‘CINEMA IS A POWERFUL TOOL’
Bhumi Pednekar says “films can be used to educate society", so that audiences “exit the theatre having learnt something”
They impressed audiences as well as critics with their chemistry in Dum Laga Ke Haisha (2015). And when Ayushmann Khurrana and Bhumi Pednekar visited the Hindustan Times office for an On-Record@Café to promote their upcoming film, Shubh Mangal Saavdhan, the comfort and camaraderie between them was evident. But it wasn’t just fun, banter and laughter, as the actors alongwith film-maker Aanand L Rai and director RS Prasanna spoke at length about their careers, lives and why they choose to make “different films”.
Both of you recently delivered super hits (Toilet: Ek Prem Katha and Bareilly Ki Barfi respectively), and now have a new film coming up. Has the pressure increased?
Ayushmann: I feel relieved in a way. The positivity of these two films will trickle down to Shubh Mangal Saavdhan (SMS). People loved our last films, so I hope that the cumulative positivity of these films will reflect on SMS. Bhumi: I completely agree. Toilet was my second film, so there was immense pressure to succeed. I am glad it did well. I am happy that Bareilly Ki Barfi did well too. I think the audience will be excited to watch SMS, because they loved our previous performances.
The movie highlights the issue of erectile dysfunction (ED). Aanand, such a topic is tricky to deal with, as the balance between humour and crassness can be difficult to strike…
Aanand: The audience gives us the power to make such films. Sometimes, they lead us and tell us to attempt something we hadn’t tried earlier. There is a mutual understanding between filmmakers and the audience. I feel that we will be able to make more progressive films in times to come.
What made you accept the script, given its theme?
Aanand: The intention with which Prasanna came to me was more important [than the theme]. As Prasanna mentioned, it’s the need of the hour to bridge the gap between generations and get families involved on a subject like this. A lot of problems exist because we are hesitant to talk about them. It’s time we come out and talk about everything. That’s what families are for. Hence, I felt that it was the right time to make this film.
Prasanna, are you feeling pressured?
Not really. Initially, I did not know if the audience would accept the film. I thought that if the conservative Tamil Nadu audience accepts it, then with Aanand sir on board, I would be able to add humour and depth as well. So, there is no pressure, because I know I have a great team.
Ayushmann, Bhumi, how did your families react to the script?
Bhumi: My mother’s reaction was fantastic. It’s not like people are unaware of the issue of performance anxiety. They have to treat this problem like any other problem, because this is something that you can get a solution for. Ayushmann: My wife (Tahira Kashyap) writes and has directed short films as well, so she took it positively. We have to break the stereotype that men generally don’t talk about such issues. If we can talk openly about women’s issues like infertility, why can’t we do the same with men? Bhumi: Denial is a major problem. You associate so much of your self-respect and ego with that organ that if you fail to perform, the society tells you that you are not a complete man. Even girls start questioning themselves; they start feeling that they are the problem. The simplest solution is communication. Ayushmann: This film’s message is to talk about it. It deals with the unusual topic of performance anxiety, in the usual setting of a middle-class family. It evokes a certain sense of humour when they talk about it. It is a humorous film with a message.
What kind of research was done for the film?
Ayushmann: The initial research procedure was to read columns in the newspapers. They are very funny, which goes to show that we have zero sex education in India. There is no awareness, which should be brought about by parents.
Bhumi, with films like Toilet, SMS and Padman being made, there has been a wave of films based around on taboo topics…
Today, we have realised that cinema is a powerful tool that we have, which we can use to educate society, and now that is happening. But these are not documentaries; these are films. There is drama, action and emotion. In the end, you exit the theatre having learnt something.
Bhumi, talking about Shubh Mangal Saavdhan, do you feel today we don’t want to brush things under the carpet anymore, and talk about taboo topics?
Yes, there were so many things that were a taboo around 50 years ago. It’s in our hands to change those things for the coming generation and that is what we are trying to do [in the film].
Prasanna, when you thought of making a film on Erectile Dysfunction (ED), were there any dos and don’ts or preconceived thoughts in your mind?
There were only two guiding mantras — first, to keep it simple and the other one was, no matter how bizarre the scene is, if I don’t believe it can happen in real life, I won’t retain that scene. For example, if Erectile Dysfunction happened to me, is this is how my wife, my father or my father-in-law would react? I wanted a sense of plausibility. The script gave me the confidence that people would laugh. But, my job as a storyteller is to also ensure that the real fabric doesn’t break open.
You have been fearless in your choice of debut films-Ayushmann with Vicky Donor (2012) and Bhumi with Dum Laga Ke Haisha (2015).
Ayushmann: We have no option but to be fearless. We started as unconventional actors and are treading the unconventional path. We are fortunate that in this age of unconventional cinema, we are getting commercial success. We can afford to be fearless. Bhumi: In my case it was my first film and it was my passion to be an actor. Like Anand sir said, I tasted blood with DLKH and that thrill and excitement of doing something different, that appreciation you receive, keeps you going. The way the audience reacts to your work gives the confidence to break barriers; you become fearless.
Aanand, as a producer, when you get a script do you follow your gut feeling?
From the core of my heart, I am a director, but I needed a production house to function the way I want to by taking control of things. Once it was set, I thought, ‘Why don’t I use it for other directors like me, and make their lives easier’? I know what one goes through if one doesn’t get the right producer for a script. So, it’s just another role of a director when I’m producing a film — it’s about loving a script and go going for it. And, more th than that, I don’t take the pressurepr of box-office business.bu I have been able to manage that without loo looking at account books (sm smiles).
Aanand,Aan you make simplistic unconventionalunc films. Is it organic or a conscious decision to do something different?
No, it isn’t planned. When I thought about Tanu Weds Manu (TWM; 2011), I made it after a failure of two films. I knew that was the only chance I had. One day, after TWM [was complete], I told my wife, ‘Don’t worry, I will definitely make money’. To which, she said, ‘So, you mean to say you’re making a hit film’? I said, ‘No, I am making the right film, but I’ll make money if the film is a hit. If it is not a hit film, I’ll do something on television and still make a lot of money’. So, after Tanu Weds Manu did well, and received good feedback and reviews, I got another life.
From the core of my heart, I am a director... I don’t take the pressure of box-office business. AANAND L RAI, FILM-MAKER