw that she was nervous, he would point to a bird or crack a small joke.

Those of us who knew him, watched him on the screen, were bequeathed a legacy whether we realise it or not. What we do with that legacy will define us.

An artist of his passion leaves behind something ineffable and yet more powerful than a thousand suns. He leaves behind the truth of feelings. Love, anger, joy, compassion. He has left us intimations of depths of feeling.

This was his covenant with us, and the sum of all his performances gives us the measure of our humanity. We’re pledged to honour it.

—The writer is a Geneva-based filmmaker who directed Irrfan Khan in films such as Qissa and The Song Of Scorpions

Irrfan Khan reveals that his illness has brought the family even closer, explains how his upcoming release is different from Hindi Medium and flashbacks to unforgettable moments from his films
Roshmila Bhattacharya (MUMBAI MIRROR; March 3, 2020)

In all these years, one never connected with Irrfan Khan with questions in mind. The conversations would be freewheeling; about life, living, learning, evolving, and along the way, we spoke about films, too.

But after an illness took him out of the country for treatment, one had to think of questions to touch base with him, and it felt like a challenge. So, I did the next best thing, I wrote him a letter, weaving some queries in and he responded to them, agreeing that interviews are about conversations. But, conveying a smile through an emoji, observed that “from where I stand every challenge challenges our creativity”.

After a year-and-a-half, he has a film, Angrezi Medium, coming up for release, produced by his Hindi Medium filmmaker, Dinesh Vijan. And while he hopes that everyone enjoys it, Irrfan is anticipating some “healthy criticism” as well. The film revolves around a father-daughter relationship, with the latter aspiring to go abroad for higher studies. Does Irrfan think it is important to give our children an education abroad, with reference to the film and his own sons, Babil and Ayan, in particular? One could picture him sitting across, frowning in concentration, as he mused, “Is it important? No. Is it crucial? No. It’s a very subjective thing… It depends on where your child’s passion lies. But it’s not imperative, for sure.”

He shared that his older son wanted to major in films and had got into the London (Film) School without his help. “Since it is Asif Kapadia’s (his The Warrior director) alma mater, I thought it will do Babil good. But if one is going (to study abroad) just because it’s cool, I think it’s a waste of time,” Irrfan pointed out with the practicality one has come to associate with him, saying his son will definitely like to come back. “He misses India very much. He is slogging hard and he is not a celebrity child in the institute abroad, which works for me,” he added.

It’s been over two years since we met, the last interaction being just before Hindi Medium and I wondered if he remembered ‘Roshomilla’, which is how he has always addressed me. “I cannot forget Roshomilla, but chances are I will call you rosogolla by mistake again because that’s what my Bengali wife (Sutapa Sikdar) is feeding me. Since I am unwell, whenever I have a sweet craving, she insists it’s healthy since rosogollas are made of chhena (ricotta cheese) and not mawa (dry milk),” he wrote back, and I could hear him guffaw across the miles separating us from him.

On the subject of Hindi Medium, he stated that the film had been accepted well as it struck a chord with the audience, more so with parents, some of whose dreams had died because they could not put their kids into their dream schools. “Our country does not pay for our education, it’s not free, so education from a good school is like a medal for most middle-class Indians and the admission process is traumatic,” Irrfan pointed out.

In the film, his Raj Batra, a nouveauriche boutique owner desperate to get his six-year-old daughter Pia into the school of his wife’s choice, takes the extreme step of moving with his family to a poorer neighbourhood to avail of the Right to Education (RTE) quota for the underprivileged. In response to my query of how much like Batra he is, Irrfan shared that for him personally, it doesn’t matter if someone is from Welhams or Stephens. “I sent my kids to an alternative school with hardly any facilities in the formative years. I have met hundreds of successful children from government schools, and very mediocre, highly nonstimulated children from private schools. So, essentially, it’s about the individual, the child. If someone has to bloom, they will,”

Irrfan asserted, going on to emphasise that as a person he would never do what Raj did in Hindi Medium. “But then, I am not him and he is not me. That’s the fun in acting! How to find the essence even if you are not the same. I am not as street-smart as the character, but I know people like him exist, so, I could relate to him.”

He went on to explain the process of getting into character, saying it’s enjoyable to be somebody who shares some of your thoughts and vice versa. “The character evolves from its relatability to the actor. Then, boom, it’s there, for the actor to follow,” he stated, adding that he is also not an extrovert, like Angrezi Medium’s Champak Bansal. “But I am a father and with that small essence, I went ahead. The character happened and was played by Irrfan.”

