Art of learning

digitalised version of Satyajit Ray’s Pather Panchali a few years back and was smitten. Watching cinematic works of art was a transformational experience. I decided I loved cinema in a different way and maybe I want to make films.”

Tamhane’s own cinematic creations have veered towards the thought-provoking right from the start. His first film, a documentary he made as a college student, was about plagiarism in Indian cinema. With a tinge of regret, he says, “It was my heartbreak moment, my divorce from Bollywood because so much of the music I grew up listening to or so many of the films I watched were lifted or inspired from other films.” The documentary won him both friends and enemies.

His first dramatic film, Six Strands (2011), was set in Darjeeling where the world’s most expensive tea is produced. It dwelled on a lonely tea plantation owner who produces tea under mysterious circumstances. Tamhane recalls, “I borrowed money from my father. The film travelled to several festivals internationally. It gave me confidence.” Soon he achieved his breakthrough with the National Award-winning Court (2014).

ALL OVER

THE SHOW (Clockwise from top) Stills from Six Strands, Court (inset) and The Disciple

Tamhane throws me a curve ball when he reveals he has no background in Hindustani classical music, yet chose to embark on The Disciple which centres on that theme.

Adventurous? Tamhane chooses to see it as a process of discovery, and, in hindsight, feels it sensitised him to the rich legacy of music, its nuances, history and contradictions while offering him an insight into the minds of musicians.

It took Tamhane two years to write the script. He travelled across India “almost like a journalist”, befriended musicians, stalked them on social media, watched documentaries and read books on the subject.

Tamhane has an ear for music but confesses he can’t sing. He has eclectic taste in music: Indian and western classical music, SD Burman compositions from the 1950s, ghazals and alternative music.

The director’s love for music is evident in the way he paces the film like a layered melody. The Disciple subtly comments on various facets of the music world – artistes who choose to be crowd pleasers, the apathy towards the work of musical masters who are not ‘popular’, the struggle of the artiste to maintain family equilibrium, all without assuming an air of moral superiority.

“I WAS BORN IN A WORLI CHAWL. MY UNCLE WAS A PLAYWRIGHT AND MY MOTHER USED TO TAKE US TO THE THEATRE WHEN WE COULD AFFORD IT” —CHAITANYA TAMHANE

Production designer for Court “Chaitanya is a perfectionist, so working with him is a back and forth process. He gives the technicians their space but at the same time he is fully aware of the choices we make.”

Quiet is golden

In an introspective moment, Tamhane reveals, “I have a tendency towards quiet films that are not very overt in nature. Maybe that’s a reflection of my own personality and how I look at the world.”

I convey Sharman’s compliment and he is pleased. “There’s a lot of detailing that goes into the production design, casting and scouting for locations. We strive to add detail to the images you see on screen.”

When I share an observation that his films are limned with humour, he exclaims, “You are the first to notice it, I am happy. Most critics don’t seem to acknowledge it. I look at my films as tragi-comedies. I find a lot of humour in them.”

His next feature is anticipated now. The chances of him making a candy floss film are dim, but he doesn’t abolish the thought. He maintains, “The idea has to come from within me.”

As for the cast, there is only one actor Tamhane was very keen to work with. “Irrfan Khan. It was heart-breaking when he passed away last year.”

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