Showing posts with label Ravi Jadhav interview. Show all posts
Showing posts with label Ravi Jadhav interview. Show all posts
Nude models are a vital aspect of art study-Ravi Jadhav
8:00 AM
Yogesh Pawar (DNA; April 20, 2018)
When National Award winning-filmmaker Ravi Jadhav recently released the first look of his forthcoming film Nude, it might not have broken the internet, but it definitely started a discussion about nudity. Risque or artistic? Obscene or beautiful? Sensual or sexy? Erotic or empowering?
Answers to these and many such questions came from nude art model Lakshmi, who has been posing for students of Mumbai’s iconic Sir JJ School of Art for over three decades. “Mere ko bahut garv hai ki nude artiste ko itni izzat mili (I’m happy that we have finally got respect),” she said.
DIGNITY IN NUDITY
Being felicitated at the launch of the first look at a packed event (barely a floor below where she works) where the entire cast, crew and production was present along with the iconic Art School’s student fraternity, seemed to tap into a well of emotions for this mother of two. “After putting in so many years in this work that’s largely misunderstood by the world, I’m happy it’s finally receiving recognition. It’s almost like I’ve waited for this moment all my life,” exclaimed Lakshmi who’s in her late 50s.
“When my husband died, my younger son was only three. I was desperately seeking work. My aunt Rajamma had told us she swept and swabbed at the JJ School near Victoria Terminus (VT has since been called Chhatrapati Shivaji Terminus) station, so I asked her to help. She would say yes but kept fobbing me off. One day, I took a train to VT, asked directions from people and found the place. When I asked for her by her name, the watchman and students directed me to a room on the first floor. Since it was closed, I peeped in through a window louvre to find her posing nude. I was shocked. I had never seen anything like this before,” she recounts.
When she met Rajamma during the break, her aunt asked her if she wanted to work as a nude model. “I was desperate. I’d seen the worst kind of sexual predatory advances from prospective employers outside. This seemed safer instead and my Chittee (aunt) was there, so I agreed,” she says but remembers how the first day was far from easy. When she broke down, the professors and students allowed her to work at her own pace and she gradually became comfortable. “So much so that later, I started feeling I have the best job in the world,” she adds.
The fact that nudity has been forbidden in most cultures makes it that much more alluring, explains Ravi. “It feeds into our primeval desire to uncover and unclothe. Unlike communities in the world that some like to call ‘backward’, where it’s the norm, it’s the ‘developed’ world that often brings this uncovering and unclothing the exploitative edge,” he affirms.
A SENSITIVE APPROACH
This commercial art graduate from the same JJ campus should know. Known for sensitive handling of bold subjects, Ravi’s work has always brought him critical as well as mass acclaim. Nude, however, made headlines when it was dropped as the opening film from the Panorama section at the International Film Festival of India (IFFI) in Goa last November. Filmmaker Sujoy Ghosh, who was the chairman of IFFI 2017 Indian Panorama section, resigned in protest followed by writer Apurva Asrani, who was on the jury.
While he insists the episode is in the past, Ravi is still baffled by it. “Nude models are a vital aspect of art study because we learn about anatomy from them. I was always curious about their lives,” he says and adds, “In a patriarchal world where a fully-clothed woman also has to suffer the prying male gaze, in an art school even if someone poses nude, it doesn’t attract that kind of attention,” he says.
According to him, if the predatory sexual gaze would turn into an artist’s, it would change the world for good. “I didn’t make the film for controversy. Look at my other work — Natrang (gender fluidity), Balak Palak (sex education), Bal Gandharva (gender fluidity) or Mitwaa (lesbianism) could have become controversies, but that’s not what I did. In fact, they went on to garner awards and praise without any controversy at all.”
Ravi Jadhav's 'Nude' cleared by CBFC with 'A' certificate and no cuts
8:07 AM
Director Ravi Jadhav says a film cleared without controversy boosts morale
Sanyukta Iyer (MUMBAI MIRROR; January 19, 2018)
When National Award-winning filmmaker Ravi Jadhav began scripting a drama set in the prestigious JJ School of Arts with co-writer Sachin Kundalkar (also a National Award winner), he knew that they would have to be “patient, sensitive and aware that the context of the title of their upcoming project Nude could be gravely misunderstood”.