There are other ways in which the two films are different even though both take the discussion on education forward in a light-hearted way. “I had a wife (Saba Qamar) in Hindi Medium, so we were parents to our daughter Pia (Dishita Sehgal) while in Angrezi Medium I am a single parent, so it’s a bigger responsibility. And it’s special because one doesn’t want to f*** up in bringing up their child… You’re always scared of being judged by the departed partner. The child is not only your child, but also the memory of your wife. You want the best for your child, but at the same time, you don’t want to let her go away as she is your only surviving bond,” he reasoned, adding that the kids, Pia (Hindi Medium) and Tarika (Radhika Madan) are also in different age groups so pose a different set of problems. “Actually, in Hindi Medium the problem is more related to parents while in Angrezi Medium, the concern for the child is the bigger crisis. The most interesting part was that my character, Champak, wants to play the mother of the child in a patriarchal society. This has its own unique problems.”

It’s been almost two years since Irrfan left for treatment for neuroendocrine tumour. I wondered how he looked at life today and the people he was with, in particular his wife Sutapa and their sons. “It’s been a roller-coaster ride, a memorable one. Happy moments were underlined because of the inherent uncertainty. We cried a little and laughed a lot. We became one huge body,” he shared.

He went on to write that he has become less judgemental as a person because things have stopped mattering so much. “You screen out noises …You are selective about what you want to filter in. I have gone through tremendous anxiety but have somehow managed to control it, then, let go. You are playing hopscotch all the time,” Irrfan confided. However, the extraordinary situation, he admitted, has made his boys extraordinary in their own way. “And the best part is that I’ve had all the time literally to see them evolve… A crucial time for a teenager, like the younger one. The older one isn’t a teenager anymore.” One could see him smiling, the smile of a father, as he relayed this.

And his wife? “What to say about Sutapa? She is there 24/7. She has evolved in care-giving and if I get to live, I want to live for her. She is the reason for me to keep at it still,” he stated emotionally.

One had missed these introspective conversations with him and promises that the next time he is in Mumbai, one would drop by with the fish curry he had craved for once. “I wish we would one day have the fish curry and you would say ‘Bon Appetit.’ Amen to that.” Irrfan signed off.


Irrfan Khan with younger son Ayan; with wife Sutapa and elder son Babil (right)
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Irrfan describes his Angrezi Medium family

Radhika Madan (His daughter Tarika Bansal): A hard worker

Kareena Kapoor (Naina, an undercover cop in London): DIVA! I wish she does more roles to exploit her potential

Dimple Kapadia (Kareena’s mother): Nostalgia, warmth...

Deepak Dobriyal (His brother Ghasiteram Bansal): Jugalbandi


Director Homi Adajania: Outrageous fun!

Producer Dinesh Vijan: A rare learner

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MOMENTS & MEMORIES WITH IRRFAN

Without creation of a moment there is no story. Yet with so many stories, so many films, it’s very difficult to pinpoint a single one. But it’s the creation of these moments which drew me to acting...


THE WARRIOR (2001): There was this moment in the film where I was holding a sword, ready to kill a girl, when I look at her locket and a time-machine starts working for me… Something happens… I am in the desert, I have the sword in my hand, I drop it and in the blazing sunlight it has specks of snow… That for me was a great moment.


MAQBOOL (2003): The scene in the hospital where my character Maqbool watches Nimmi (Tabu) from outside. Since my face is against the glass, my sweat drips from it and it looks like the glass is crying. I will never forget the cue Vishal saab (director Vishal Bharadwaj) gave me for the scene, “Irrfan saab, iss shot mein daaku se Balmiki bante dekhna hai.”


THE NAMESAKE (2007): My character Ashoke Ganguli goes with his family to a beach. I walk with his son Gogol, down a thin strip of land, at the end of which there is only the ocean. And as we stand there, I realise that we have forgotten to bring the camera and tell my son, “Remember that we went to a place where there was nowhere left to go…” That was something special for me… I enjoy when a sentence is not contextual to that situation only.


PAAN SINGH TOMAR (2010): That moment when my character, Paan Singh, says, “Ee ka jawab kaun dego?” In the context of what had made him a dacoit—the situation which led him to be what he had become—it was not just a question but a passage of time. A summation of brutality, casteism etc… That was one moment I will always remember.

QISSA (2013): The scene where my character, a Sikh Punjabi named Umber Singh, is leaving his home during the Partition, with his wife and his three daughters. They break everything, poison the well, then, lock up the house and leave. That was writing excellence from (writer-director) Anup Singh.

