Bindhu Malini’s phone rang constantly when she was teaching cultural theorist Tejaswini Niranjana a song by saint poet Kabir Das at the latter’s residence in Bengaluru. She apologised to Tejaswini, picked the call and heard wild screams of joy and people congratulating her on the other end.
She was announced the Best Female Playback Singer at the 66th National Film Awards for ‘Mayavi Manave’ from Nathicharami . Bindhu did not believe this until the director of the film, Mansore, called to congratulate her. The next 15 minutes or so, she says, were surreal. A part of her wanted to jump and scream, while another was still shocked. But she continued to teach Tejaswini the Kabir song.
“If something larger than my everyday life happens, I just don’t know how to take it. It is beyond my imagination,” says Bindhu, recalling her award-winning moment from her rented house with a charming front garden in Banashankari.
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She talks to
Has the feeling of winning a National award sunk in yet?
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The films you composed music for — Harikatha Prasanga , Aruvi and, now, Nathicharami — are centred around women. Is this intentional or a coincidence?
It is, maybe, a coincidence. Harikatha Prasanga is actually about a Yakshagana artiste who dresses up as a woman. I knew the director Ananya Kasaravalli as I had worked with her on a music video project. So, when she did a feature film, she told me I am going to be a part of it. With Aruvi , director Arun Prabhu had liked Suno Bhai (an indie album by Bindhu and Vedanth Bharadwaj) and wanted me and Vedanth. With Nathicharami (which explores a widow’s sexuality), it made sense for the director to have the music coming from a woman. I don’t necessarily go for women-centric movies. I just go by the story and see if it is something I can handle.
So, what made you sign up for Nathicharami?
Shruthi Hariharan ( Nathicharami ’s lead actor) mentioned my name to Mansore. He hadn’t seen Aruvi and I hadn’t seen his first film, Harivu . So, we watched each other’s works and liked it. He said he can trust me with the project. I liked the story. Also, it was the first time I was handling a mainstream feature film in Kannada by myself. I thought it would be a learning experience for me, too.
As a composer, how do you approach films such as Aruvi and Nathicharami that deal with serious themes?
I just need to make sure that I resonate with the core of the film. Even if I am able to identify with one thing, then, I can build on it. I may not approach the film the same way as the director does. But that is the beauty of it. The director is definitely asking me for something that he is unable to get.
Does the composer being a woman make any difference to the music?
I think it is based on the work. It is something about the style I bring in. Having trained in Carnatic and Hindustani, I have a particular thing about my music. And, Kabir Das’s words helped me connect to music in a meaningful way. At one point I was asking myself, ‘What am I doing? What is my music?’ I am not sure if there is a different kind of sensibility that is creeping into the music because I am a woman. I don’t think any kind of music is impossible by anybody. A man can bring a lot of depth and subtlety into his music and a woman like Sneha Khanwalkar can do a film like Gangs of Wasseypur .
Why do you think there are only a few women composers in Indian mainstream cinema?
It is a male-dominated industry. We all know it. But I guess it is changing now because the whole medium is changing.
The accessibility of it is making different kinds of people pick it up.