`Showman' of Hindi cinema
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Subhash Ghai has been making movies for 25 years now. In a chat with V. GANGADHAR, the producer-director says that films with good storylines click with audiences.
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Subhash Ghai
THERE IS feverish excitement at Mukta Arts office of Subhash Ghai. The Boss has launched two new films. Pretty girls walk in and out, hopefuls wait with copies of video and audiocassettes, and cameras are carted around. The phones ring constantly. The birth of a new film is always an exciting event. `Boss' Subhash Ghai walks in slightly late, and apologises for the delay. We chat. Some excerpts:
Do you like to be called the `Showman' of Bollywood?
I am quite happy, but the title carries with it a lot of responsibility. You can't be satisfied with mere titles, but learn to grow with time. Every time I discover new avenues, I am back to thinking how to achieve more, contribute more to this challenging and difficult profession.
How important is showmanship to the film industry?
Very important, I should say. It provides opportunities to show people what you are capable of. Without good picturisation, good performances and good direction, showmanship can be reduced to a farce. It is not just spending money lavishly, the finished product must appeal to people. That is real showmanship.
Several years ago, the Rajshri people made a good, clean, inexpensive black and white film, without any showmanship, "Chit Chor". It turned out to be a hit. Recently, they remade the film, with top stars, special effects and so on. The new version, "Mein Prem Ki Diwani Hoon" which cost a fortune, flopped. Does this mean mere showmanship will not attract audiences?
I did not see the new version. But it is not easy to remake a simple film with an earthy theme into an extravaganza. Can you imagine a traditional brahmin reciting `mantras' but dressed in a tuxedo? "Chit Chor" had no glamour and appealed to the middle and lower middle classes. Perhaps the theme was not suited to modern treatment. We filmmakers keep on making mistakes, we have to learn from these.
You told sections of the media that even after 25 years in the business, you are still a learner. Can you expand on that?
Every day I am learning new facts and new ideas. I have launched an Indo-British production and while negotiating for stars from abroad I learnt so much about their professional approach on these issues. The contracts they had to sign covered every single aspect of the film. This was a real lesson to me and I hope to introduce such professionalism in our films.
With film stars Akshay Kumar and Kareena Kapoor ...
Are you referring to the film, "Kisna" with Vivek Oberoi and the new face, Isha?
Yes, the film will be made in Hindi and English and deals with eternal aspects of love. It is the story of a 20-year-old rural boy whose love for a young girl sends messages of co-existence between two communities in the same city. About my discovery, Isha, I saw her dance at Thiruvananthapuram and was bowled over. She has so much talent, promise and discipline and is going to make a big splash in show business. The English version is highly original and unique. I screen-tested six foreign girls for the lead role, and the final choice will be made soon.
How did you acquire such a flair for spotting talent?
Throughout my career I had this urge to rise above the privileged directors who are blessed with limitless finance, big stars and all the facilities. I work better under pressure, the more problems I face, my films turn out to be superior. Being someone who does not believe in the star system, I had to look out for new talent which I exploited in films like "Karz", "Hero", "Pardes", "Taal" and so on. When new comers turn into super stars, some of them find my demands excessive and are not keen to work with me. I don't mind at all. On most occasions, I manage to survive without the support of the star system, the market and the media.
How was it working with highly individualistic stars like Dilip Kumar and Raaj Kumar?
A piece of cake. The stars were aware I knew my job, they had faith in me as a genuine filmmaker. We developed mutual respect and affection. I completed "Saudagar" with Dilip Saab and Raaj Kumar in just 11 months.
Can you recollect some memorable moments from your career?
I made "Karma" at a time when theatres went empty because people were flocking to the video parlours to watch screenings of pirated cassettes.
The industry was going through a crisis. "Karma" had a huge star cast, I shot it in 70 mm, recorded sound on a six-track system and sold the film for Rs. 70 lakhs. Word got around that this film was different and should be seen on the big screen. The exodus to the video parlours stopped and people returned to the theatres. That is how challenges should be met.
Can the film industry survive the spate of flops of the last two or three years?
Money is made available by corporates and other agencies to young people who have not understood the pulse of the people and the kind of entertainment they need. Unable to understand the way audiences think, they make films which have excellent technical qualities but lack soul and a good story. Thirty to 40 per cent of the success of a film depends on the story it tells.
During the 1950s and 1960s, many films, even those with shabby technical qualities, clicked because they had a good, interesting storyline. Our young generation must learn the grammar of real music, drama and dance.
How can that happen?
The Mukta Film Institute set up at a cost of $ 25 millions in Mumbai' s Film City will be ready in 2005. I hope it will teach all aspects of film making and help in revolutionising the art of film making in the country.
Is it true you are not fond of film critics? Often you had spoken out against them.
Criticism is important but, except for a few, our critics have not understood cinema. How can you pass comments on a film if you lack knowledge about the history of cinema, and the techniques of film making.
The critics' job is important and responsible but what we mostly have are glib, flippant and tongue-in-cheek comments. I respect the views of others on films, but I believe that I must have my say too.
Films are made not to be ridiculed by groups of people who know very little about the art of cinema.
You began in Bollywood as an actor. Any regrets on your changing tack?
Not at all. I am quite happy being what I am. Of course, the immediate focus is on the stars but in the long run, viewers remember a movie, its director and then its stars.
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