Widely known for his sensitive handling of the partition trauma in the iconic Garam Hawa, though he has nine other perhaps lesser known films to his credit, the multi-faceted Mysore Srinivas Sathyu has also earned considerable fame as television and documentary filmmaker (15), art director for films, theatre director, set and costume designer. The last stage production being a modernised enactment of Dara Shikoh that won him considerable acclaim. It was rightly described as “a turning point of traditional theatrical sensibilities.”
Back in Delhi for a new stage biopic (for Impresario Asia) on legendary Punjabi writer, Amrita Pritam and her relationship with equally famous Urdu poet, Sahir Ludhianvi, and lesser-known relationship with illustrator-painter, Imroz, Sathyu talked about his various engagements in-between rehearsals in a large basement otherwise filled with junk.
Rather than sitting on past laurels, and retiring in the cozy confines of Bangalore, you seem to be all over the place indulging in multi-tasking. Now with an in-vogue stage biopic…what motivated you do take up this production in the middle of one of the worst Delhi summers?
Frankly, it was a call from my old friend, although I must admit that although I knew Sahir well during my Bombay days, I had met Amrita Pritam only once, and knew about Imroz as an illustrator. Also, I saw a lot of potential when KK sent me the script by Danish Iqbal with whom I had also worked on Dara Shikoh. It is a complicated process when you are trying to dramatise the life of a contemporary, or someone who might have died recently. Then there is also the factor of their powerful poetry, and how to use it. I have watched many biopic stage productions, and find it an interesting new genre full of varying vicissitudes. Luckily, we have managed to find competent artistes and am sure of good response, especially because two of the three main characters are nationally known names.
What about the switch-overs, don't you find it cumbersome moving from one genre to another?
Not really. On the contrary, it can be quite invigorating because every genre demands a different approach, a different yardstick, a different methodology, and different challenges. Doing a stage production is far easier, it does not involve big finances though the thrills and rewards can be a lot more satisfying.
Your last feature film in Kannada, ‘Ijjodu' has been acclaimed by both the common cinegoer and critics. Why did it take you more than a decade to work on a feature film?
Just coincidence. Chance. And finance. Besides, I was doing plays, television productions, documentaries. As I said filmmaking involves big finance. A corporate entertainment company approached me to make a film in Kannada. Ijjodu , which explores the life of a devadasi, is the net result.
What about making another film in Hindi?
Not much is really happening in Hindi cinema. We don't have any trend setting films being made, though there are some occasional thought-provoking films. The bulk of Hindi cinema is downright bad, though technically the productions are much finer. The directors also seem more efficient. The same can also be said about the actors. The multiplexes have opened up new vistas, yet the content continues to be deplorable. So when you suddenly see a film like Kabul Express, you can do nothing but admire. It is surprising that it was backed by someone like Yash Chopra! It is a daring venture, with just two actors and the streets of Afghanistan.