After her last few hit web shows, Rasika Dugal is thrilled to be playing a lead in a new project, says she would be physical exhausted on certain days
Kavita Awaasthi (HINDUSTAN TIMES; November 26, 2019)

In the last one-and-a-half years Rasika Dugal has appeared in diverse web shows including Mirzapur, Delhi Crime, and Humoursly Yours, among others. Currently working on Mirzapur 2, Delhi Crime 2, A Suitable Boy and other projects, the actor explains why the high of playing the lead in a project is unparalleled. She also talks about the time she didn’t have good roles but was busy nevertheless. Excerpts:

After noteworthy character roles in various web shows and films, was it a high to play a lead in your latest web show?
Years ago, I played the lead in Kshay (2011), which was a character-driven role. It was a true blue indie film as we shot it when we had money, or on weekends, and we hoped that one day, our stories would make for good conversations. I thought my role in Qissa (2015) was a lead part as I never thought it was a supporting role. But if we are talking about a story that revolves around a character then after Kshay, my first lead role would be in this new web show.

How was the experience of shooting the series?
In the last one-and-a-half years, I was thrilled to have had exciting roles in some varied and interesting projects. But I also wanted to sink my teeth into a role that drives the narrative. So, when this web show came, the actor me felt satisfied. You relate to some characters instantly, and my role in Manto (2018) was one such role. Playing the lead in this show was exciting and challenging, but also rigourous work as I was in almost every scene. Shooting for a lead role is exhausting, especially in a web show. I shot for 50 days out of the 53 days of total shoot. Due to extreme physical exhaustion on certain days, I had to rely on my instincts while acting.

Though you started acting in 2007, your career seems to have taken off in the last two years. It must have been tough to wait for roles that showcased your talent?
I was always busy doing something or the other in Mumbai, so it never felt that way. I did a lot of theatre including The Vagina Monologues for nine years, and also did work that was not well-recognised at that point. The gap between film and theatre roles was trying at times. Like the gap between Kshay, Qissa and Manto was tough, and I was dying to do more work though I did many small roles in many films in the beginning of my career even though people advised me against it. They felt people won’t give me better roles if I didn’t do short roles, but I felt acting is the only way to show people what I can do. I did TV shows like Powder and Kismat, too. 

Avinash Lohana (MUMBAI MIRROR; July 14, 2017)

After working together in the critically acclaimed 2015 drama Qissa, Irrfan Khan reunited with Anup Singh for The Song of Scorpions in which he plays a camel trader who falls in love with a tribal woman played by Iranian actress Golshifteh Farahani. The film will be making its world premiere at the Locarno Film Festival and has been invited to ring in the festival’s 70th anniversary on August 9 at the Piazza Grande, one of the finest open-air venues in the world. Both Irrfan and Golshifteh will be attending the premiere

A jubilant Anup informed Mirror that the role of the leading man demanded both fragility and ruthlessness as is characteristic of a person truly and passionately in love. “After his electric performance in my last film Qissa, I knew Irrfan was the only actor who would be able to live the heightened emotions of this character with authenticity, intelligence and flair and give us all a new and stunning insight into love,” he asserted, admitting that though they finished shooting it in 2016, the film is still not ready. “We are racing to give it its finishing touches a few weeks away from the world premiere. After Locarno we would like to travel with it to some chosen film festivals before we release it in India.”

Speaking to Mirror (July 11) earlier, Irrfan was all praise for Anup describing him as “an extremely talented director” and a “greater visual artist”. “He has crafted a heart-warming tale of love interspersed with some beautiful music, which I was immediately drawn to it,” he informed.

The film will also mark a comeback of sorts for veteran actress Waheeda Rehman, whose last Hindi film outing was Rakeysh Omprakash Mehra’s 2009 Abhishek Bachchan and Sonam Kapoor-starrer Delhi-6. “Waheedaji is in New York at the moment and was overjoyed to hear the news when I spoke to her on the phone today. She gave us her blessings and is keen to travel with the film to the next festival,” Anup shared.

After Qissa and The Song of Scorpions is he planning a third film with Irrfan to complete a hattrick? “I have written a new script with him in mind and I’m waiting for a calm moment when I can sit down without any distractions and talk to him about it,” he signed off.

Renuka Vyavahare (BOMBAY TIMES; May 7, 2015)

Undoubtedly one of the finest actors that the Hindi film industry has seen, Irrfan Khan speaks up about his insecurities, his bold take on religion and why the ego driven industry won't let indie films grow
Shubha Shetty Saha (MID-DAY; May 3, 2015)

You've recently said that you always wanted to do a film like 'Piku'.
I was longing to do a comedy and also a romantic role. I have not explored much in romance. One has grown up watching romantic films and one has a romantic idea, so you want to explore the subject and whatever is compelling in your life.

Which romantic movies inspired you while growing up?
Guide, Mughal-e-Azam and Tarana… the way Dilip Kumar and Rajesh Khanna did romantic roles, it stayed with you. Also, as you grow up you have your own concept of love, which you want to keep exploring through stories.

