Despite not being trained as a filmmaker, all of Nandita Das’ films have been masterpieces, from Firaaq to the recently-released Manto. Nandita’s in-depth and insightful understanding of Saadat Hasan Manto, the legendary Urdu writer, is reflected in the film. The idea to make a film on him came to Nandita in 2012, the year of Manto’s centenary celebrations. In an interview, she speaks about her inspiration for making the film.
Manto is not a typical biopic. How did you develop the storyline of the film?
In biopics we tend to glorify the person. What interests me about Manto is that he was like us, he had contradictions and he wanted to show reality as is. He did not shy away from depicting any blemishes, even when it came to himself. I think he would have like to be shown with his faults. What is most inspirational about him is that he wrote honestly about the things he saw. He deeply cared about the universality of human experience. He talked about humanity that is beyond narrow national identity, gender, religion and caste, and that is why he is so relevant today. He had six trials against him and he still fought for freedom of expression.
How did you identify with Manto’s views?
Journalists, writers and artistes are all being silenced today. Gauri Lankesh was a friend of mine, and I am deeply disturbed with what happened. I thought that through a film on Manto, I could express my pain over these matters without being didactic. I wanted to revisit history but in a way that speaks to us today. How do you show pain? It comes out in your work. My helplessness with everything that is happening around me has channeled through this film. His stories are about the individual impact of the Partition.
You have been researching Manto’s life and works since 2012, did the storyline of the film undergo changes as you gained a deeper insight on him?
The idea kept evolving. I deeply dug into material, while the draft kept getting narrower. I did not want to create a cradle to grave biopic. What I wanted to do was to evoke ‘Mantoiyat’, that feeling about being free spirited and courageous, something we all want to be. But we stop ourselves, so when someone speaks their mind we look at them with admiration. It gives us courage. So I think we need such role models. Manto showed us that despite facing all kinds of challenges he continued to write, he continued to speak out.
How did you recreate Bombay of that era?
It was challenging. If you see the Bombay of today it is so different. I wanted to create a context that is real and authentic for the audience, and yet tell a contemporary story. But I must transport them first to that period because Bombay is almost like a character in his stories, so it has to be in the film.
During Manto’s time, he was criticised for his views on women. But Manto had deep respect for women. What are your views on that?
He had deep empathy for women. Someone once asked him how do you write about women? He said: Aurat ke baare mein likhne ke liye khud aurat ban jaayo (if you want to write about women, think from their perspective). He not only had empathy, he also understood women. In the fim, I have taken a line from one of his stories License: Woh apne aap ko bech toh nahi rahi thi lekin log usse phir bhi kharedtey ja rahe the, which means that a woman is not being flirtatious, men still objectified them with their eyes and with their perceptions.