Last September, there was a disagreement within the viewing committee of the Central Board of Film Certification over the film’s ‘objectionable content’ and whether to pass it with an ‘A’ certificate or refuse clearance. This eventually led to the film being denied screenings at the International Film Festival of Goa (along with Sanal S Sasidharan’s Malayalam film S Durga) and the Kerala International Film Festival last year.
On Thursday, in a second viewing by a committee selected by CBFC Chief Prasoon Joshi, and presided over by actress and newly-appointed jury member Vidya Balan, Jadhav’s film was granted an ‘A’ certificate with no cuts and a standing ovation by the National Award winning actress. Excerpts from a conversation with the filmmaker:
Since the film’s title caused a lot of confusion over its content and premise, did you ever think of changing it?
I graduated from the JJ School of Arts with a degree in Applied Arts in 1995, while most of my friends studied Fine Arts. When I was a student, I was curious about what happened behind the closed doors of a completely sealed studio, outside which the words ‘Nude painting session on – Do Not Enter’ was inscribed. During lunchtime, the models would be seated just like anyone else and students would treat them with great respect, referring to them as ‘akka’ or ‘ma’am’. I even attended a few painting sessions and there was no vulgarity in the eyes of any student. The models, sometimes of the same age as the students, would sit naked for five-six hours before them and there was never any disrespect. This education-based relationship was something only the artists seemed to understand.
When I read about Nude Studies, I noticed that our textbooks across English, Hindi and Marathi used one common word – nude. There was nude photography, nude art, nude paintings and nude studies. There has never been a vernacular substitute for the word in the teaching courses ever since the school’s inception in 1856. I also realised that just like you need a dead body to study medicine, students need models to learn art. It’s not a hobby; it’s education. So I decided to stay calm and stick to the title.
How does the title justify the narrative of your film?
Through the life of a poverty-stricken mother, who takes to nude-modelling to fund her son’s education, my film explores the lives of so many women who do this as a full-time job. As a student, I wondered what the models told their families about their work and my film is an observation of this reality. For two years, my co-writer Sachin and I made sure nothing in any scene was vulgar or screaming for attention. That was our sole aim.
After two months of controversies, did you expect the film to get cleared as well as be appreciated?
Since the viewing committee was divided during the first viewing last year, the film was presented before Prasoon Joshi. In hindsight, I must admit that he organised a sensible committee because I was waiting outside for the results when I was told that Vidya Balan was watching the film. I was hoping that something good would happen. When the screening ended, I was told that the committee wanted to meet me and that’s when I got really anxious.
When I entered the room, Vidya ji stood up and started clapping. She praised the film and told me that I had handled a difficult subject beautifully and with sensitivity, also enquiring about the actress, Kalyanee Mulay, an experimental theatre professional, who plays the protagonist, and asked me to convey her compliments to her. She also praised cinematographer Amalendu Choudhary’s work and called me a ‘dignified filmmaker’. Everyone else spoke warmly about the film as well. Then, she announced, ‘it is a beautiful film and we are not going to cut anything. We are giving it a clean ‘A’ certificate’. I was speechless.
What does this development mean for film writers?
The Marathi film industry has been creating good content and with a big studio backing my project, it already makes a positive statement. But when the CBFC clears your film without any controversy it boosts the morale of new writers, directors, cinematographers, and even actors to a great extent, to stay patient and work harder. To not sensationalise or shout but to tell stories that are unique observations of the times we live in. Ten years later, even if one debutant tells me that he could make a film on a sensitive subject because Nude was given a clean chit, my job is done.
When National Award-winning filmmaker Ravi Jadhav began scripting a drama set in the prestigious JJ School of Arts with co-writer Sachin Kundalkar (also a National Award winner), he knew that they would have to be “patient, sensitive and aware that the context of the title of their upcoming project Nude could be gravely misunderstood”.