Over the years, your perception of romance must have changed.
You have certain things in your head and you want to see them in reality. You dream about love, you keep on seeking it. You stop seeking and then life springs a surprise. When you are a teenager, you take love as a valuable thing, but as you grow older your definition changes, but you don't stop seeking.

You think romantic roles didn't come to you because of your unconventional looks?
Maybe, but largely because when I entered this industry, it was single dimensional. Only one kind of cinema was being made and then I never tried to make myself fit into that. I found it all phoney. But now I am getting my chance.

You limited yourself?
No, I was trying to explore myself as an actor. But if I had done that, I wouldn't be where I am today.

What do you think changed the scenario today? Is it the filmmakers or the audience that has become more aware?
The audience is much more exposed to world cinema. Every 10-15 years the profile of the audience changes. Those days there were no multiplexes, so the upper class and the upper middle class was not going to the theatres to watch films. But now everyone wants to watch movies in the theatre because of the experience. We are also changing our style, what used to be commercial five years ago is not commercial now. The audience is rejecting the conventional way of telling stories and that's why Hollywood films are doing better business than Indian films. If we don't wake up now, more than half the business will be eaten by Hollywood films.

Also, do you think the growth of the industry is affected because smaller films are not encouraged?
There is no system in place here, for publicity or budget of films. There should be some kind of incentive for smaller, independent films. It shoulden't be a patronising thing that it becomes a burden, but there has to be some kind of aid. Independent cinema brings elements for commercial cinema, they set the trend, they bring in actors and other talent. That's the gateway. If you are not welcoming the gateway, then so much talent suffers and the industry suffers. I think the publicity of the film has become a menace. The publicity for bigger films is haphazard and so much money is pumped into publicity that it becomes a burden for Indie cinema to be noticed. There's no body which looks after the welfare of these films. Sabka apna apna chal raha hai…sabki dadagiri chal rahi hai.

Everyone's losing in the process.
Independent cinema is losing much more. They should be taken more seriously.

Talking about small films, your role in Qissa was so intense, did it take a lot out of you?
Qissa was totally exhausting. Such roles stay and affect you much after the films are made. Because it is your job you feel nice after doing it. It is a dichotomy that while doing it, it is not enjoyable at all because of the anxiety, hard work, thinking of how to deal with the emotion, but you feel nice about it after the job is done.

So Piku is like a distraction?
No. it is my reward for all that the intense things I do. It has a package of romance and comedy which I wanted to do. The other interesting thing is that I got to work with Juhi (Chaturvedi, the writer of the film), Shoojit (Sircar, the director) and Amitabh (Bachchan), for the first time. I have been longing to work with them. Deepika (Padukone), I didn't even think I will ever be paired with her.

During 2009 to 2011... you did some insipid films. Was that an insecure phase?
I wanted to keep myself alive as an actor. I got praise after 'Maqbool' but those were the times when 99 per cent films were the kind I had no choice, but be part of.

Did people here treat you with more respect once you started being part of Hollywood films?
It hasn't affected my market here. It is still how my last film has done here that increases or decreases my market value. But yes, Hollywood films has changed the perception of the people towards me. I think the audience likes it that one of us has gone there and done that. I feel nice too, because those films give me the chance to do a lot more. Working with world-renowned directors give you a certain dimension. I don't want to create boxes for myself. Hollywood gives me better chances in dabbling in different stories.

Not wanting to be boxed was your biggest struggle?
Yes it was. I was discouraged a lot when I fought against it. Most of my well-wishers would tell me, if you keep changing your looks, the kind of roles that you do, what will your image be? People will be confused. I would find that amusing because aren't we supposed to be donning different images as actors? Once I saw Kamal Haasan at an event, looking so different from what he looks and I was totally fascinated by him.

