Mukta Unplugged

The versatile actress Mukta Barve talks to m4m about her new film LPK and her choice of roles 

By Praveen Lulekar

There is a striking self-assurance in her mannerism ditto the characters she has played recently. Mukta Barve’s latest protagonist in Lagn Pahaave Karun (LPK) is albeit different. She plays a young, career-oriented yet emotional, incomplete girl. The versatile actor talks about her choices of roles, her acting methods and her career in her characteristic straight-forward way, exclusively to m4m.

What were your preparation methods for your role in LPK?

I did not have to do much preparation apart from reading the script carefully. The script is very well written with the characters’ history and background elaborated precisely. So if the girl is sensitive, there are reasons that are depicted timely in the story. You will see these nuances in the film.

The costumes of the film are being talked about a lot. How much do these external factors help you in getting into the character?

All these factors are very important. A change of costume alters your body language altogether. If I am wearing a saree, I am a different person; if I wear a formal suit, I am different. Even a wrong sample of footwear can affect your posture.

What are your criteria of selecting a film?

The role should be different, to start with. I am in an audience’s role when I am reading the script for the first time. If I, as a spectator, would like to watch the script as a film, I definitely become a part of it. That is the defining factor for me. Of course, there are other factors like the production house, the co-actors etc.

And the commercial viability?

Yes of course, that is a very important factor. As I said, I consider for which production house am I working, the team etc. The current flow of your career also has to be understood. Like after doing a Ekaa Lagnachee Dusri Gosht, I can’t do a role of an eight-year-old child’s mother. Audience would not accept me in such a role. You have to take care of that image sometimes.

You have been working in films, television and theater. What adjustments do you have to do as you change medium?

I am doing the same job of acting everywhere. But all the three mediums are completely different. On stage, the audience is actually the editor. They pick up pieces of narrative according to their perspectives. That can change when the same person is watching the drama next time. For a film, everything happens from the director’s point of view. And television gives you the power to reach more and more people.    

Lastly, what is your dream role?

I don’t have any dream role as such. I would like to do a role that becomes a dream role for someone some day. I think that would be my dream role.

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As wordsmith becomes the director…

At age of 75, veteran Marathi writer Ratnakar Matkari is debuting as film director with Investment. He talks to m4m about his work, thought process and views on cinema

By Praveen Lulekar

With over five decades in the field of literature, Ratnakar Matkari has seamlessly traversed from experimental theater to suspense stories to children’s theater. His socially relevant drama Lok-kathaa 78, written on the backdrop of the emergency in India is still etched in the generation’s memories. Likewise, his extremely realistic suspense stories in Gahire Paani have given an experience of thrill rare to Indian readers. With commercially successful comedy drama Jadu Teri Nazar and Dadasaheb Phalke award winning script of the film Majhe Ghar Majha Sansar, Matkari has shown his variety with respect to genres.

At the age of 75, he is debuting as a director with his film Investment. The film narrates a story of changing social values with stark realism – an essential element in all of Matkari’s literary works. The film, to be released on September 20, has already garnered praise with a National Award for ‘Best Marathi Feature Film’ and screenings at various film festivals.

The veteran talks to m4m about the film, his method of film-making and the commercial and experimental factors of theater and cinema.

What is the social context of Investment?

Our society is making a lot of progress with time and becoming upwardly mobile. But we do not realise that this progress is only financial. We are loosing our sensitivity in the process and becoming numb.  This also reflects in our nurturing of our children – the factor on which the story of Investment focuses. The story is a product of this background.

So the aspirations of the middle class are taking us towards consumerism…

Precisely. We are after an elite address in the city. We always assume that we are right. In a usual cinema, the villain knows that he is the villain and he is doing a bad thing. In Investment, the characters are becoming grey and they are still convinced that this is the right way. There are two pairs of mother and son in the film (Sulabha Deshpande and Tushar Dalvi, Supriya Vinod and Praharsh Naik). The difference in their relationship highlights the shift of values in our society.

How does an experimental drama or a film like Investment survive commercially?

We have cultivated certain habits in our audiences. Like songs, item songs etc. For Investment, we have used background music only to enhance and not explain scenes. We should consider the audience intelligent enough to understand pure cinema.Same applies for a drama. Producers do not back good projects. Instead, they say - give a drama with four comic characters and we will do it. They do not have confidence in a good script or a good children’s drama. So changing the audiences’ habits is the solution.

Investment is also based on your short story. So tell us about converting a story into a screenplay.

