| KARISMA KAPOOR: CLASS
ACT |
Astute understanding of the system coupled with
sincerity and a single-minded approach has helped Karisma Kapoor
become one of the most  commercially
bankable heroines today. With Indra Kumar’s Aashique on one
end of the spectrum and Shyam Benegal’s Zubeidaa on the other,
both on the verge of release Karisma Kapoor’s career takes
yet another course by delicately balancing the two diverse worlds.
SCREEN chats up the actress...
In
the last ten years, as an actress, what is the most persistent emotion
you have felt?
(Thinks) I’d say my love for cinema, the urge to be in front
of the camera and feel the emotions. It’s still as strong as
ever.
Your climb to success was through the conventional path laid down
for commercial actresses over the years. Did you take the plunge
knowing that it would work for you?
When I entered films I knew it was a gamble. To make it big I’d
have to work hard and give my 100 per cent and if that meant working
with different kinds of filmmakers, in different kinds of set ups,
understanding different languages of cinema, I was game for it.
I have never really planned the phases in my career. Out of whatever
offers I got, I merely chose the ones I felt would be great for
me.
| I have never misused my stardom. I cherish it because I
have had to struggle relentlessly to attain my place in the
sun! |
Would you say your transition today towards quasi-commercial cinema
like Fiza and Zubeidaa was a natural one?
Most definitely! I have gone through the entire cycle that a commercial
heroine goes through. Hits, awards and appreciation have all been
a part of my years as a heroine. But as a person I always need challenges
to keep me going. After four consecutive hits in 1999, I was wondering
what direction my career would take when I got Fiza and Zubeidaa.
I got just the challenges I was looking for. The biggest high for
me today, as an actress, is to work in films like Zubeidaa and at
the same time do hardcore commercial ventures with David Dhawan
and Indra Kumar.
Did you consciously avoid this kind of cinema earlier because you
felt it would affect your viability as a commercial heroine?
No! That wasn’t the issue at all! I didn’t work in such
projects earlier because I wasn’t mentally equipped to take
on hardcore roles in the parallel cinema set-up. When I read the
script of Fiza, I instinctively felt I could be this girl and that
was the basis of my acceptance. When Shyamji approached me with
| I have never looked back on my career and gloated over
my achievements. |
Zubeidaa, I was thrilled. It was an honour and I wasn’t going
to say ‘No!’ Besides, these are the films that people
will remember me by regardless of their success or failure.
After name, prosperity, awards and critical acclaim that you have
received, what is it that still drags you to the sets every morning?
The urge to do better, to excel and find new avenues within
myself. I’m a workaholic by nature and I hate gaps between
shootings. I have never looked back on my career and gloated over
my achievements. Acting is a huge ocean and no artiste can say he’s
achieved everything. I’m sure there is much more in store for
me. I keep hoping I’ll find fresh challenges that keep me on
my toes.
When you came into films your goal was to reach the top and be the
best. Now that you have achieved your aim, what importance does
it hold for you?
I value it tremendously and I hold it dear to my heart. I know this
phase is transitory and will not last forever. I have seen it happening
in the past and I know it will happen in the future but I have never
taken my success for granted or misuse my stardom. I cherish it
because I have got it the hard way. I have had to struggle relentlessly
to attain my place in the sun!
| I treated Zubeidaa as a complete newcomer would and left
everything behind to immerse myself into the role. |
You say Zubeidaa changed you as a person. What do you mean?
Working with Shyamji in itself was a great new experience for me.
Discussing my role, the film or cinema in general with him was an
enriching feeling. Also there are a few moments in the film that
changed my life forever. Like the scene in Zubeidaa where I’m
carrying a month old child in my arms as my husband divorces me:
that moment just changed me as a woman forever. I didn’t need
any glycerine for that scene because I started crying as soon as
I felt the child’s small fingers trying to touch me and I heard
the word ‘talaaq’. Something just happened and I couldn’t
stop crying.
How did you manage to portray the emotions of motherhood in Zubeidaa?
Did you have a reference point or did you just follow the director’s
instructions?
(Laughs) I just followed the director’s instructions. Actually
I put myself in most situations and imagined how I would react if
they happened to me. I got my answers and enacted the scene. At
times it would work and at others Shyamji would guide me along.
What kind of homework did you do for Zubeidaa?
I read the script several times, had several rounds of discussions
with Shyamji about Zubeidaa’s character and how he visualised
it. I went through several photographs of the era to study the various
aspects of her physicality. There was definitely homework as far
as her outward appearance goes, but for most of the emotional scenes
I trusted my instincts and also the director’s interpretation.
The fact that I was tremendously moved by the character helped me
a lot in the film.
While working with a director like Shyam Benegal did you have to
unlearn any lessons that you learnt as a commercial actress?
When I took up Zubeidaa and walked on to the sets on the first day
I was a clean slate! I treated Zubeidaa as a complete newcomer would!
I left everything behind me and immersed myself into the role.
Interestingly Fiza and Zubeidaa, despite their makers’ tilt
towards parallel cinema, have strong commercial overtones. Do you
think it’s the result of your presence in them, or were you
chosen because of the commercial elements in the script?
I can’t say. It’s one or the other. I think it’s
a combination of both. The line dividing these two kinds of cinema
is slowly blurring and the two worlds are coming closer. Through
these films I have, in my small way, bridged the gap between them.
Niranjan Iyenga
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