Last September, there was a disagreement within the viewing committee of the Central Board of Film Certification over the film’s ‘objectionable content’ and whether to pass it with an ‘A’ certificate or refuse clearance. This eventually led to the film being denied screenings at the International Film Festival of Goa (along with Sanal S Sasidharan’s Malayalam film S Durga) and the Kerala International Film Festival last year.
On Thursday, in a second viewing by a committee selected by CBFC Chief Prasoon Joshi, and presided over by actress and newly-appointed jury member Vidya Balan, Jadhav’s film was granted an ‘A’ certificate with no cuts and a standing ovation by the National Award winning actress. Excerpts from a conversation with the filmmaker:
Since the film’s title caused a lot of confusion over its content and premise, did you ever think of changing it?
I graduated from the JJ School of Arts with a degree in Applied Arts in 1995, while most of my friends studied Fine Arts. When I was a student, I was curious about what happened behind the closed doors of a completely sealed studio, outside which the words ‘Nude painting session on – Do Not Enter’ was inscribed. During lunchtime, the models would be seated just like anyone else and students would treat them with great respect, referring to them as ‘akka’ or ‘ma’am’. I even attended a few painting sessions and there was no vulgarity in the eyes of any student. The models, sometimes of the same age as the students, would sit naked for five-six hours before them and there was never any disrespect. This education-based relationship was something only the artists seemed to understand.
When I read about Nude Studies, I noticed that our textbooks across English, Hindi and Marathi used one common word – nude. There was nude photography, nude art, nude paintings and nude studies. There has never been a vernacular substitute for the word in the teaching courses ever since the school’s inception in 1856. I also realised that just like you need a dead body to study medicine, students need models to learn art. It’s not a hobby; it’s education. So I decided to stay calm and stick to the title.
How does the title justify the narrative of your film?
Through the life of a poverty-stricken mother, who takes to nude-modelling to fund her son’s education, my film explores the lives of so many women who do this as a full-time job. As a student, I wondered what the models told their families about their work and my film is an observation of this reality. For two years, my co-writer Sachin and I made sure nothing in any scene was vulgar or screaming for attention. That was our sole aim.
After two months of controversies, did you expect the film to get cleared as well as be appreciated?
Since the viewing committee was divided during the first viewing last year, the film was presented before Prasoon Joshi. In hindsight, I must admit that he organised a sensible committee because I was waiting outside for the results when I was told that Vidya Balan was watching the film. I was hoping that something good would happen. When the screening ended, I was told that the committee wanted to meet me and that’s when I got really anxious.
When I entered the room, Vidya ji stood up and started clapping. She praised the film and told me that I had handled a difficult subject beautifully and with sensitivity, also enquiring about the actress, Kalyanee Mulay, an experimental theatre professional, who plays the protagonist, and asked me to convey her compliments to her. She also praised cinematographer Amalendu Choudhary’s work and called me a ‘dignified filmmaker’. Everyone else spoke warmly about the film as well. Then, she announced, ‘it is a beautiful film and we are not going to cut anything. We are giving it a clean ‘A’ certificate’. I was speechless.
What does this development mean for film writers?
The Marathi film industry has been creating good content and with a big studio backing my project, it already makes a positive statement. But when the CBFC clears your film without any controversy it boosts the morale of new writers, directors, cinematographers, and even actors to a great extent, to stay patient and work harder. To not sensationalise or shout but to tell stories that are unique observations of the times we live in. Ten years later, even if one debutant tells me that he could make a film on a sensitive subject because Nude was given a clean chit, my job is done.
Vivek Agnihotri and others are giving funny reasons-Ravi Jadhav
7:50 AM
Chaya Unnikrishnan (DNA; November 17, 2017)
What is Nude about?
A woman from a less-privileged background earning her livelihood by modelling nude for an art school.
