How excited are you about Laapataa Ladies (LL)?
Very. As the film nears release I’ve butterflies in my belly because this is a completely different character. Anticipating the reaction is exciting.
What’s so different? Was it a challenging role?
Without specifics I’ll only say I play a woman from UP. We had dialect teachers to help with the dialogue. We theatrewallahs can mug lines and mirror the dialect coach’s diction. That’s not all. One has to then bring layers to the character. Effortlessly. So that audiences forget Chhaya Kadam and remember only the character.
Is this a long role?
There are no long/short roles. An impact can be made even with the briefest role. Sometimes a look, glance or blink can work. Look at my role in Pachuvum Athbutha Vilakkum (Malayalam). There was a kernel to Nani’s character and she was significant to the plot. Legend Mohan Agashe who played my husband had a smaller role with no lines, yet look at his impact.
What was Kiran Rao like as a director?
Her clarity of thought, participative and democratic style and the way she values the actor’s take on the role makes her a delight to work with. She has followed my work and knew finer details of my Nani in Fandry. That set us off. For my character in LL I kept finding nuances like speaking style, gestures, look and the way she carries herself. Excitedly I’d share this with Kiran who’d then suggest how to incorporate it.
You’ve worked with Nagraj Manjule, Ravi Jadhav, Mahesh Manjrekar, Sanjay Leela Bhansali, etc. How would you compare Kiran Rao’s style vis-à-vis them?
Comparison is wrong. Every filmmaker’s unique. If Nagraj Manjule had made Gangubai Kathtiawadi, his take would’ve been completely different from Bhansali’s. Ultimately the audience decides what works. Kiran Rao’s direction is more realistic than stylized and finally film is a director’s medium.
And you’re a director’s actress?
Yes. It comes from working in theatre under legend Waman Kendre’s direction. During Zulwa, he scolded me daily, no matter what. So much so, I began questioning if I could act. Once he even threatened to hurl a heavy chair at me for not getting something right (Laughs). It made me push harder and grow. A bit from every role stays with you lifelong. Working with different styles/schools enriches the actor within.
Don’t you want to play the lead?
(Laughs) I’m the lead in the forthcoming Jacob Paul film - Pedigree. It’s a silent film. I also play a Christian character for the first time. The different plot and treatment make me excited about how audiences will react.
You’re also in Kunal Khemu’s directorial debut Margao Express…
Kunal is such a fun person. He’s himself a fine actor… He should’ve got the National Award for best child artiste for Zakhm. His understanding of the medium is exceptional and adds to his filmmaking.
You’ve several other films coming up…
Shhh! Nazar mat lagao (Laughs)... Yes there’s Bardovi, Blackout, Alchemist and Privacy. It is not like all these happened together. The releases have bunched up.
Isn’t that a good thing?
I don’t know. I’d rather a film came out consistently every week so that my outings on the screen are evenly spread out. But I’m not complaining.
Many of your films are with debutante young filmmakers.
They’re all so phenomenally talented with the perfect passion-conviction mix. They want to tell different stories, differently. So much so, their conviction makes producers wager money on them. This has changed the game and opened doors to a new filmmaking grammar.
Do you worry about being typecast as an underdog?
Each actor must choose whether or not to take the easy route of assembly-line films. I’ve turned down many. In the recent past l avoided ‘nauvari-clad’ roles. Nothing wrong with characters in nauvari. I needed a break. I’d like to play a two-car owning Shivaji Park/Vile Parle resident investment banker/cardiologist. Hope word gets around (Grins).
After Pachuvum... are you planning more Southern films?
I’m in talks with some South directors but nothing’s finalised. Ideally I’d like to work in all Indian languages.
Have you encountered any anti-Marathi prejudice?
Bollywood largely respects Maharashstrian actors – especially those with a theatre background – for their talent, work ethic and punctuality. I’ve had no issues. Only once I lost it with a director (Taleem) who kept saying, “Don’t do it like a Marathi actor/film.” Till he said it to me I was quiet. Later, I saw he was also saying this to national awardee Mitali Jagtap. I stopped the shoot and asked: “Are you saying Marathi actors are bad? Are Marathi films bad? How can you say this about an industry which played midwife to Indian cinema? If you have such a problem with the language why are you even making your film in Marathi?” Realising his game was up, he apologised and did not bare his fangs of prejudice again.
Do you see yourself doing theatre again?
Why not? Like cinema, theatre too has its own charm. Cinema may have money but only theatre can thrill you with a live audience response. Theatre will always be my first love. Never say never!
