A master filmmaker who has interpreted contemporary classics such as Shakespeare in Love and Captain Corelli’s Mandolin in English, John Madden now presents The Second Best Exotic Marigold Hotel in India which takes off from where the first film left. The first, The Best Exotic Marigold Hotel , deals with the lives of immigrant senior citizens from England and an ambitious young Indian hotelier. Excerpts from an interview with the director:
Almost every British citizen has an India connection through his or her elderly family members. Do you have one? And did that help in making this film?
We feel a strong connect to India and it’s not just limited to cricket! I was curious to know India better even though that wasn’t my main motivation for doing this project. My wife and I had already planned to travel to India some time, and we were going to do it for a significant birthday. The film pre-empted those travel plans ( smiles ). The importance of India (to this story) came about when I travelled here to research the first film. Though I did the first film, I wasn’t ready for it back then. For this film, I have felt a strong connection with the country.
The Second Best Exotic Marigold Hotelreturns to the lives of British senior citizens who now live together in India like family. How do you view the treatment of elders in both cultures?
That’s an interesting question. You have a better model of caring for senior citizens than we do back home. As I move into that demographic myself — I am a grandfather five times over — I look at that aspect very carefully. I had three grandchildren during the course of making this film.
Here in India, old people are the centre of families. In the many places I travelled to during the making of this film, I found that the elderly in the family were positioned at the centre of a home. That struck me. Old age in India is celebrated and venerated.
In the West, we have terrible models. We push old people out of our lives and surrender their care to third parties. But the idea that we can outsource old age is wonderful; the thought that old people could come together and create an environment where they live together and can create a different kind of a family is even more interesting.
Most of all, my film deals with an Indian temperament, its people and culture. Perhaps this is the conceit, but a place designed for the elderly to live together as a different kind of family, the heart of the story, may offer an interesting option.
Most of the lead players in your film — Judi Dench, Bill Nighy, Maggie Smith, Penelope Wilton and Richard Gere — are internationally renowned for their acting skills. What was a day on the set like?
Well, they are marvellously disrespectful of one another! I think that also goes with the Brit sense of humour and the nature of the acting profession. It was very natural to make fun of one another. When Richard Gere came to the set, he naturally picked up on the mood though his part is primarily with Lillette Dubey.
I won’t want to be part of a film that is not fun to make. I won’t want to work in an atmosphere of disgruntlement and boredom. Even a dark difficult film being made, and I have made some of those too, should be enjoyable to make. If there is discord in making, it shows on screen. The audience also sort of senses it. In the case of a comedy it would show more clearly. There is a sort of trust among all actors in the film.
I’ve worked with Judi Dench four times now. I hugely enjoy working with actors I know, for there is trust already. But I don’t find it difficult with new actors. The audition process is very important to me, for I find out if I will be able to work with a certain actor. If someone delights me in a part, then I absolutely admire their work and a rapport is built.
How was it to work with Dev Patel?
We simply love Dev. Maggie Smith thinks the world of him. The second film is sort of built around his relationship with Maggie's character. His role might be a tad controversial, for it might be closest to a certain stereotype I suppose. But I don’t see it that way. To me, his character is based in his own reality and is influenced by his father’s failed dream. He is haunted that he is exactly like his father. But he does things out of the box. Maggie’s character notices that and helps it flourish.
Dev has an amazing energy that is integral to the film. He is gifted as an actor and a comedian. He has grown older between the films! So has Tina Desai. They have noticeably grown up!
Have you watched any recent Indian films? Are you familiar with Bollywood?
I saw The Lunchbox recently and thought it was wonderful. It captures a sort of India that we have seen in photographs. I frankly feel that my education in Indian films has just begun. Bollywood, I haven’t watched many but am rather dazzled by its scale and form. I recently watched a Shah Rukh Khan film (I can’t remember the name). I loved it and found it terrific. I look forward to watching more Hindi films.
