Director turned actor Prakash Jha (Photo by: Darshan Bagwe)

After being lauded for his political and socio-political films like Apahran, Rajneeti, Aarakshan, Mrityudand, etc, the eight times National Award winner, Prakash Jha, marked his debut as an actor in his directorial movie – Jai Gangaajal. While he believes that parallel cinema is consumed at par with commercial and mainstream cinemas, as every audience has many instincts, Jha has been spearheading growth in areas like health care, vocational training and infrastructure facilities in his birthplace Bihar. In an exclusive interview with Nation next, director turned actor Prakash Jha, speaks about his views on parallel cinema and censorship in movies. He feels that despite being a celebrity, one must put across his honest opinion in front of the society without the fear of criticism.

Excerpts:

Jai Gangaajal marked your debut as an actor. Did your technical background (as a director) help you in understanding the requirements of the work of an actor?

For me, movie making begins from a thought process. Most of the films begin with a thought that develops into a research. I meet several characters and eventually, representation of several characters begin to take shape. For me, to understand and know the character, attitude and their mannerism has not been difficult because that’s what I have been doing. I write my own scripts, stories and dialogues. So, when I’m writing, all the characters are actually playing their part in my mind and they are speaking their dialogues. So, I’m the first one to see my film even before it’s made. Likewise, I could visualise my character (of police officer BN Singh) in Jai Gangaajal. To understand that character was not difficult for me. As an actor, the real challenge lies in physically translating the imagined character into a real character.

Amruta Fadnavis recorded a spiritual song for your film Jai Gangaajal. Please tell us something about it?

She has an amazing voice. The film had a bhajan at a very crucial time and she rendered it beautifully.

You are one of the few celebrated directors, who focus on socio-political stories. What is the inspiration and motive behind such movies

The society is my hero. I keep observing any social development and change that happen in the society for whatever reason. I try to find out why and how something is happening and what kind of impact it leaves. My films are based on issues that surround us on a daily basis. My movies don’t depend on an individual; rather it depends on many individuals. Such things draw my attention. Right now, I’m talking about young India with a huge aspiration, which is under tremendous pressure.

You have always portrayed a real India in your films through art and commercial films by holding on to your roots in them. How do you feel to be regarded as a director in the league of Govind Nihalani, Shyam Benegal, Kundan Shah, Sai Paranjpye, etc?

The most important element in my film is ?dust. To create a shot using dust, for a minutes duration, we need at least 50 people who have to rub their feet on the ground so that the dust rises. I like portraying such details because I can relate to them. For e.g. children who play in dust are more immune from diseases. The more you keep everything sanitised, the more you are prone to health issues.

Parallel cinema focuses on realism and serious content. Do you feel parallel cinema is gradually dying?

Films like Masaan, Titli, The Lunchbox, etc have been well received not just nationally but internationally too and that too commercially. They have served a particular audience. Not that other commercial mainstream movies don’t need to be made; audiences need such movies as well. We are spiritual, but not all the time. We even go to red light areas. Even if we might not go there, mentally we might be occupied with the thought. Every instinct needs different kinds of movies.

Your movies focus majorly on political and social issues. Are your films commercial star casts and raunchy item songs (for e.g. Manyata Dutts item song in Gangaajal), primarily for providing commercial sale-ability? to your films

Manyatas song was apt for the atmosphere and suited the film’s culture. It was the requirement of the plot.

Talking about the society, you said there is no intolerance in the country and the society is strong. But aren’t we tolerant for most of the wrongdoings in our society as well?

We are not tolerant. We are still waking up to many things. When we talk about intolerance in our society, it’s primarily about ideologies. There may be fear in people’s mind (like Karan Johar, Shahrukh Khan, Amir Khan) and I respect their fear. If you ask me, I have no fear. I have never experienced any fear. If there are things I believe in, I have fought for them even when there were obstacles.

You are of the view that India doesn’t need censorship. Wouldn’t the banning of the same lead to moral corruption?

Suppose, a street sells only pornographic material. People won’t stand there all the time. If you have double meaning songs being sung all the time, people won’t like it. We are intelligent enough to understand what is good for us and what is bad for us. Four people (Censor Board) can’t decide what should be viewed and spoken by the nation.

Sonu Nigam recently said that everybody has a right to an opinion except for a celebrity. Do you agree with him?

If you have an honest opinion, you must voice it fearlessly. I’m a filmmaker and people have multiple opinions about my films but I can’t stop making films because of criticism.