You have come a long way. Most people who know you say it is your focus towards your work that has worked for you. What would you attribute it to?
We all look for a formula. Life is multi-dimensional, everything has many more sources and influences. In a naïve way, I kept trying to protect myself from the outside influences, like the TV industry or films that I didn't like. When I was doing TV, so many pilots were being made and every actor I know was doing 50-60 pilots. It would have given me lot of money. But my only focus was that I shouldn't be doing anything that I would feel embarrassed or ashamed of. I just wanted to like what I was doing. I still cringe sometimes when I see myself on screen, but I wanted to do roles which made me more comfortable in front of the camera. There is a destiny which carves the path for you, if you trust in the creation that created you. You just have to notice and trust the signals that are given to you. When I got the film, The Warrior (2001), people said now your life is going to change. Asif Kapadia's earlier film had won an award at the Cannes film festival, and there were big expectations from the film. But nothing really happened. So I have realised that whenever I have expectations, life teaches me a lesson. Life keeps giving you experiences to teach lessons, but if you don't learn, similar experiences keep coming back to you till you graduate and move to another orbit. Life wants to put you in a particular direction so it gives you chances to solve the puzzle. It is totally up to you to recognise those signals and learn to accept it and move on, however tough and painful the process might be. I used to be so shy. In my school and even when I was in NSD (National School of Drama), I couldn't even dare call my teachers by their names. I was good at sports and that was my only release. My social life was limited to a few friends, and I used to get so deeply attached to them that I would end up getting hurt. I never liked boasting or showing off and even if I did, it would leave a strange taste in me. So when you grow up, these things stay with you and they shape you. Choices you make become the story of your life. The tragedy of our life and our industry is that it pushes us to believe in a formula — a quick fix formula. Even our relationship with God has become like that. Religion has become business. We are all cunningly trying to manipulate God and ourselves. We have become so consumed with marketing and religious jargons. Market is the biggest menace of our times. Wherever we go, we are bombarded by images, media, news, hoardings. It is very easy for humans to behave like sheep. Life becomes much more wholesome when you see beyond what is being pushed down your throats.

I guess self-belief comes handy here.
If you don't have that confidence, your life is a waste. You haven't lived your life. If you believe in all these philosophies which have been manipulated through religion, then are you thinking for yourself? It is such a big farce. I was instilled fear by religion. When I was a kid, I would think the end of the world has come whenever I heard a car swooshing by. This was because I was told on doomsday we will hear a noise that we won't be able to take, and in my little brain I thought that was the noise. It is only after living for so many years that I have come to realise that there are things which can be much more harmonious and powerful. My mother used to say don't stamp your feet on the ground... "zameen zinda hai." Now I know what she was talking about. This is a living planet and we are just components of it. I once heard someone say, "Imaan usi ka zinda hai jiske paas doosre ki aurat aur doosre ki daulat tum rakh sakte ho." (The true character of a person is reflected by how safe another person's wife and money would be with him). Imaan panch time namaaz padhne se nahi hota. (Good character is not because you say your prayers five times a day).

BOMBAY TIMES (March 8, 2015)

BADLAPUR – 1ST HIT OF 2015?

The pile of flops is getting bigger, as each week passes. Shamitabh has been declared a commercial disaster while Roy has underperformed as well. Now all hopes are pinned on Badlapur. Despite being a dark, violent revenge drama, it can work and at the same time, break even.

Badlapur stars Varun Dhawan, Nawazuddin Siddiqui in pivotal roles. It is directed by Sriram Raghavan and from the promos, it is evident that he’s back in the Johnny Gaddaar thriller zone. The trailer never came out – only the teaser was unveiled – and it was sufficient to create a buzz. The songs too got a good response, especially Jee Karda. The film has been well promoted and at the same time, the makers have been cautious enough to not go overboard in spending on marketing.

What goes against Badlapur is its violent theme which might keep away a section of audience. Also, it has got an adult certificate. And like for any film, it has to be loved by audiences in order to sustain and prove to be a commercial venture. Two things go in favour of the film. First, the reasonable costs. And secondly, the film has no competition. The previous week’s releases have failed and it’s releasing with Qissa, that’s hardly a competition. Also, next week’s release Dum Laga Ke Haisha won’t make much dent in it’s collections. So, it has no competition till NH10’s release. This can surely prove advantageous for Badlapur.

The other release of the week is Qissa, starring Irrfan Khan, Tilottama Shome, Rasika Dugal and Tisca Chopra. It is backed by NFDC and has made the rounds of several film festivals. The trailer is very interesting and it can attract the multiplex audiences in some numbers. The release will be limited and not much is spend on publicity as well, which is obvious. What’s significant is that Qissa’s DVDs will be released tomorrow as well. Also, it would be available on www.cinemasofindia.com. Such measures can help the film recover its costs to an extent.

WOULD YOU LIKE TO SEE BADLAPUR OR QISSA AND WHY? DO LET ME KNOW!

Since centuries, the practice of female infanticide and patriarchy is largely prevalent in India. Even today, it’s sadly not uncommon to hear parents claiming that having a daughter is akin to bearing a huge burden. Qissa tells the story of one such family, just few years after the Partition. The kind of madness that the father unleashes in his quest to have a son is bound to leave you stunned. And it’s this unique storyline, along with power-packed performances, that becomes one of the strengths of Qissa!

