Omung Kumar is a confident man. He is ready to talk about his previous film when situation demands him to stay rooted to Bhoomi. Omung’s first two films established his image as an expert on biopics. While Mary Kom punched its way to box office and critical acclaim, Sarbjit was not as lucky. “The last biopic was by default,” he clarifies. “I was supposed to do something else but the producer compelled me to do it and the story won me over. I was apprehensive that I will be labelled as a director of biopics. I wanted to prove there was more to me. Both films were not what I am.” Indeed. As an art director, Omung was known for huge, colourful sets. With him on board, even Black looked vibrant.
“Yes, I was expected to make films with big sets and larger than life characters. With these two films, people started taking me seriously. People tend to forget that acting was also my forte. Being the son of two FTII graduates, I have inherited something,” he laughs. “It was when I didn’t get opportunities in front that I went behind the scenes. However, I feel I have the skill to eke out performances from my actors.”
Some critics felt otherwise in Sarbjit as Aishwarya Rai was found off the mark. “I stand by the tone of the film and the choice of actors. I still believe Ash did her best work and whenever I watch it, I cry at moments where I am expected to. Jahan aansoo aane chahiye, wahan aate hain.” Well, that used to be a measure of melodrama many years back but we move on.
We meet just before Bhoomi’s release and one could sense that rather than the father-daughter story, it was fast becoming Sanjay Dutt’s comeback vehicle. “Had the pressure been there, I would have changed the title. The story is supreme and Bhoomi is a metaphor for many things. A woman is assaulted every 20 minutes in India. We studied many such stories and then wove the script around a father-daughter relationship. Had Sanjay wanted to exercise his whim, he would not have picked this story for his comeback. He had many options.”
But isn’t the father going to control the proceedings after the assault? Many see it as male dominance of the narrative where the woman is reduced as a tool for spurring emotional upheaval around honour and all. “Did you complain when mothers were in control in Maatr and Mom. Was it okay, then?” counters Omung. “Here we have shown father and daughter as equal partners in taking revenge.”
Seeking revenge
Bollywood is seeing a spurt in films where parents are seeking revenge for the crime committed against their daughters. It seems like it is a reflection on our criminal justice system where films are suggesting that taking law in your hand is the only way out. “Add Kaabil also to it, and you will find that there is a series of revenge films that have made it to theatres in last few months. It is nothing new though. Many years back, Sanjay Dutt himself featured in a film called Pitaah (where he avenged the brutal assault on his young daughter).” Omung agrees it suggests that justice should be delivered more promptly. “We have seen that when the media makes hue and cry, people stand up for the victim and the criminal justice system shows more alacrity but in cases which are away from the spotlight it is still the same old story. I am not saying that this is the right thing to do but if people won’t get justice, this could happen.”
Having said that, he quickly adds, “I am not making a biopic again. It is a thought provoking entertainer where the action is raw and real. The idea is to make people feel the anger and back the protagonist.”
Somebody who loves to act out scenes to his actors, Omung’s working relationship with Sanjay Dutt is interesting to explore. “See, he is an impromptu actor. He doesn’t rehearse. You give him a ten page dialogue, and he would retort, ‘is it necessary?’ In the crucial court room sequence, I had to say, it is. He said that he would say it only once...‘Jitne cameras lagane hai laga le.’ He did it in one take but I had to capture the reaction of other actors!”
Apart from the court scene, Omung says Dutt would pick one line from 10 lines written. “He would say only the most powerful line and I didn’t mind it because the other nine he would emote through his face. He has aged gracefully. His eyes and each wrinkle express pain and anguish.” In contrast, his friend Shekhar Suman was eager to add his own lines to the script. “In his case, I had to tell him that eventually only one will make it to the final edit.”
Filming at Taj
Shot in real locations in Agra and Chambal region, Omung says he was not interested in shooting in front of the Taj Mahal. “I was more interested in capturing the monument from a small windows of the modest houses that are located at a distance behind the Taj.” Meanwhile, his imposing sets of Jhalak Dikhlaa Jaa, The Voice and now The Drama Company are garnering attention. “Next is Bigg Boss. That is a different side of me.” And before one could say anything, Omung sums up, “And one day it will reflect in my films.”