Rahul Bose talks to Prasidha Menon about the making of Shaurya and the trials and challenges of life behind the grease paint
You started with experimental cinema and have now stepped into more commercial films. Is this a conscious move? How has the journey been so far?
It hasn’t really been a journey of art to commercial, that’s absolutely incorrect. Out of the nine films that will be ready for release in June this year, five will be art house films like The Japanese Wife by Aparna Sen, Santosh Sivan’s Before The Rains, Santosh’s Dahan, Rajeev Virani’s The Whisperer and Tony Roy Choudhury’s yet-to-be-titled next Bengali film. Bubble Gum by Anil Sharma with Konkona, Irrfan and Soha, is also just about relationships between men and women and is not at all commercial. Maan Gaye Mughal-e-Azam is an over-the-top black comedy and I am doing this because I have never done something like this before. The other one that I am doing, which can be construed as commercial, would be Shaurya, though there is no singing and dancing in Shaurya. It is a court-room drama. This is a genre that I haven’t really tried. Also, I haven’t really tried action films, which I want to by the end of 2009. I agree that two or three of these choices are commercial, but there is no movement from art to commercial, it is about doing world cinema most of the times and sometimes branching out and going for mainstream commercial cinema.
Your next release would be Shaurya, tell us a bit about your role.
It’s straight-up court-room drama; it is not an army film. It is not about war or killing. It follows the dramaturgy, the arc and the narrative of a court-room drama with the backdrop of the army. It is around a court marshall. That being the case, this is a film that has me playing a lawyer defending an impossible-to-defend case! There is an officer in the army who has shot down his senior officer at point blank range and has confessed that he is guilty, is court marshalled, and so it is an open and shut case.
You started with experimental cinema and have now stepped into more commercial films. Is this a conscious move? How has the journey been so far?
It hasn’t really been a journey of art to commercial, that’s absolutely incorrect. Out of the nine films that will be ready for release in June this year, five will be art house films like The Japanese Wife by Aparna Sen, Santosh Sivan’s Before The Rains, Santosh’s Dahan, Rajeev Virani’s The Whisperer and Tony Roy Choudhury’s yet-to-be-titled next Bengali film. Bubble Gum by Anil Sharma with Konkona, Irrfan and Soha, is also just about relationships between men and women and is not at all commercial. Maan Gaye Mughal-e-Azam is an over-the-top black comedy and I am doing this because I have never done something like this before. The other one that I am doing, which can be construed as commercial, would be Shaurya, though there is no singing and dancing in Shaurya. It is a court-room drama. This is a genre that I haven’t really tried. Also, I haven’t really tried action films, which I want to by the end of 2009. I agree that two or three of these choices are commercial, but there is no movement from art to commercial, it is about doing world cinema most of the times and sometimes branching out and going for mainstream commercial cinema.
Your next release would be Shaurya, tell us a bit about your role.
It’s straight-up court-room drama; it is not an army film. It is not about war or killing. It follows the dramaturgy, the arc and the narrative of a court-room drama with the backdrop of the army. It is around a court marshall. That being the case, this is a film that has me playing a lawyer defending an impossible-to-defend case! There is an officer in the army who has shot down his senior officer at point blank range and has confessed that he is guilty, is court marshalled, and so it is an open and shut case.
My dear friend, Javed Jaffrey, plays the prosecutor and I am defending the case where I have nothing to defend until a journalist (played by Minissha Lamba) walks up to me and tells me to have a second look. When I take a second look, nothing seems like what it was. The movie is then all about my journey to get justice and how I take on the system.
Source : IIPM Editorial, 2012.
An Initiative of IIPM, Malay Chaudhuri
and Arindam Chaudhuri (Renowned Management Guru and Economist).
and Arindam Chaudhuri (Renowned Management Guru and Economist).
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