The story of the movie: Umber Singh (Irrfan Khan) is uprooted from his home in Pakistan in 1947 thanks to Partition. He manages to shift to India safe and sound with his wife Mehar (Tisca Chopra) and three daughters. After 4 years, Mehar once again gets pregnant and Uber desperately wishes that she gives birth to a child. However, when she once again gives birth to a girl, Umber starts pretending that she has given birth to a son. Moreover, he grows her up like he would grow a son and names ‘him’ Kanwar. Kanwar grows up (Tillotama Shome), confused about her sexuality. Soon, circumstances compel Umber to marry off Kanwar, to a girl.



Qissa is just 110 minutes long and although it moves at a snail’s pace, it’s quite engaging and gripping. And it’s a Punjabi and not a Hindi film. Thanks to its extremely novel storyline, one can’t help but watch the film with keen interest and wonder what will happen next. Also, it’s heartbreaking to see Umber at every stage of Kanwar’s childhood and teenage years trying to hide that Kanwar is not his son. With the entry of Neeli (Rasika Dugal) in the narrative, the tale becomes even more intriguing. The intermission point is a shocker. One expects the film to be even better from here on. And yes, there are some brilliant moments especially between Kanwar and Neeli. But sadly, the film moves away from its realistic zone and becomes surreal in the pre-climax and finale. And these elements don’t make the desired impact. Also, the storyline is unique and the makers could have done so much with it.

There’s no denying that Qissa boasts of award winning performances. Irrfan Khan as always is fabulous and looks every inch a Sardar. And he gets totally into his character and looks quite natural. And as it’s always the case, the manner in which his eyes do the talking is seen to be believed. This is especially in the scene when he is staring at Kanwar in the second half. It’s not sure as of now if Qissa will be remembered but Irrfan Khan’s performance in the film would surely be counted as one of his finest! Tillotama Shome performs a very complex character with ease. Again, her transformation is superb and one forgets all her previous performances as she essays the role of Kanwar. Hats off and hope she gets all the due for this bravura performance! Rasika Dugal is an actor to watch out for. I was not aware of her previous works and so I didn’t really expect much from the actor. But she stuns as she maintains a strong position and comes up with a superlative performance. And she looks immensely charming as well. Her scenes with Tillotama in the second half are terrific. Tisca Chopra too puts her best foot forward. But very sadly, I have to admit that she gets overshadowed by the performances of Irrfan, Tillotama and Rasika. Danish Akhtari (young Kanwar) leaves a mark and plays an important part in the film.



Beatrice Thiriet’s music is more on the lines of folk songs but works well in the film. Her background score is subtle but makes an impact. Sebastian Edschmid’s cinematography is superb. The film has been shot in some brilliant locations. Tim Pannen’s production design is stunning and the sets look absolutely real and straight out of 1950s and 60s Punjab household. Anup Singh and Madhuja Mukherjee’s story is very unique and one of its kind. The screenplay is effective but gets a bit unjustified in the second half. One wishes the film had remained in the same zone from start to finish. Anup Singh’s direction leaves a mark and makes for captivating storyline despite the slow pace. But again, if the ending was different, Qissa would have been a classic!

Some of the best scenes:
1. Kanwar is born
2. Umber beats up his daughters
3. Kanwar wears his sister’s clothes
4. Kanwar with Neeli in the hills
5. Kanwar’s marriage
6. The intermission point
7. Kanwar and Neeli at the hideout
8. Kanwar confronts Umber

On the whole, Qissa is a powerful, moving tale that leaves a mark as it’s very unique. Hence, it gives a never-before-seen experience and one can’t help but see the film with immense interest as one has no idea where the film will head next. Anup Singh’s direction is effective and captivating, despite the slow narrative. The performances are award worthy – Irrfan Khan and Tillotama Shome are outstanding while Rasika Dugal is a big surprise. The pre-climax and finale however are disappointing as the film moves away from the realistic zone. Nevertheless, this is a film that deserves a watch. And what’s more, it’s releasing in theatres on February 20 and simultaneously on DVD and www.cinemasofindia.com as well. This is a great move and hope it helps Qissa reach out to more number of people!

My rating - *** out of 5!

Gaurav Dubey (MID-DAY; February 18, 2015)

There have been rumours of a cold war between Irrfan Khan and Nawazuddin Siddiqui since their last outing together, The Lunchbox. Though both have denied any kind of friction, the former’s reaction to a question on his contemporary has set the gossip mills buzzing again.

A source says, “Irrfan has busy promoting his upcoming film, Qissa, and during an interview with a television channel, he was asked about clashing with Nawaz at the box office. He asked the reporter to stick to questions about the film. When the same question was posed again, he stormed out of the room in a huff.”

Another insider maintains that the actor did not lose his cool, but simply decided not to continue the interview. “Post a point when the reporter did not stop asking that one question, Irrfan said ‘thanks’ and walked out of the interview,” adds the source.

