Naseeruddin Shah needs no introduction. He is an institution for actors, an entertainer par excellence for audiences, and he is his own critique. Starting his career in the ’70s, Naseer (as he is fondly called) has acted in films he is proud of (by his own admission); films like Nishant, Aakrosh, Sparsh, Mirch Masala, Albert Pinto Ko Gussa Kyon Aata Hai, Trikal, Bhavni Bhavai, Jaane Bhi Do Yaaro, and some more. And then there are films he calls “ghastly”, but does not regret taking them up, for he confesses, “My instinct drove me to do those films, and my instinct has not always proved to be right.”
Known for being unapologetically unfiltered, Naseer also admits that he is returning to direction after 17 years because with his last directorial, Yun Hota To Kya Hota, he did “a shoddy job”, and didn’t want to repeat the same. Naseer is now helming a short film, 'Man Woman Man Woman', presented by Royal Stag Barrel Select Large Short Films. Written and directed by Naseer, the film navigates a series of twists and turns that lead to one popular sentiment: love conquers all. Starring his wife Ratna Pathak Shah, his son Vivaan Shah, Tarun Dhanrajgir, and Saba Azad, the film aptly depicts the complexities of relationships in the modern world. As we sit down for a conversation, Naseer mentions that the idea of the film “kind of fell into my lap,” and we begin by asking why.
Excerpts:
The idea fell into your lap?
Well, it’s based on real life, about a friend of mine. A 65-year-old met a 70-year-old on one of these dating apps. They liked what they saw of each other, and decided to meet and after a while, decided to get married. When I heard about this, I thought it made for a very charming little story. The woman was a spinster; the man was a widower, with a grown-up son. So I wondered, what it would be like if they both had children; what would simply be the relationship between those children who suddenly find themselves with a grown-up sibling; How would they respond to that?
You have cast your wife and your son in the family. Do they turn actors on the set?
They leave their roles of wife and son behind when they are on the set. I’ve directed them both on the stage and I know how they respond. So, I could use their own reactions in the film, instead of asking them to portray something which is alien to them. I actually wrote the script with Ratna in mind for the woman’s role; and Vivaan in mind for the younger man. Working with family, it’s convenient to have rehearsals whenever I feel like it. For Tarun’s role, I had approached a couple of well-known actors who didn’t think it worth their while to participate in this film. Then I remembered Tarun with whom I’d acted in a play about 42 years ago. He readily agreed and didn’t show me any attitude. And Saba, of course, I’ve known her because she’s a friend of Imaad.
Your last directorial was in 2006, what took you so long to direct another?
I had resolved never to direct another film after that terrible experience. I approached the film with the same attitude that I approach my work as an actor. I don’t do days and days of preparation for a part in a film; for a play, I do. But in a film, my imagination kicks off only when I’m actually on the floor. So, my mistake in making Yun Hota To Kya Hota was that I approached it in the same way. I thought, when we’re on the sets, all I have to do is make sure that the actors behave real, and I chose the best actors I could find. Luckily, all of them said yes. I had Irrfan Khan, Paresh Rawal, Ratna, Jimmy Shergill, Konkona Sen Sharma and then many friends of mine rallied around to do tiny parts without asking any questions. But I think I let them down. That is why I thought I’d never make another film again. And I still think I won’t make another feature film. There’s too much organisation, and handling of egos; it is a management job, really, more than a creative one.
Do you regret any role you’ve done in the past?
Not at all, because no one compelled me. I made those choices on my own accord. Some turned out dreadful! Some turned out very good; but in each case, it was just instinct that drove me. Whether it was wonderful films like Sparsh, Akrosh, Manthan or Nishaan, or whether it was something ghastly like Zinda Jala Dunga or Mujhe Meri Biwi se Bachao (laughs); I did it on instinct, and my instinct has not always proved to be right. But I have no regrets at all.
Since you’ve mentioned that making a feature film is a managerial job, how has cinema changed or evolved?
As far as popular cinema is concerned, I don’t think it’s changed except for the fact that we have better photography and editing. And they’ve discovered that there are some other places apart from Kashmir and Switzerland where you can shoot beautiful landscapes!
But as far as the scripting and the depiction of relationships or the complexity of situations is concerned, I think we are still pretty far behind the rest of the world. It’s embarrassing when you see something wonderful produced in Korea or Iran, or in Thailand; which are little countries, but they make such marvelous movies. I think the filmmakers there are inspired by the life they lead, which doesn’t seem to be the case here.
The fluff, of course, stays the same, though plenty of people will disagree. But let me also mention that the younger generation of actors we have are absolutely wonderful. I think Ranveer Singh, Alia Bhatt, Rajkummar Rao and some others are really good.
What has OTT brought to the table?
OTT has shown us a mirror, because when people make films without the burden of having to please a distributor or a producer who insists on shoving in a song where it’s not needed, or a fight where it’s not needed, a lot of wonderful work happens, and it is happening on OTT. However, I think the license to use obscenities and sexual content is going a bit too far. It isn’t necessary to continue a kissing scene for three minutes! Okay, two people kiss, fine, we’ve got the point; you don’t have to go on and on showing us in what detail they do this act, or take off their clothes! It’s a novel thing for the filmmakers I guess and they’re excited by it, but I don’t approve of it.
However, I have hope for the future because actors like Pankaj Tripathi, Geetanjali Kulkarni or Jamil Khan would never have gained recognition if it were not for OTT.
Did you always want to be an actor?
There are two things I wanted to be — a cricketer or an actor. I still love cricket though I hate the IPL because that’s fast food! I gave up trying to be a cricketer because at that time, there were only 11 people in the country who were selected for the Indian team. When we were kids, there was one Test series played in a year. There are five countries in the world which played cricket at that time — India, Pakistan, West Indies, England, and Australia. So, I realised that this was futile. I chose the easier option — of becoming an actor (laughs).
How would you sum up your journey as an actor?
It’s been a joyride! I feel fortunate and blessed that I have been able to do what I love and get paid for it (laughs).I think actors should savour the opportunity they’ve been given to indulge, if I can say, in this activity, which is not a normal activity. I mean, pretending to be someone else all the time is hardly normal! But it’s such fun. And I think I took to it because as a child, I was quite withdrawn. I didn’t have many friends. I was not terribly good at anything, except spelling. I would get zero in geometry, but I’d score 100 out of 100 in dictations. Because of the kind of lonely childhood in boarding school, I think I took refuge in being other people. I’d imitate actors from films I’d seen, and I didn’t realise then that this was going to hold me in good stead in the future, which it has.
'Man Woman Man Woman' was released on August 25.