The fallout
Sujoy Ghosh, who was the chairman of the 48th International Film Festival of India (IFFI) 2017 Indian Panorama section, resigned on Tuesday in protest against the dropping of two films — S Durga (Malayalam) directed by Sanal Kumar Sasidharan and Nude (Marathi) by Ravi Jadhav. Writer Apurva Asrani, who was on the jury, followed suit. Reason: Both the films were rejected by the Ministry of Information and Broadcasting despite being selected by the jury constituted as per the Indian Panorama regulations. Soon after that, Vivek Agnihotri, convenor of IFFI, said in an interview that Nude was dropped because it came with a rider from the chairperson that it was incomplete. Goa Chief Minister Manohar Parrikar said, “Even if it is selected by the jury, if it is not completed and unless it gets a certificate from the Central Board of Film Certification, unless the entire procedure is complete and it is ready, it cannot be screened.” The man behind the film speaks:
Known for taking up bold subjects and dealing with them sensitively, National Award winning director Ravi Jadhav in his decade-long career has never been in the eye of a controversy despite his risque topics. But for the first time his upcoming film Nude finds itself in a soup thanks to it being dropped from the International Film Festival Of India that is to be held in Goa from November 20. Strangely, it has nothing to do with the content! The reasons for it being dropped range from it being incomplete to the title to not having a censor certificate. We spoke to Ravi to understand how a film that was said to be in consideration as the opening for the Panorama section got dropped...
Is it true that your film did not have a censor certificate?
Let me tell you that Vivek Agnihotri and others are giving funny reasons. Firstly, you don’t need a censor certificate at all for IFFI. When you enter your film, it is clearly written that the film has to be complete before July 31 or it has to be censored. There is an either/or. However, since the last two years censor is not applicable for the entry. Normally, once they select a film, they communicate to the producer one month before that they can get it censored, as the film is selected. There was no such communication.
What about the other point that your film is incomplete?
Four of my earlier films were selected for IFFI. So, I know exactly how to send a film. I don’t know if any of Vivek Agnihotri’s films have been selected for IFFI or not. And if it has been he should show it to me first! Since I have done it earlier, according to me, I had sent my film at least 99 per cent complete. The one per cent that is remaining is basically about the end-scroll that is normally done after the media partners come on board. That has nothing to do with the film. We get a letter from IFFI — at least that’s what used to happen in the last four years — stating your film has been selected and to send the complete movie. If you don’t send, then it gets rejected. Sometimes if there’s some content they feel that is objectionable they tell us to get it censored and give a month’s time, which is more than enough. But that also did not happen this time. There was no letter, no communication at all. The jury saying the film was incomplete doesn’t make sense. I have already won five National Awards so I know exactly know how it has to be sent. Also, only if it’s a complete film, will the jury be able to experience it the way it should. The fact that they were considering it as the opening film means it was complete. Even now they can release it in IFFI.
Do you think there was a problem with the title?
I don’t think there can be an objection to the title because the teaser that I released two days ago on social media has been censored one month ago, and it already had the title on it. I think there has been a miscommunication and now they are giving any reason. But I don’t know what exactly has happened.
What prompted you to take up this subject?
I have studied in an art school. And there are nude models, who are an important aspect of our studies because from them, we learn about anatomy — it is called body painting. It is known as nude art across the world. I was always curious to know how they lead their lives.
What do they tell their families about what they do?
Also, in today’s world when a woman walks out fully- clothed, too, some men look at them in a bad way, but in the art school, even when a woman sits nude before them, they don’t look at her wrongly. If everybody’s gaze became like an artist’s, it would be so good. That was the idea. I did not make the film to create controversy, I don’t want it. I haven’t done that before either. I only feel they should see it for its merit and not for the controversy. My earlier films, whether it was Natrang, Balak Palak, or Bal Gandharva, they would have become controversial, but they didn’t. Even my last film Mitwaa, which was about lesbianism would have been controversial, instead, it won the National Award.
Will you go to court?
I am thinking about it and if necessary, I will go. The list was announced just 10 days ago. Festival is starting on the 20th and there is a Saturday-Sunday in between. I don’t think anything will come out of it. My wish is that somebody sees the film. IFFI has decided whatever it wants. Now, I only want people to watch the film on its merit and I plan to release it in the next two-three months.