A good screenplay is similar to a good story. It has neat and highlighted points. What is stated as description in a story is told through characters or incidents in a screenplay. For instance, a story describes schools’ changing attitudes. It comes in the screenplay through scenes in a school and characters related to it.

At the beginning of your career, you simultaneously worked in a bank and wrote. What kept your artistic sensitivities intact?

Yes, I did that for 20 years. I think I am blessed with a natural urge to write. I have lots of ideas in my mind all the time. But it requires a lot of self-discipline. I had responsibilities – domestic and professional, but somehow I always managed to write. In 1978, while I was doing Lokkatha 78, I took a leave of two years to write – without pay of course. Once I knew I could survive without a job, I never went back.

So you were always experimental with your thought process.

I think no one decides to do an experiment as such. When your thoughts, your ideas can not fit in the conventional pattern, it becomes experimental. If you just show things according to what is being already shown, it is just demonstrative. That restlessness has to come to stage.

National award winning film Investment releases on September 20.

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The master of all ‘ARTS’

The multifaceted, known as ‘Bahurupi’ in Maharashtra, Dilip Prabhavalkar talks about his work and experiences with m4m

Neha Ghatpande

 We know him as the Chimanrao, Chaukat Raja, Gangadhar Tipre and a lovable Mahatma from Lage Raho Munnabhai- Dilip Prabhavalkar in his mid-sixties uses connotations such as exciting, novelty and possibilities almost after every two sentences that he speaks. The true thespian by nature, a lover of his profession- Acting and a noted writer sums up his journey of 30 years in just one word- versatility. As his new film release Narbachi Wadi approaches, the multitalented persona shares his feelings about his work and experiences with m4m.  

Why did you choose to do Narbachi Wadi?

As an actor I always like to pursue different things. In the case of Narbachi Wadi, I was delighted when the producer (Pintu Guha) narrated the story to me because I saw many possibilities as an actor in this project. Another soft corner that I had was that it was a Bengali film ‘Bancharamer Bagan’ made by Tapal Sinha. I can definitely say that my character ‘Narba’-the poor farmer has many shades and I only discovered them in the journey of this film.

You have been in the industry for over 30 years now, how would you describe this journey?

The remarkable fact about this journey is that i have always managed to play different characters and I must say that I have done that purposefully. In the past if a character that I played became popular then I have been offered similar types of roles and characters, for example Chimanrao or portrayal of lady characters or even Gandhi. After Lage Raho Munnabhai, I was continuously getting offers to play Gandhi. But I did not. This decision has given me an opportunity to explore novelty at every phase of my career. Even today whenever I do a character, I feel that it is incomplete, I can put in more efforts and I think it will continue.

After doing so many films, what kind of roles do you look for?

As I said earlier, I look for something different and novel. But I do get inspired and motivated when I see possibilities and several shades in the character that can be explored. No character can have only one shade, it has to have many shades. Along with Narbachi Wadi, I am doing interesting roles in Gajendra Ahire’s Postcard, Sujay Dhake’s Ajoba and many others. Exploring every aspect of the character still excites me; hence you will find me doing such roles in future as well.

You have done a substantial amount of work in Marathi and Hindi film industry; have you felt any striking difference in both?

The most obvious difference is the commercial scale at which films are made. The scale of making Hindi films is huge. But Hindi cinema gave me an opportunity to work with some noted actors and my personal favourites such as I did Sarkar Raj with Amitabh Bachchan, Encounter with Naseeruddin Shah, Chupke Se with Om Puri and Paheli with Shah Rukh Khan. All these actors were extremely professional and I am quoting the word ‘Professional’ in a good sense. My experience tells me that Hindi film artists give respect to everyone and especially to those who come from the theatre background. Whereas in Marathi films, it feels like my home ground, I feel more belongingness and comfortable while working in Marathi films.

It seems you are working with a lot of young directors, how has been your experience with them?

Yes, I have worked likes of Aditya Sarpotdar, Sujay Dahake and many others. I must say, it’s a learning experience. You get to learn new ideas and techniques from them. You know, an experienced actor like me can get an idea about how the person has a depth and capability as a director within first few shots. Once I realise that I give my full co-operation, I help whenever needed and I ask doubts if I have any. Working with young minds is an amazing experience.

