HYDERABAD : We may not remember the names of the human characters in movies, but no one will ever forget Tuffy from Hum Aapke Hai Kaun or Pluto Mehra from Dil Dhadakne Do, or Bhidu from Chillar Party.
Animals, especially dogs, form an integral part of a film’s story line, and sometimes the entire storyline. Inclusion of an animal always leaves space for a representation of innocence in the myriad of complex human emotions.
Disney’s latest remake of the 1955 classic, The Lady and The Tramp, tells the story of an upper-middle-class American cocker spaniel named Lady and a street-smart, stray schnauzer called Tramp and their many adventures, prompts a new discussion about animals and movies.
While Disney classic fans have not been impressed with the movie, what stole people’s hearts were Rose, the gorgeous golden cocker spaniel and handsome Monte, the schnauzer-shepherd mix. Even before the movie released, Rose and Monte had become stars, after the film’s team shared a picture of Rose sitting on an actor’s chair with her name written on it. If chatter is to be believed she was the most pampered character on set by director Charlie Bean.
But handling animals on set is no easy task. From seeking permissions from the animal welfare boards to keeping the animal safe, secure and comfortable, because there is no way for the animal to clearly communicate if it is in distress, or uncomfortable. This is where an animal trainer or a handler comes into the picture. But most handlers seems aversive to the idea of animals being used for shoots.
“The correct way to train dogs would be positive reinforcement, by giving it treats for every command followed. However, because time is of essence in a production, neither directors nor producers care about the well-being of the animals and handlers end up using harsh methods such as beating, prodding with sticks, or even electric shocks,” said city based canine behaviourist, Priyanka Nagam.
She further added, “There are other measures that should be taken, such as restricting the shoot to only four to five hours a day. Having a veterinarian on set constantly for emergency purposes, if the animal falls sick or gets injured while shooting. The handler should be the only one communicating with the animal and should be on set for as long as the animal is there.”
On the other hand, Shirin Merchant, India’s first canine behaviourist, is completely opposed to the idea of animals being used for shoots and herself refused to train dogs for movies or advertisement. “It becomes very difficult for these animals.
Their stress levels tend to peak, they get scared and uncomfortable, and there is a plethora of triggers that induce stress on a set – starting from the bright lights, the crowd, loud noises, strangers constantly handling and cuddling the animal, repetitive commands. There will come a point where the animal will give up, get tired and stop listening to you if you keep repeating the commands. Then the handler is under pressure, because the shot is ready, the camera is ready, actors are ready, the director is waiting for the animal to perform,” she rues.
But even before all of these issues come into play, one of the most important steps for a filmmaker is to get a No Objection Certification form the Animal Welfare Board of India, which is under the Ministry of Fisheries, Animal Husbandry and Dairying, Government of India.
Well known animal rights activist, Pravallika, explains, “The director is required to send the script to the Animal Welfare Board, along with details of the what acts the animal is supposed to perform, for how long, and other similar details. The board then reviews this application, and if it deems the application fit, then an animal welfare board’s member or animal activist is sent on set to assess the situation and oversee the shooting. If any lines are crossed the board sends notices to the broadcasting associations and the censor board. The director has to maintain and specify that no animals were harmed in the making of the film/video/advertisement.”
However, the procedure is much more complex on paper, especially if exotic and endangered animals are being used for the production. The welfare board also asks filmmakers for details on computer graphics/animation of animals’ performance at the time of seeking pre-shoot permission itself.