Meghna Gulzar has built a filmography around stories that resist easy answers. From Talvar to Chhapaak, her films often place institutions, individuals, and competing moralities under harsh scrutiny. Daayra opens conversations around justice and police encounters; Gulzar speaks about keeping her own views out of her characters, the pressure of audience expectations, and why she thinks that an inconsequential film is the greatest tragedy.
Is it intentional for you to compel the audience to feel uncomfortable and question their own moral boundaries?
It is not intentional; I am not a sadist. See, some stories have easy answers. For example, finishing Sam Bahadur by making him a hero is what you have to do because he is a hero. But with Talvar, even the judiciary did not have an answer to the questions raised in the film. In time, the answers and perspectives have changed, so how could I have had the same perspective? All I did was put forth both sides’ evidence like it is in the public domain for all of us to see. Similarly with Daayra, the public sentiment is to want justice and wanting it in this lifetime itself, and when it matters. Police officers sometimes operate under their own compulsions or moral compass. Some will do it for completely wrong reasons. But I’m sure there are some cops who believe that these compulsions should not leak into the fabric of a civil society. But it just might because our legal system has a lot of loopholes which can be exploited.
For me, what Daayra does is that it actually poses a question: What is the need for a police encounter? Why cannot we make justice swift and effective?
How do you keep your own perspective away from making it through your characters?
It happens in the writing stage itself, since I’m aware my own opinions cannot be that of my characters. If there are dual characters in the film, both will carry my opinions. But to present two sides equally, a writer or a filmmaker cannot lean towards one side.
The establishment also becomes an important character, rather than the core around which your lead characters often take supporting roles. What draws you to these stories?
I feel that the establishment is the pillar on which our society rests. So, any imbalance in society is because the pillar is not standing straight. So, along with addressing this social imbalance, you also must address the pillar itself, so that it stands straight if it is leaning or is shaky. This is not so much a criticism or a complaint but more of a move forward, just like a call to action, that we are shining some light in our films, asking, can somebody take a look at it?
Does the anticipation which always accompanies your movies weigh you down?
I don’t think about it because when a film is reaching that point, I’m immersed in trying to finish it, and there’s so much work to do. It is when this phase of promoting the film happens, and people say things to me, that the realisation of people’s anticipation hits me. But I look at it positively because I feel that is the faith of the audience which I have earned. It’s not a burden, but there is a pressure because I have to live up to redeeming that faith.
Daayra has started conversations all over again. Does that feel gratifying as a filmmaker?
Extremely. When a film made with time, money, and manpower becomes inconsequential, it’s the biggest tragedy. Every film must carry a message. If it just spreads pure happiness or stimulation, even that is consequential. So for me, it’s gratifying that these conversations have started because that was the core purpose of making this film.
What is the creative synergy with your father, Gulzar?
We are just like any dad and daughter. Creative synergy comes later. We will argue. I will complain. I will throw a tantrum that I want that and not this. The father will cajole me. It’s a full father-daughter dynamic.
You may come from privilege, but you have not had it easy. How has the journey been?
It’s been gratifying because I have been honing my craft and trying to push myself to be better and satisfy the faith of the actors, the producer, the audience. I’m also living up to each story that I tell, and making sure that the stories are more engaging, more immersive, and more difficult than earlier. But I take little credit for that.
What is it like dismantling the image of the actor? Alia Bhatt, Deepika Padukone, Kareena Kapoor Khan—these are actors who come with their own image, but then you dismantle the mould.
I don’t do that. The actor does it. They fully invest in the character. They make sure that you will not see them behind it. I have little to do with that.
What is next?
It’s still brewing, I think, somewhere in the universe. But right now I need a break from the family; a much needed break. But yes, before you ask, I would like to make a love story someday.