When buzz about their cold war first surfaced, Nawazuddin tried to clear the air, saying: “We were never friends earlier also and not now as well. We work together whenever we are cast in a film together. There is no rivalry with him. He is my senior and I respect him a lot.”

About six months later, in August 2014, the duo apparently ignored each other at a film event. “There has been constant comparisons between Irrfan and Nawaz which is not good. Both of them are doing well in their respective areas. Every actor in the industry has his own USP so the comparisons are uncalled for,” an industry source points out.

Irrfan remained unavailable for comment.

Tillotama Shome on playing Alice in her first film and her contest with the looking glass
As told to Yoshita Sengupta (MUMBAI MIRROR; October 19, 2014)

'Relax, it's a film,' said Naseeruddin Shah, playfully slapping me on my back. 'Mistakes are a critical ingredient of an actor's life,' said Kulbhushanji (Kharbanda).

Everyone around was merely trying to restore order in Wonderland. Alice's Wonderland. I was Alice (it was also the name of the character I was playing in the 2001 film) on the sets of my first film, Mira Nair's Monsoon Wedding.

Blissfully unaware of the technicalities of filmmaking, I Alice-d around the sets, basking in the benevolence of Mira Nair, who allowed me to do what I wanted, with few but clear instructions. The strong shouldered Director of Photography Declan Quinn allowed me to meander. He said, 'You do what you have to do and the camera will follow.'

One scene had me in front of a mirror. I had to repeat a particular sequence, catching the light, balancing on one foot, and ensuring that the body does not shift axis — else the camera would be visible in the mirror.

I was anxious, alarmed and nervous. I made one mistake after another. Each take compounded my guilt of slowing down the team. As I sat quietly by myself in tears, Kulbhushanji walked up to me and asked what was wrong. I told him that I was an unmitigated disaster. In return, he regaled me with stories of the mistakes he had made.

A few hours later, I delivered what was required of me. Quinn, walked up to me and whispered, 'Mirrors are difficult; not just for you, but for the biggest actors.' Mira, the captain of the ship, enveloped me in her warmth and restored order in Wonderland by making me feel important.

I was humbled by this - a huge team, comprising legends, where each of them was working hard to ensure I was comfortable.

Recently, I met Kulbhushanji at the Mumbai Film Festival. We reminisced about the mirror scene. We laughed a lot and then he said, 'Your Hindi has become really good, shabash beta!' His shabashi meant the world to me.

On many occasions, Mira and I have also laughed over this photograph and my general Alicelike cluelessness. When she came to see Qissa in New York, she stood up after the film and called it a powerful dream. She appreciated my work and spoke of a possibility of us working together again. It felt like a parent had approved of the man in my life. It reminded me of the charmed mirror.

You can look in the mirror and yet not find yourself. Veterans like Mira and Kulbhushanji, kept things real and that's the lesson that this photograph gives me.

More than a decade has passed since the film. I have done a quite a few 'mirror' scenes, including one in Shanghai, Tasher Desh and Qissa. But, even today, when I look at this photograph, I feel like giving that young girl in the picture a tight hug and telling her that everything will be fine.

I would do the same thing if, on a set, I come across a nervous debutante struggling with a scene.

Ananya Ghosh (MUMBAI MIRROR; September 17, 2014)

Qissa revolves around a Punjabi girl raised as a boy by her father. It was unveiled at the Toronto Film Festival last year where it promptly picked up the prestigious Netpac award. Since then, the film has become a festival favourite.

Besides its director, the Geneva-based Anup Singh, and lead actors, Irrfan Khan and Tillotama Shome, its German cinematographer, Sebastian Edschmid, has also got his share of appreciation. A few months ago, he received an award at the International Film Festival of Queensland.

What attracted the German to a film set in a nondescript Indian village was the scope it provided. "Anup asked me to read the script with an open mind and I ended up falling in love with the story, the characters and the landscape," says Sebastian, pointing out that the film is a combination of four different genres -- historical drama, family drama, psychological drama and mystery thriller. "What a treasure trove for a cinematographer!"

Even though the story unfolds during the Partition, what makes it relatable is that, even six decades later, the problem it addresses-that of refugees-remains universal.

"The history of Europe in the 20th century is marked by expulsion and exodus. So the drama of this man and his people is a familiar one," he explains.

To get the authentic local flavour, he relied on first-hand experience, travelling extensively through Punjab with his eyes wide open. Explaining the hauntingly beautiful, dimly-lit frames and the carefully modulated tonalities, Sebastian elaborates: "Qissa is a serious drama which needed a darker, colour-reduced world. We avoided bright sunlight as much as possible, shooting the establishing shots early in the morning or in the blue hour."

He adds that the movement of the camera was another important issue: "It is a hovering movement, never rushed or abrupt. The camera never stops moving. There are no static shots in the film."