Riteish said I'm the most experienced debutant director in Bollywood-Ravi Jadhav
7:47 AM
Purvaja Sawant (BOMBAY TIMES; September 18, 2016)
Director Ravi Jadhav is
envied by his contemporaries in the Marathi film industry for the kind
of movies he has helmed. After all, whether it's the highly-acclaimed
Natrang or the blockbuster Balak-Palak, he has not just impressed
critics with his approach towards bold subjects but also consistently
hit jackpot at the box office. The National Award winner is now
making his Bollywood debut with the Riteish Deshmukh-starrer Banjo. In a
chat with BT, Ravi shares his experiences of working on the film and
hopes that his Midas touch will work in Bollywood, too. Excerpts...
You're having a good run in the Marathi industry. What prompted you to direct Hindi films?
I was intrigued by the life of banjo players across India. I thought a film about these people would be interesting. If I did it in Marathi, I would have to restrict myself to only street musicians in Maharashtra. I wanted to communicate to a wider audience, so I thought, I should make it in Hindi.
How challenging was it to make the shift to Bollywood?
It was very challenging. I think and visualise my films in Marathi. This time around, I had to treat the subject differently. I had to keep in mind what kind of music people throughout India like to hear. I believe the magic of filmmaking is to make people of different cultures and backgrounds fall in love with a simple story. And that's what I am trying to achieve.
Your first Marathi film Natrang won the National Award. Are you nervous about your Hindi debut?
Frankly, when I made Natrang, I didn't think it would win a National Award. But people loved it. I hope audiences fall in love with Banjo, too. But most importantly, the next time they pass by banjo players on the street, I want them to stop and admire them. I'm as anxious as a first-time director.
What inputs did Riteish give you while shooting for the film?
He made me comfortable on the sets. On the first day of shoot, he told me, 'Though this is your first Hindi movie, you are the most experienced debutant director in Bollywood!' And I agree. Since I belong to an advertising background, I like sharing and discussing ideas. In fact, the whole process of shooting was enjoyable. Genelia (Deshmukh) would get dabbas of food from home for everyone. Their son Riaan would visit the set in Worli Village. I would chide Riteish that Riaan was too young to come to such a place, as there would be open gutters and a huge crowd. But he told me he wanted his son to see the real India. So, we were like one big family.
Since you've worked with Riteish before, was he your first choice?
One of the main reasons we cast Riteish was because his character in the movie is a Maharashtrian. I wanted a Marathi manoos speaking in Hindi with the correct pronunciations and he fit the bill. Likewise, we chose Nargis Fakhri as she plays a girl from New York, who knows nothing about Mumbai and its culture. So, she looks natural in the film because she is playing herself. In fact, Nargis told me, 'This is the first time I'm not using wigs, wearing heavy lehengas, or playing a Punjabi kudi'. She has done such a fantastic job that people will be surprised.
Do you think Marathi cine ma will get a boost if Bollywood stars decide to act in regional films?
Definitely. Be it Priyanka Chopra or Ajay Devgn, many actors are producing Marathi films. I feel blessed that I am working in the movies at the right time, because today, the biggest stars are looking beyond the typical song-and dance routine and are interested in doing films which have great content. And Marathi cinema has some good stories.
Any plans of getting into Bollywood full time?
I will try juggling both the industries. This will depend on how Banjo fares. In Marathi, I want to do small-budget films with good scripts.
You're having a good run in the Marathi industry. What prompted you to direct Hindi films?
I was intrigued by the life of banjo players across India. I thought a film about these people would be interesting. If I did it in Marathi, I would have to restrict myself to only street musicians in Maharashtra. I wanted to communicate to a wider audience, so I thought, I should make it in Hindi.
How challenging was it to make the shift to Bollywood?
