Powerhouse Jha
Aarakshan asks some pertinent questions on the issue of reservation in India. Prakash Jha in conversation with Manju Ramanan
Power infused cinema has been called your signature style? Is it deliberate?
This is a case of ‘apne muh miya mitthu hona’. Yes, I try to structure my films to narrate a powerful story through character and drama. I have a strong social message to convey, because that is the way I am. My films are extensions of my personality. However every aspect of the film should contribute to the main plot. When people go to watch a film, they are there to experience it, to watch it, be enamoured by the characters in it, identify with the issues – all this has to be included in the screenplay and shared throughout the film through story, music, action, visuals and character. There should be one aim.
How much is young cosmopolitan India aware of political and socio-political issues?
On the whole they are aware, but they are not aware enough of the intricacies. A lot of people don’t read enough. So, while they know of blanket issues like corruption etc, they are unaware of injustices at all levels. My job as a film maker is to educate them through my craft and bring about these intricacies and complexes by telling a story that matters to them.
Did you have to go through casteism yourself?
I was born into a ‘high caste’ and my profession always insulated me. But I have seen the pain people go through. I belong to a feudal village in Bihar and do understand the dynamics of casteism, which is regressive. One of my films Tamul dealt with this issue.
What is your stand about reservation? Do you see casteism vanish or weaken in the future?
It cannot vanish. If the nation has a more inclusive growth in all sections of society, it will dissipate and that is the only growth. Casteism exists everywhere - in cosmopolitan cities too but maybe people there don’t care. Only when the industry takes over the ways of society, it makes a difference. In an agrarian society, the caste factor continues and during elections, votes are calculated through the caste factor.
Are the characters from the film inspired from real life?
Aarakshan has been written by me and Anjum Rajabali. Characterisation and dialogues have been derived from real life and so is the location of the shoot.
Mr Amitabh Bachchan has borrowed your look in the film?
(Laughs).... Something like that! We wanted him to look more academic, so he has a full beard instead. The man is like a child, hungry for work and such an inspiring institution. Ever since Mrityudand, I was looking for an apt story that could feature him. He has great preparation for the character and is always before time. That kind of discipline is legendary.
You have hit upon several cliché’s in the film – ‘shining India’, ‘casteism’ etc?
Shining India is a small part of India. In Mumbai you have schools where parents pay a lakh of rupees a month as fees and there are parts of India where there are millions of children who don’t get the basic opportunities. I am passing through Koliwada just now and I am appalled by the way people live in filthy and dirty surroundings and the same city has homes that cost 500 crores. What kind of India is this? This is what I am talking about in the film.
What about the music of Aarakshan?
There are four songs in the film. Mauka is a romantic number, then Deepika asked for the song ‘Seedhe point pe aao’. We have a motivational song Roshni… and Saans Albeli is sung by Channulal Mishra a 75 year old singer who has never sung for a film before. Shankar-Ehsan and Loy have woven magic with him. Saans…is composed by Prasoon Joshi and is about life and breath. It comes at a crucial juncture in the film, when all relationships seem to be breaking. New-York based composer Wayne Sharpe and music editor Tim Starnes have come up with the perfect background score for the film. This was done through skype.
How much did you change your star cast’s idea on reservation?
I don’t think they knew much about it. Bachchan saab knew. But I continuously had sessions with Saif, Deepika and Prateik to make them understand the nuances.
What is your take on contemporary Indian cinema? Does it hide under candy floss entertainment and not usually tackle a real issue?
People are doing all kinds of experiments. New kind of cinema is happening. I don’t think that candy floss is ruling the roost. All kinds of things are happening.
What are the recent Indian films you have admired and liked?
I don’t watch too many films but in every film there are some outstanding things and some are likeable. But I am glad that low budget experimental films are happening. Chak De was an honest film and had tremendous cinematic structure and drama, Three Idiots was a tremendous film as far as entertainment was concerned. I might or might not agree with the message but yes, it was a meaningful film.
Tell us about your NGO.
We are trying to build a hospital. Every month I visit my father in Patna. We also have a TV channel.
What about your forthcoming film Satsung?
I am still working on it. Again, it has got to do with society in the conception of development.
