In its 20th year of release, Satya continues to be a benchmark in gangster films. And the actor who got the maximum mileage out of the Ram Gopal Varma film was Manoj Bajpayee. The actor recently joined hands with Varma again in Sarkar 3 but the result was not as explosive. “The respect that I am getting today is all because of him. It is a privilege to be part of his film,” says Bajpayee. In Delhi for a film festival, the actor opens up on the changing grammar of Hindi cinema, nepotism and alleged favouritism in selection for film awards. Excerpts:
How do you see the changing nature of filmmaking where star image has taken a back seat?
Earlier films were meant only for entertainment but now filmmakers, who are products of these times, do not compromise on real stuff. That is why storytelling has become more convincing. For example, Mafia had a stylistic representation with three piece suits and high life but with Satya people got to know how ordinary these people really look. Bandit Queen and Satya were those films which had challenged the style of that time and Gangs of Wasseypur took that to a newer level where every character artist was given a chance to express himself fully which was not the case with old hero centric films. This attitude made films more believable.
But the success of La La Landin Hollywood suggests that still there is an appeal for musicals, which Bollywood is producing in large numbers..
Hollywood makes one La La Land in ten years and we make 100 La La Lands kind of films every year, many of whom lack in quality. It is fantastic that lip syncing and dancing are not used by new filmmakers and the music is not in your face rather it is used to lend a mood to the film. In Queen, songs were the part of events happening in the story and that is where we enjoy music. We dance at weddings, we lip sync at bars and discos and there are special moments in life which need background music. It should be depicted in films in the same way.
This new realistic film culture has also given a new recognition to theatre artists. Being a practitioner yourself, what creative edge according you, does theatre give to an actor?
When I came to industry, theatre persons were regarded as those people who will only ask questions and will be an annoying factor on the set and there was no preference given to them. But now every actor wants to do theatre because it is something which gives them the image of good actors. The importance of theatre training has enhanced because the audience is expecting them to come with certain preparation. Theatre is a very difficult medium which does not give money to actors but it makes the personality multi-dimensional. We don’t have dearth of talent as most learn it for performing on a bigger platform, that is cinema.
You are one of those actors who are vocal about nepotism present in the industry. What is your advice to youngsters who struggle to get an entry?
See, nepotism is there but can you help it? There is no competition like the UPSC to be an actor or to be launched in a certain film. So, the stars who have already roughed it out in their initial years, they will make sure that their children should find it easy. No matter how much you shout, it is going to be there and it is the audience who should respond to it. I am not the only one who comes from the small town, there were so many before me who made their mark. It is just that the people who are coming from the outside, they have to really prepare themselves, learn their skill and craft and rough it out. There is no other way, and definitely complaining about nepotism will not help.
You were ignored yet again for the National Award this year despite a brilliant performance in Aligarh
Let us look it this way — award winning or losing should not define you as an actor or as a person. I will be a loser, if just by losing an award, I am depressed or frustrated. There have been too many occasions in the past where I deserved an award but did not get it. What is the solution? You move on and try to be sincere and dedicated to the job. I do not mull over it. I am not saying it to create an effect but I do not expect any kind of award or recognition after the film is over. I work for the director and if audience are happy, I have gotten my award. After that, I have to move on.
You are also working in some prestigious international projects. Tell us about them
In the American production Love Soniya, I’m playing a bad guy who runs a brothel and in the British German production In the Shadows, I have a role which is the toughest role in my life and demanded lot of preparation. While shooting in Old Delhi, I did not meet any friends or relatives as I did not want any sort of disturbance. I think these days the professionalism of Indian film industry has reached a point where the working pattern is similar to the west. Because of corporate interests and budget constraints, it is increasing the efficiency rather hampering the creativity. You cannot just go on in the name of creativity; there has to be a cap somewhere.
What does international recognition mean to you?
Actors will go anywhere for a good roles, respect and money — be it outside the country or other film industries within the country. We don’t depend on any other country to give us an image. If I get a role outside the country, I will not be creating an identity for Indian film industry. It already has an identity of its own. My job is to represent it in a right way.