In the film, Sebastian has shot some stunning sequences using the widescreen. And to get the old-fashioned, washed-out look of the '70s, the cinematographer has relied on anamorphic lenses and tungsten light.

Today, ask him about his 'Indian' experience and with an amused smile he touches on the country's 'overwhelming' population and the unending curiosity and enthusiasm of its people. "You were always surrounded by a lot of people-not just members of the cast and crew, but also hordes of spectators! This is often a blessing but not when you are attempting a wide-angle, shot of the deserted landscape. You will always have someone or the other walking into the frame!" he chuckles.

Roshmilla Bhattacharya (MUMBAI MIRROR; July 22, 2014)

It's close to midnight but Irrfan Khan is in another time zone. Speaking to Mirror from New Orleans, the actor who's in the midst of a Jurrasic World shoot, is surrounded by pre-historic dinosaurs and the latest in space technology.

"This is my first visit to a NASA centre and though we cannot wander around the hi-security zones, we're still at close quarters with the rockets that are being readied to zoom into outer space and their size is mind-boggling. The photographs I'd seen don't do justice to them. They're as tall as a 20-feet skyscraper," describes Irrfan, sounding like an excited schoolboy.

The dinos, he promises, too will spring a surprise. Irrfan plays the new owner of the dinosaur park who imagines kids frolicking with the creatures, but not all of them turn out to be friendly. Eventually the character and the franchise explore the ethical issues simmering beneath the intention to entertain.

"Colin Treverrow's script is insightful yet playful. Would you believe, this man had just one movie before this, Safety Not Guaranteed, a time travel drama made on a budget of $70,000. And now he's directing a multi-million dollar film for Steven Spielberg. What a career jump for him!" he exclaims.

Irrfan himself is on a professional high after the worldwide mainstream success of The Lunchbox, followed by Qissa which has released to fantastic reviews in UK and Germany. "The perception of Indian cinema has changed and there is a lot of interest in the European market in both Indian cinema and me," says Irrfan who is looking for collaborators, including specialised writers, after bagging filming rights to some books.

He is partnering with Mira Nair to launch her nephew, Ishaan, as a director. But he will not be acting in the film. "I've turned producer not to be seen on screen but to offer opportunities to new talent and tell stories I believe in. I didn't even know Ishaan was Mira's nephew. He was looking for a like-minded producer who would not interfere with his vision and we liked his concept," he says.

As an actor, the role he's most excited about is poet-lyricist Sahir Ludhianvi. "Ever since I learnt that Ashi Dua was planning a film on Sahir and Amrita Pritam's love story, I wondered why they were not coming to me with it. They did after a month. It's the role I have been waiting for a long time. It is well-reasearched and beautifully written. I can't wait to immerse myself into the character," says Irrfan, admitting that he's heard that talks are on with Priyanka Chopra to play Amrita. "Imroz, a beautiful man and Amrita's non-demanding companion, is another outstanding role waiting to be cast."

Irrfan doesn't know what would have happened had the incomplete love story of the two literary legends come to fruition, but says that Sahir and he are similar in many ways.

"Chalo ek baar phir se ajnabi ban jayein hum dono... What an original thought!" raves Irrfan who while growing up had scant interest in verse and wasn't allowed to listen to music. "But while at the National School of Drama, I developed an interest in both and also acting. But as an actor I didn't follow the rules. I let things happen, following stories and characters which made me feel good about myself. I guess there's a Sahir in me too," he laughs.

Bharati Dubey (MID-DAY; February 4, 2014)

Qissa, a film produced by National Film Development Corporation (NFDC) and starring Irrfan, has won the Dioraphte Audience Award at the Rotterdam Film Festival. This is the first time an Indian film has won such an award. Directed by Anup Singh, Qissa is a Punjabi film set in the post-partition era and it has Irrfan playing a Sikh in it. Dealing with the subject of ethnic cleansing and general chaos that accompanied India’s partition in 1947, it is the story of Umber Singh attempting to forge a new life for his family while keeping their true identities a secret in their own community.

When contacted, Irrfan said that Qissa is a tough film that also tests its audiences. “The Lunchbox may have been a more commercial film but with Qissa, if you connect with the film, it will stay with you for a really long time. Moreover, this is the first time I have spoken Punjabi in a film and I must say that I’ve discovered a certain music in the language,” he said, adding that there has been a surge in good cinema over the last two- three years.

Interestingly, Qissa is the first film to be shot under the Indian-German co-production treaty; it is an international co-production between India, Germany, Netherlands and France. The film has earlier travelled to other film festivals such as Abu Dhabi Film Festival, New York Film Festival, South Asian International Film Festival and Toronto International Film Festival.