It was very challenging. I think and visualise my films in Marathi. This time around, I had to treat the subject differently. I had to keep in mind what kind of music people throughout India like to hear. I believe the magic of filmmaking is to make people of different cultures and backgrounds fall in love with a simple story. And that's what I am trying to achieve.
Your first Marathi film Natrang won the National Award. Are you nervous about your Hindi debut?
Frankly, when I made Natrang, I didn't think it would win a National Award. But people loved it. I hope audiences fall in love with Banjo, too. But most importantly, the next time they pass by banjo players on the street, I want them to stop and admire them. I'm as anxious as a first-time director.
What inputs did Riteish give you while shooting for the film?
He made me comfortable on the sets. On the first day of shoot, he told me, 'Though this is your first Hindi movie, you are the most experienced debutant director in Bollywood!' And I agree. Since I belong to an advertising background, I like sharing and discussing ideas. In fact, the whole process of shooting was enjoyable. Genelia (Deshmukh) would get dabbas of food from home for everyone. Their son Riaan would visit the set in Worli Village. I would chide Riteish that Riaan was too young to come to such a place, as there would be open gutters and a huge crowd. But he told me he wanted his son to see the real India. So, we were like one big family.
Since you've worked with Riteish before, was he your first choice?
One of the main reasons we cast Riteish was because his character in the movie is a Maharashtrian. I wanted a Marathi manoos speaking in Hindi with the correct pronunciations and he fit the bill. Likewise, we chose Nargis Fakhri as she plays a girl from New York, who knows nothing about Mumbai and its culture. So, she looks natural in the film because she is playing herself. In fact, Nargis told me, 'This is the first time I'm not using wigs, wearing heavy lehengas, or playing a Punjabi kudi'. She has done such a fantastic job that people will be surprised.
Do you think Marathi cine ma will get a boost if Bollywood stars decide to act in regional films?
Definitely. Be it Priyanka Chopra or Ajay Devgn, many actors are producing Marathi films. I feel blessed that I am working in the movies at the right time, because today, the biggest stars are looking beyond the typical song-and dance routine and are interested in doing films which have great content. And Marathi cinema has some good stories.
Any plans of getting into Bollywood full time?
I will try juggling both the industries. This will depend on how Banjo fares. In Marathi, I want to do small-budget films with good scripts.
We too face many issues with Censor Board-Ravi Jadhav
8:08 AM
Marathi filmmaker Ravi Jadhav lambasts the way regional films get treated by censors, while Bollywood gets all the attention
Sonali Joshi Pitale (MID-DAY; September 9, 2016)
There has been much tussle between the Central Board of Film Certification (CBFC) and Hindi filmmakers in the past, around content leaks, muting of
dialogues and deleted scenes in films. Does the Marathi film industry
face similar issues, or do they have an easy way out with the CBFC? Ask
Ravi Jadhav to shed light on this, and the top Marathi filmmaker
instantly opens up. Jadhav says, “We have to deal with various diktats. The only difference is that Marathi producers make films on a tight
budget, so they do not have the money to fight against the censor board. In fact, during the release of Balak Palak (2013), the censors had
objected to the title itself. I had a tough time convincing them to
change their mind. Moreover, even if we face problems, we can only reach
out to a limited section of the media. The issue doesn’t get
highlighted and we don’t gain publicity either, quite unlike
Hindi films.”A fortnight ago, as reported in hitlist, the political party Maharashtra navnirman Sena had objected to MS Dhoni’s Bollywood biopic being dubbed in Marathi. On this, Jadhav says, “I don’t think it is a big issue. I don’t think Ramayan and Mahabharat were written in Marathi or Hindi originally either. Translating a book or film should not be a problem. “It does become a big problem if they (the makers of the Dhoni biopic) seek benefits given to Marathi films — like prime-time slot in theatres, and tax concessions. That would be unfair, as Hindi cinema already enjoys luxury of huge budgets. and Marathi audiences would go to watch the film in Hindi anyway, since Dhoni is a national hero.”
Jadhav incidentally makes his Bollywood debut with the forthcoming release, Banjo.
Subscribe to:
Posts (Atom)