Farooq Sheikh, who made the guy-next-door a desirable option in the new wave films of the 80s and kept himself busy with theatre and path-breaking TV shows over the years, worked without the fear of categorisation. Excerpts from his last interview with Divya Kaushik
There have been gaps in your career, post 90s. You came back with listen Amaya after your self-imposed exile from the big screen.
I was never away from the industry. Over time, I decided not to involve myself with two or three projects simultaneously. When I take up some work, I don’t want it to be burdensome. Every morning when I leave for the sets, I shouldn’t feel like I am going for a job that I have to complete just because I am committed to it. The work should give me satisfaction. Irrespective of the time you have spent in the industry, the excitement to go on the sets, to learn something new should always remain. Sadly, very few scripts have made me come alive in recent years. Besides, I like lolling around at home. In fact, I have mastered the art. I don’t feel the need to do more than two films a year.
As far as listen Amaya is concerned, director Avinash Kumar Singh told me that he had been making documentary films and he and his wife had written a film that they wanted to narrate. I told them I don’t take narrations but I would love to read the script. They sent it and in a day or two I asked them when we could begin shooting. That was it.
I didn’t even know at the time of confirming that Deeptiji would be a part of the film. I was bowled over by the freshness of the script. The film is about fundamental human emotions, love too, and how they are perceived by different characters. Each has a different definition of love and it is presented wonderfully. Whosoever will watch the film will not only relate to it but take away a slice of life experience. A film should be made in a way that the audience is able to carry something in their minds even after they have left the hall; it should touch their hearts with its core of emotions. If you think about your favourite film, it will still be fresh in your mind. You love to think about certain aspects of that movie, talk about its characters and give its example wherever possible. You might enjoy item songs, technical wizardry and other elements but for a film to stay in mass memory, it has to address your navrasas. For example, there are many chaat stalls but you keep returning to a particular one knowing full well that its offerings are not just delicious, they don’t harm your health. You may experiment with others but you return to your old favourite time and again. Our cinema today has a bouquet of products. Some give you momentary pleasure, some have big stars and gloss and some simply stir you inside. The last doesn’t need fat budgets or stars.
I always look forward to working with first-time directors because they have a fresh approach and involve themselves in a project like there will be no tomorrow. They have this zeal and positive energy to make things possible. It is very interesting to work with such people, they don’t compromise and will not even let you drift away for a moment. It’s fun to work with such people. I like the way they craft their characters; each may not have a lengthy role but conveys something important.
If we go by your past films, you have always played the ordinary man, quite given to frailties and rather unremarkable but good-hearted....Are those characters not coming to you anymoreIJ
I choose characters who are interesting and convey something about the human condition. I also did films like Umrao Jaan, where my character was completely different. But I would agree that most of the films had me in simple, guy-next-door roles to which people easily related. Also, it is important for me as an actor to believe in the roles I choose for myself. I have always looked forward to work with directors who arouse confidence in me and allow me to do something different in the simple space that I enjoy.
What are the differences that you find in filmmaking todayIJ
Movies are idea-driven while new concepts and techniques are being explored. There is scope for any kind of film, be it in terms of subject and format, and that is a brilliant change. I think the drive and passion of present day filmmakers is unparalleled. And I really feel fortunate to be alive now, to be someone who has been part of a change and been in transit.
But what has badly failed me is media reportage about films. People are just interested in knowing who is partying where and who is wearing what. It’s dependent on this giant grapevine and reporters do not care about finding facts for themselves. Today, faith is missing. The old times were better in this regard.
The other thing that hasn’t changed and I badly wish it would is the system of distribution and the attitude of exhibitors. The filmmaker gives his 100 per cent and just when he has done his bit, the roadblocks start. The exhibitors still believe in power games and all the happiness and the excitement is taken away from the filmmakers. The entire process of getting the film to screens is so traumatic that it leaves the director mentally and physically drained. No matter how much we rant about a niche market for interesting and different films, few are ready to give us opportunities. Distributors still run after the big names and no matter how much hard work and difficulties are put into a film, it is merely treated like a sub-standard commodity. Of course big corporations and studios are pushing the case of small filmmakers but still there has to be an overhaul of the distribution system.
I am saddened by the fact that the Central and state governments are not proactive enough about promoting good cinema. They behave like a group of unintelligent and short-sighted people who are only interested in collecting taxes and turning a blind eye to our problems. It is very easy to drag Indian films into every debate and say it’s turning vulgar, the root of social malaise and we don’t do this and that. But what has Government done for cinemaIJ Has anyone ever thought of setting up ten screens where a chance will be given to good filmsIJ Have the nascent filmmakers ever got a grantIJ There is a lot of sermonising and pontification that happens but when it comes to support, nobody shows up. This is something that should change but I don’t see it happening anytime soon.
But this is the best time for Indian cinema. An actor can cast himself in every mould, work without the fear of categorisation. A star can be an actor, an actor can become a star.
You were a part of TV serials like Ji Mantri Ji and celebrity encounter show like JeenaIssi Ka Naam Hai. Many TV shows today follow their formats. Why did you distance yourself from this medium tooIJ
Doing a TV show today is not an easy task. Serials are shot everyday and you are required to enter the sets before sunrise and leave when the world has gone to sleep. This doesn’t work for me. It feels like you are insulting your own existence and not doing justice to your work or the people around you. Until and unless you only want to make money, you would not want to work like that and money has never been my motive. Also, there is hardly anything of substance on TV these days; the content has gone down considerably. Doordarshan, that once produced brilliant programmes, is now a medium of ultimate disappointment. DD as a medium still has a great potential and there is a huge amount of money that is sanctioned periodically. The situation isn’t improving because of babudom at the ground level.
DD can still be the trendsetter and has the potential of changing the viewing pattern of the audience given its reach. Quality content will give TRP-driven private channels a run for their money. They will be forced to upgrade their levels. The problem is that DD has the resources but a lack of vision to improve.
For example, DD lok Sabha and some regional channels do have some lovely discussions and classical performances being aired but they do not make an effort to inform the audience. Every private channel will update the audience about their next programme and on DD there will be a strip that “information not available or not updated.” A little forward thinking and DD can be a game changer.
Do you still find time to do theatreIJ
We have completed 20 years of Tumhari Amrita and its sequel Aapki Soniya is now running in its seventh year. So I am glad that both are still being liked and enjoyed. Otherwise, I keep reading scripts and I agree to do a play only if I have adequate time. But it is always one project at a time.
photos Kamlesh Shah