We meet at airport lounges
The actress is almost a living legend in Indian cinema today with an ouvre that spans parallel cinema as well as the commercial circuit. In a candid interview with Ritusmita Biswas, Azmi talks about her cinema, life and views on a changing Bollywood
The actress who made her debut as a poor villager’s wife in Shyam Benegal's Ankur in the '70s to the recent Bollywood hit Honeymoon Travels Pvt Ltd, Shabana Azmi has done it all. She is utterly convincing in all roles. However, being an actress is just one facet of this multidimensional personality. Recipient of numerous awards, including the Padmashri, Azmi has donned the hat of a Member of Parliament and the UN Goodwill Ambassador with equal élan. She is a strong advocate of human rights and is well known about her work to protect the slum dwellers of Mumbai.
You believe in the theory that social change can be initiated by art. But you have also said that only commercial movies can bring a political or social change. Can you explain that?
In India, this distinction between so-called art and mainstream cinema is so acute! As a matter of fact, art films focussing on social issues appeal only to the niche audience, which is culturally aware and educated. On the contrary, the target audience of the commercial films is huge. The Indian audience likes to see women as the suffering protagonist, whether it is a mother, wife or sister. Women are cast in stereotype roles for ages. As long as this trend continues, the messages of change conveyed via the art film will fall on deaf ears.
Where do you see Indian cinema in the near future?
Well, let me tell you the myth Parallel cinema is dead is not true at all. On the contrary, new breeds of directors are trying their hands at new genres of realistic cinema. My favourites are Kaizad Gustad, Deepa Mehta, Mira Nair and Sudhir Mishra. They speak a language through their films that the average urban guy can relate to. They are also targeting an international audience.
Brand India needs these filmmakers who will free the international audience from the stereotypes such as poverty, fanaticism etc. There is a blurring of the line between commercial films and the traditional parallel cinema. The commercial film has finally broken away from the typical stories of family drama or boy- meets- girl kind of romance. This is a welcome change from the perspective of mainstream films. In future, I envision Indian cinema to be more realistic, yet, sustaining the entertainment value associated with the commercial movie.
