“At least I’m original” : Madhur Bhandarkar’s exclusive interview

Mumbai, Feb 18 : Madhur Bhandarkar is not a man who cares about what people. Madhur is proud that at least he strives to come up with something new and something original without rehasing and remaking. His recent film “Traffic Signal” fetched him mixed reviews, doesn’t mind being called an offbeat filmmaker, saying, “At least I’m original.”

“My films don’t make a billion rupees at the box office…But I deserve credit at least for moving away from the cliché³ of our cinema,” remarked Bhandarkar in an interview. “People say Madhur is an offbeat filmmaker. I don’t mind that. I know how people respond to me at a shopping mall or on the streets. That’s my biggest reward and award,” he said. “Whatever I’ve achieved has been on my own. I had no godfathers or patron saints in the film industry. I know there’s hostility towards me. I don’t know why it’s there. But I know there’s hostility towards me,” he added.

Excerpts from an interview:

Q: Apparently “Traffic Signal” has opened poorly overseas.
A: Yes, it’s a little weak. But “Traffic Signal” isn’t targeted at the overseas market. There’re no stars in the film. Everywhere else it’s doing very well.

Q: It takes audacity to make a de-glam product in this day and age.
A: Yes and I shot in real sunlight. Bahut himmat ki zaroorat hai (one needs a lot of bravery). “Traffic Signal” came in face of films with a heavy gloss. I’m proud to do a slice-of-life work. But if you see my career - from “Chandni Bar” to “Traffic Signal” - I’ve always explored the less glamorous aspects of life. I’m not a commercial filmmaker at all. My films don’t make a billion rupees at the box office. I keep experimenting with various aspects of life. But I deserve credit at least for moving away from the cliché³ of our cinema.

Q: Your films also require financial audacity.
A: I never had a problem getting producers once “Chandni Bar” was released. Whether it’s “Satta” or “Corporate”, I never had to struggle for a producer. None of my films ever lost money. Everyone earns money.

Q: You’re accused of selling grass roots to the audience.
A: But “Page 3″ and “Corporate” were about the elite class. That was a deliberate attempt to move away from the grass-root image.

Q: But there’s a fixed formula to your cinema - clutching at a large gathering of characters, capturing them with their pants down within their given socio-political sphere.
A: Agreed. But at least grant me the credit for exploring different themes and characters. At least I’m original. I’ve received at least 400 SMS since “Traffic Signal” released. People are praising me for having the guts to make a film without stars - rustic and very real. I don’t even have a hit song in the film. Still I’m happy by the response.

Q: The reviews have been pretty mixed.
A: But that’s the story of my career! The reviewers didn’t even spare my “Chandni Bar”. They said it was bleak and pessimistic. “Page 3″ they said was like an ongoing party. “Corporate” they said was filled with trade jargon.

Q: Strange, considering how far you’ve taken mainstream cinema.
A: Whatever I’ve achieved has been on my own. I had no godfathers or patron saints in the film industry. I know there’s hostility towards me. I don’t know why it’s there, but I know there’s hostility towards me. I’m treated like an orphan in the film industry. But at the end of the day, I’m happy because my producers are making money and I get to make the films I want.

Q: You’re also victimised at the awards.
A: Initially, I used to get upset about it. Now it’s okay. I agree “Chandni Bar” and “Page 3″ got a raw deal at the popular awards. But both films got the national award. To me that’s more precious.

Q: You’ve got money and popularity…
A: Money I haven’t got. But I’m definitely happy by the recognition and the success of my films. When I look back, I see this filmmaker who made a film called “Trishakti”. When I see my movies I feel I’ve really achieved a lot. One flop and I’d be back in the doldrums. I’m very happy doing what I’m doing. People say Madhur is an offbeat filmmaker. I don’t mind that. I know how people respond to me at a shopping mall or on the streets. That’s my biggest reward and award. Beyond that I’m not a filmi person. I’m into my own world and my own cinema. I’ve very few friends in the industry. I haven’t worked with big stars.

Q: But you’ve worked with Tabu and Raveena Tandon.
A: Yeah, but I was accused of making woman-oriented films. There’s always a sense of discrimination against me. If I’ve a subject for Hrithik (Roshan) or Abhishek (Bachchan), I’d definitely work with male stars. In fact, “Traffic Signal” is my first film with a male protagonist. I’m happy Kunal Khemu has been appreciated. People now say Madhur can make a male-oriented film.

Q: Your casting is impeccable.
A: See, once I read the script, I cast according to characters. In “Traffic Signal”, I’ve cast real eunuchs and beggars. I’ve even cast people from my unit. And the two insurance agents who get beaten up by Sudhir Mishra are played by Joe Rajan who’s a travel agency owner and G.K. Desai, a producer of English movies. They also acted as party crashers in “Page 3″. Hence the dialogue for them in “Traffic Signal”, “Arrey yaar, we earlier used to splurge on free drinks at page three parties, now we’re insurance agents.”

Q: People missed that in-house joke.
A: Yeah “Page 3″ came two years ago.

Q: I found Sudhir Mishra wooden.
A: I wanted him to deadpan through the film. I wanted him to be himself on screen. I think he’s commendable.

Q: Some portions in the film were found to be vulgar.
A: You mean the pervert who touches up the beggar? I’ve done research and know that such things happen. Reality, they say, bites. People can’t take harsh reality. We had to tone down the sexual content for the censors and audience. Well to do perverts in cars do happen at traffic signals.

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