In a freewheeling chat with Riya Sharma, versatile artiste Pavan Malhotra says that actors have the liberty to improvise on the narrative. But there is no such term as going beyond the script and creating something that the story doesn't demand
He became a household name with the success of the television series, Nukkad. Post this, Pavan Malhotra did Bagh Bahadur and Salim langde Pe Mat Ro — movies that were completely different from each other and yet, he managed to pull off both the roles in the best way possible. On the occasion of his retrospective which will be organised by the India International Centre Film Club from January 11-21, six of his best movies from his cinematic career will be screened. Be it donning the hat of an underworld or becoming a benevolent coach in Bhag Milkha Bhag, he has moulded himself to each of his characters depending on the demand of the script.
In a freewheeling chat at a coffee shop, not only of mere words but varied expressions, including changing the pitch of his voice, he reminisces about his journey, his theatre days and forthcoming projects.
You have completed over 25 years in the industry....
In 1989, I shot for Salim langde Pe Mat Ro. The final print of the movie was not out but my picture was out in the cover of a magazine. Both the films (Bagh Bahadur and Salim langde) got released. Both the movies were titled films and were absolutely different characters. Salim langda was a boy from the area of smugglers. Because he was young and a small time thief, he wanted to be picked up by these big time thugs. He walks in a manner where he wants to be treated like a big thief. In the movie, there is a scene when these big shots are standing in front of him and he is looking up to them and thinking ‘I want to become like them.’ The film teaches that you are supposed to come out of the trap and it is easier to become a don but very difficult to live a simple and honest life. Then, Bagh Bahadur was about an artiste who paints his body like a tiger and performs. The movie is symbolic that the art is dying but the two characters were really different. But I would say that God has been kind to me.
That is what we were going to ask you. You have been a versatile actor and have been able to fit in the shoes of all the characters. How do you make that possibleIJ
When people at IIC came up with the idea of my retrospective, they showed me the CD where they had compiled all six of my movies which they are going to screen here. When I saw that, there was a movie called Road to Sangam, a lot of people did not recognise me in there and said that I have used someone else’s voice. For that film, I had decided on the voice texture that I would use and it was purposely done. But in other films, I realised that not only my body language seemed to have changed but my voice had also changed in all of them.
Each film is different, each character is different. And, if you have seen Jab we Met and Bhag Milkha Bhag, they both are Sikhs but they come from different backgrounds. They are two different people. You have to play your character, and that comes from the script. You don’t decide it sitting at home. My characters in Black Friday and Salim langde, are both underworld dons but they are different. Salim is vulnerable but Mushtaq in Black Friday, knows what he has to do. What I found interesting in these films was that they had layers.
How do you prepare yourself for such rolesIJ Do you keep anything in mind while you are gearing up for such roles or do you observe peopleIJ
Everything comes from the script. Somebody used this term while talking about my performance, ‘acha kia hai but you could not go beyond the script’. But I said that there is no such thing as going beyond the script. Everything comes from there. Every film and character is new. Of course, there are stars who have their own way of acting and mannerism and people like that. But, I feel that if you are an actor, it is your job to play characters. I think if something comes to you, then you should do it with all honesty. And it is very important to feel every character. It is a very interesting profession. When I was doing theatre in Delhi, I never thought someone will pay me for my acting.
So, how did theatre happenIJ
My childhood friend was in Modern School. So, one day my friend asked if I would take part in a play with him. I thought he meant something like playing Krishna in Janmanshtmi.
Then, he told me that we would do a play in Sri Ram Centre. I asked him, ‘Ticket lagegiIJ’ They took me because they wanted someone who can do three four roles together. But, somebody from the group said, ‘You are good. Why don’t you join usIJ’ And I did. But, Faisal Alkazi (director) kept on giving me roles. He gave me a play (Spring Awakening) where I had only two lines, but it had a lot of expressions involved. Then, in college, I got involved with nukkad natak so that is how it all started.
After working behind the camera for many movies, Nukkad happened...
Yes.
So, did that change everythingIJ
Completely. People still talk about it. They think it had 200 episodes but there were only 40 episodes. We became household names after that.
You have been selective in choosing your roles...
I have taken pauses for a year as well. I knew, that I had to survive but I wanted to do roles that meant something. I don’t find TV very exciting at this point of time. It is necessary to take pauses as well, because you need to be patient to get the right roles.
What is next in the pipelineIJ
I am doing a Punjabi film, and then there is another movie called Rustam. I have some other movies as well, let’s see what happens.