‘Doosra will instigate people to think’

Abhinay Deo cannot be called a ‘conventional’ filmmaker. At least, most of his films give off that sort of vibe. The man has directed critically acclaimed dark comedies like Delhi Belly and Blackmail along with commercial entertainer — Force 2. His upcoming film Doosra, which stars Plabita Borthakur and Ankur Vikal, is an amalgamation of fiction and real footage. 

Abhinay, who is trying docu-fiction for the first time, says that Doosra’s story is a relevant subject matter. The trailer begins with a young girl watching 2002 India-England final match. After India’s win, Sourav Ganguly aka dada removes his T-shirt and spins it in the air, which has become an iconic moment not just for cricket lovers but Indians too. The film says: ‘India’s other freedom struggle.’ 

Elaborating further, Abhinay says, “In 1947, India got independence, in 1990, economic freedom but in 2002, we got emotional freedom. Sourav Ganguly marked the end of an era, the end of submission. His one move at the NatWest final was so powerful and brought such a paradigm shift in our thinking: That we are not inferior to anyone. The film captures this through the life of a girl living in a patriarchal family suppressed by society and societal obligations.” 

The original idea for the film came from Chicago-based executive producers Masha and Rohan Sajdeh. It was then developed into a story, and Agnello Dias, India’s first advertising Grand Prix winner at Cannes, wrote the screenplay. 

Ask Abhinay why did he feel the need to tell the story and he replies, “Because it’s a subject matter that must be discussed and brought out in front of people. It is that desire to wanting to voice my opinion regarding the subject, which made me do the film. That said, as a filmmaker, it was a challenging subject to show how a game can bring about a change in the country’s attitude, and all this is seen through the eyes of a girl, who was growing up around the same time history was being made. It was a fantastic opportunity for me to challenge myself as a filmmaker.” 

Abhinay blended fictional narrative with real archival footage and interviews. He says that it was the best way he could have made his point and the point the film was trying to make. “If I would make it 100 per cent fiction, then the film would have lost its authenticity. If I would have made it as only a documentary, then it would have not been able to show how it has changed the lives of people. We thought let’s use every possible tool to tell the story in the best and effective way,” says the filmmaker, who has directed two seasons of TV series 24. 

But it’s not easy to make a commercial film while staying true to the story. “I have said this on record that Doosra is the most difficult film I have ever made. It is very difficult to create the balance between fiction and reality, and the philosophy behind the reality,” he says, adding, “Having said that, when I make a film, I stay true to what the story means. That, I think is an important aspect of filmmaking — you need to be true to yourself and the story. Otherwise, you are doing a lot of injustice.” 

He adds that he has focused on the philosophy behind the story of Doosra, rather than how much money it will make. “It will instigate people to think,” says the filmmaker who is not only a cricket buff but also played the sport in school and calls himself an average player. 

Not thinking about the commercial aspect in a film industry which is driven by numbers is a tough choice. “Not just filmmaking but in any field, staying true to your soul, ideas and creation is always difficult because there are so many forces that kind of deter you from your goal. It needs a strong spine and motto as it keeps you on the path. It’s difficult but I love walking on that path,” he says. 

The industry has a habit to typecast not just actors but filmmakers too. Because of the success of his black comedies, many expect him to make similar kind of films. But Abhinay says that he doesn’t think so much about being typecast and other such issues. “If you look at my career graph so far, I have done 750 ad films and they are different from each other. I have done five films and each one is completely different from the other. I am working towards what I love to make rather than what I should be making. Anyway, it’s difficult to typecast my work,” says the filmmaker who is working on four feature films and several digital projects. 

As the discussion moves towards the digital platform, the filmmaker says that there is no denying that digital is the way forward. “It’s here to stay and grow. Of course, films and TV will remain but digital will be the largest viewing medium. We need to find our way through this medium. The USA has already found its way but we will soon find our way and then there will be no stopping,” he says.