Catch Dilip Prabhavalkar in a lead role in Narbachi Wadi releasing on September 20

The master of all Arts:
Dilip Prabhavalkar has won all three major awards in the field of Literature, Theatre and Films

National Award, November 2008
Outstanding Performance in a Supporting Role, Male
Shevri [Marathi] and Lage Raho Munnabhai [Hindi]

Sangeet Natak Award, July 2010
Outstanding Contribution to the Field of Theatre
Sangeeta Natak Akademi of India

Children's Literature (Short Stories) in Marathi 2011
Bal Sahitya Puraskar, November 2011
Sahitya Akademi of India

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Time Please is a novel experience: Umesh

Praveen Lulekar

As the curiosity rises to its peak before the release of Time Please…lead actor Umesh Kamat talks in a calm and confident tone.  The film is based on the drama Navaa Gadi Nava Rajya and the actor seems to be natural choice to pay the composed Hrishikesh at both the places. He speaks to m4m about his character, his work relationship with wife Priya Bapat and the film’s novelties that we didn’t see in the drama.

A story of two characters on stage has become that of four now on screen. What changes did your character go through in this process?

The change is not due to the change in number of characters. It is due to the transformation of the story from stage to screen. On stage, there are limitations to the characterisation. There is a fixed box set; the office of my character is never shown. On screen, these things can be shown. There are a lot of things incorporated in the character. There are changes and they are good ones.

Did it help that the director and the writer were the same?

Yes of course. The story was theirs and they knew how audience would respond to what in the story. But the approach for the film is completely different. With a heavy heart they have made a lot of changes and have worked harder. The effort was to not carry the burden of the drama. Also, a lot that was between the lines in the drama has been brought on screen.

Is there a greater level of comfort when working with Priya Bapat?

Yes. Whenever you start working with someone new, you have to know him/her as a person. You have to understand that person’s views, opinions. With Priya, I know the positives and negatives. The details of the relationship of the on screen couple can thus be explored in a better way. The time taken to get set is minimised.

How does the character of Amruta differ or resonate with Priya Bapat?

Amruta is a next-door girl who likes to live her life fully. There is a child hidden in her and she is very transparent. I think every girl is like that. Priya also has that childishness, that purity in her. She loves to enjoy her life.

Do you think drama will be a factor to find connectivity with the film?

I think it is unfair to compare the film with the drama. The film is an entirely different product. You will notice that when you see it. Across Maharashtra, many have seen the drama but there are also many people who haven’t. The film will be a new experience to everyone.

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Can’t take audience for granted: Kshitij

A young writer Kshitij Patwardhan shares his journey from the play to Time Please…

Praveen Lulekar

The excitement behind the release of Time Please…Lovestory Lagnanantarchi spurs from the fact that it is based on the drama Navaa Gadi Nava Rajya. Kshitij Patwardhan, 28, has written the drama as well as the film. With previous outings like Aaghat and Satrangi re, Patwardhan has many projects lined up. He talks about the process of writing for Time Please and the challenges of transforming a drama into a film.

When did the idea of converting the drama into a film occur? Whose idea was it?

The germ was of both Sameer (Vidwans – the director) and me. Also, Anish (Joag) had always said that he was interested in producing a film based on the drama. After about 200 shows of the drama we decided to start working on the film. We had received a feedback right from the beginning that the story of the drama suited a film. We were also asked many times for the rights by filmmakers.

What things you had to change/adapt as a writer?

First and foremost - not falling in love with myself. We divided every situation in chunks to form 2 minutes’ scenes. Then decided on each chunk; whether to keep it the same or change it or even remove it altogether. We did a lot of brain storming as to what would work, where will there be laughter, what won’t suit the medium of cinema etc. So, many dialogues, which are USP of the drama had to be eliminated. Instead, we added a lot of geographical references to the film.

And what were the changes with respect to the characters?

I have the habit of writing the complete biography of a character. So the insecurities each character has, adds to its substance. For instance Umesh Kamat’s character has always felt that something bad happens to him when things are going good in life. That is why he is insecure about his happy marriage when Himmatrao (Siddharth Jadhav) – his wife’s childhood friend appears. On the contrary Himmatrao is a confident man. He is an Oxford University topper. But he has always been ridiculed for his raw, unsophisticated language that angers him.

Drama is an experimental medium wherein new experiments are accepted easily but it may not apply cinema, so how did you managed it?

That is true. The problem occurs when you take the audience for granted. When Sameer and I told the idea of doing a film on the drama to Umesh, he said he is not interested if it is going to be like shooting a show of the drama. Siddharth and Anish had similar opinions. Even we did not have that in mind. Even a classic like Singing in the Rain was adapted from a drama but with a very different approach. We thought for the film in an entirely new way. 

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