RAM GOPAL VARMA

Moving on to fresh challenges

As the reports of his latest film, Mast trickle in Ram Gopal Varma remains true to the spirit of the film. Not really bothered with box-office verdict, he remains calm and thoughtful, preoccupied with plans for his next venture. Mast is a special film for the film industry like Hrishikesh Mukherjee’s Guddi and Roger Michelle’s Notting Hill. It takes a bitter-sweet look at the intricate and complicated star-fan relationship. Besides giving Urmila Matondkar another chance to hone her acting skills, it gives us two significant new talents: Aftab with his tall build and emotive exuberance makes a spirited debut as a star-struck fan and Sandeep Chowtha whose tunes are already being hummed on street corners. What more could Ramu possible hope for? A chance to begin his next venture at the earliest, that’s what. Three days after the release of Mast, its enterprising director speaks.

Tell me, are you happy with the box-office reception of Mast?
I feel silly talking about the performance of my films. The trade papers have declared my film as a ‘city hit’ like they always do with my films. Maybe my films are hits only in the cities.

But Satya, Kaun and Rangeela were blockbusters all over the country?
After I finish making a film, I don’t think it’s in my control whether people love or hate it or how much money it makes. And it’s no use for me to comment on something I cannot control.

Are you saying you aren’t bothered about the box-office collections of your films?
Of course, I am. But only to the extent that I continue to have the freedom to make my next film. Making my films the way I want to has never been a problem. I have no complaints on that score. In any case the true box-office figures finally reveal themselves no matter what the trade papers say.

When I made my first Hindi film Shiva, a lot of people told me it didn’t do well in the North. Later I was told it did very well everywhere, including Delhi.

Maybe the distributors lied to you?
I don’t think I’m in a position to answer that. I don’t know how I can monitor the collections everywhere. If I say a film has done well in Mumbai I’ll be told it hasn’t succeeded in UP.

Do you think the film market is being demarcated too sharply in recent months? Subhash Ghai says about fifty per cent of the film market is soon going to be overseas and that Taal wasn’t designed for Bihar. What about you?
I’m not really that familiar with the nuts and bolts of the market. They told me Satya didn’t do well overseas. But later, I got to know that people abroad had seen Satya. Maybe it became popular by and by since people abroad weren’t familiar with its stars. I haven’t taken the trouble to study the market. I’m too busy making films. I leave it to the experts to evaluate the market. The fact that I’ve been able to make different kinds of films over the years is enough for me.

You mentioned Satya not doing so well overseas. Is the appeal of your cinema restricted to India?
Not really. Rangeela did extremely well overseas. As for Mast I don’t want to forecast anything. Because it’s too early. Some critics have been disappointed by the film. I made it to the best of my capabilities. And the critics have ripped it apart to the best of their capabilities. So we’re both doing our jobs well (laughs).

But critics have always had strong reservations about your films.
I think they hate the guts of anyone who tries something different. I see that happening in some sections of the film industry as well as among critics though I must admit some critics have been very fair. Others can’t digest my audacity in trying to swim against the current. Anyone who does things that the majority wouldn’t dare to is automatically looked upon with suspicion. Also, the frustration and desperation levels in the film industry are very high. So someone’s failure becomes another’s success.

Could you be more specific?
I remember when the initial box-office reports of Taal weren’t so encouraging I could see a glee on people’s faces. They were in a festive mood because someone had apparently failed. They didn’t mean any harm to Taal or Subhash Ghai. I think it was more a desperation to be successful than a wish to see others fail. It isn’t fair to pass judgement on anyone. Because this could happen to me also. It’s as true of directors as actors. If an actor has a flop, another is bound to be relieved. It’s only human nature.

How do you manage to keep yourself distant from this competitive spirit?
That’s because I’m too busy making films to rejoice in others’ failure or success. Also I think I’m a little too conscious of human psychology to become a victim of bitter rivalry.

Like Rangeela, Mast is about the Hindi film industry. In Rangeela Urmila Matondkar played an actress struggling to become successful when she was actually struggling. Now in Mast she plays a star when she is one. Perfect casting, don’t you think?

It is. And you are right. Whatever my personal rapport and professional association with any actors, at the end of the day the casting has to be perfectly justified. I have to feel strongly about every actor being right for every role. In Urmila’s case it’s very easy for them to insinuate things just because she happens to be a woman, and never mind if her casting is justified. To say there’s something going on between a director and a female star is easier and spicier than saying she suits the role. But if the truth be told, I’ve given far more plum roles to Manoj Bajpai. Just because he’s a man nobody points a finger at me or him.

Thank God nobody is linking you with Manoj Bajpai.
(Laughs). The only reason why I keep doing films with Manoj is because I believe he’s one of the finest actors we have. He’s doing a new film for our production house to be directed by Rajat Mukherjee. Initially, I had reservations about Manoj being able to do justice to this role. But he came and showed me how he planned to do it. I was completely convinced.

You’ve given so many actors and technicians major breaks. Why do they break away from you later?
They are the best people to answer this. I don’t take anyone on a favour. It’s more because they suit my film. I use their talent for my film’s convenience. And they’re informed of this from the outset. If a particular actor or technician becomes very popular after working in my production, I’m very happy for that person. But I can’t work with him any longer because he can’t give me the time and attention my films need. Reluctantly they feel neglected. Nobody can bear the thought that he or she isn’t indispensable. But I repeatedly tell all the newcomers that I am not giving them a chance, I am taking a chance. There’s a lot of difference between the two. A businessman once told me that the problem with people is, they think they’re working for a business company when in reality they work only for themselves.

So you look at Varma Corporation as nothing more than a business concern?
Naturally, our job is to make films. And we hire the best possible actors and technicians for the job.

But what about those production houses like Dev Anand’s Navketan where a whole team grew over the years as part of the family?
I do have people who have been with me from Day One. But it’s a question of opportunities. My company is not a jail. Everyone has the choice of moving on.

Your Mast discovery Aftab is much taller than today’s average superstar. Do you think he has the talent to match? Has he done justice to playing your alter ego.
You mean because I had a crush on Sridevi he’s playing me? But isn’t it true of everyone? A lot of people have a crush on stars. There’s no connection between my protagonist Kittu and me, except the idea of being besotted by a star. Considering this is his first film as a hero I think I got more than what I expected from Aftab. He has potential. But it all depends on getting the right films. He’s doing another film for us to be directed by E Niwas of Shool. That starts at the beginning of next year. We’ve no fixed schedules for our productions. We start films as and when the time is right.

Antara Mali as Aftab’s girlfriend is very spontaneous. She leads in your Telugu film Prem Katha why the supporting role in ‘Mast’?
Obviously I couldn’t cast Antara as Mallika the star. But hers is a difficult and key role inspite of being short. The climax hinges on Antara. I had seen her talent in my Telugu film. I knew she’d be perfect for the role in Mast.

The gossip press has been linking you with Antara recently?
I heard about that. The gossip press needs to keep itself busy.

The cameos and the musical numbers in Mast seemed inspired by the Hollywood musical of the 40s. Did you see some before making Mast?
I’m sure I was influenced by them. I definitely wanted a 40s Hollywood feel in parts of ‘Mast’. I agree the first thirty minutes should be sharper. A song and some scenes have now been cut.

Are you happy with the distributors cut?
The problem is the audience at trial shows are very different from the public at large. Personal prejudices come into play. The masses and preview audiences have antithetical mindsets. So films that seem to work phenomenally at previews may backfire on release. Because the public is unbiased it’s only their judgement that a director can really trust. I agree with you, trial shows don’t serve any purpose.

Do you think cuts after release help a film?
That’s a tough question. Maybe without the cuts a film would do worse. How’s one to know? As a filmmaker I’m making a product. If the buyer disapproves I don’t mind.

People are comparing Vaastav to Satya. Is that justified?
Vaastav is a good film. Like Satya it’s inspired by real life incidents from the Mumbai underworld. I don’t think it’s fair to say it’s another Satya.

Are you scared you’ll be judged by Satya all your career?
The same thing happened after my ‘Shiva’. It was considered a benchmark for every film I made subsequently. Then the same happened with Rangeela, Satya. One thing that really puzzles me is, my distributors claim my films don’t do well. Yet they keep buying my films.

Subhash K Jha