26 maggio 2012

Mohammed Hanif on secrets and lies in Pakistan

Il 24 maggio 2012 Mohammed Hanif è intervenuto ad un programma radiofonico diffuso dal network statunitense NPR. Riporto di seguito alcune sue dichiarazioni raccolte da Steve Inskeep. Mohammed Hanif on secrets and lies in Pakistan:

'The Pakistani writer Mohammed Hanif is living proof that you can sometimes tell the truth more easily with fiction than facts. Hanif is a journalist in one of the world's more dangerous places to be a journalist: Pakistan. He's also become one of the country's most prominent and provocative novelists. His book A Case of Exploding Mangoes told the tale of real-life Pakistani dictator Zia-ul-Haq, who died in a plane crash in 1988. Few believed it was an accident, and Hanif's novel delved into the conspiracies (and conspiracy theories). Hanif joins NPR's Steve Inskeep to discuss the reception of A Case of Exploding Mangoes and his new novel, Our Lady of Alice Bhatti, the story of a poor hospital nurse in the city of Karachi. Interview Highlights:
On choosing to fictionalize Zia-ul-Haq's death
"Like all young reporters, I was like, this is going to be my big story, and I started working on it. After a few months, I realized that there was no way I was going to get to the bottom of it. There were layers and layers and layers of deception and cover-ups to cover the other cover-ups. Then it occurred to me that I would just make up my own facts. If no one was willing to tell me who did it, then as a fictional character, I'll raise my hand and say, 'Well, I did it,' and I'll write a book about it. And so, basically, it was a failed journalist's revenge."
On people accepting his version of events
"The funny thing is, after the book came out, a lot of people - and some of them were heads of intelligence agencies - I've run into them at a party or at a social gathering, and they take me into a corner and say, 'Son, you've written a brilliant novel. Now tell me, who's your source?' I used to find it a bit scary at the beginning that, my God, these people are running my country and they actually believe all the lies that I've written."
On his sympathetic portrayal of Zia-ul-Haq
"Some of my friends - political activists who'd suffered during his regime - they also kind of said, 'You turn him into some kind of Homer Simpson type of character.' But the problem is when you're writing a novel, you spend years and years with these characters, and it's at some point that I think you start to humanize them. You start to internalize their fears and ambitions and - to a certain extent - their cruel streak as well. So I think that probably it is not such a bad thing that if you're going to write a character, you might as well try and get inside his head."
On the heroine of his new novel, Our Lady of Alice Bhatti
"Alice is a beautiful young nurse who has had a troubled past, but she's very feisty, and she falls in love with somebody that she shouldn't have fallen in love with. Basically, I was trying to write it as a love story, but since the love story happens in a particular setting, like many love stories, it goes wrong somewhere."
On his choice of setting (a Christian hospital in Pakistan)
"When I was a teenager and my mother had cancer, she spent her last couple of months in the hospital, which was a bit like this. I spent those months with her and, as you know, public hospitals are strange places - somebody is doing something around the clock, somebody is dying, somebody is in pain, somebody is being born, somebody is being relieved of their pain. So those impressions were very strong in my head, and I think the psychological explanation, now that I think of it, is that maybe I didn't want to focus on my own personal tragedy, which was that my mother was dying. So I was focusing on everything else. And when I was growing up, a lot of nurses in Pakistan - female nurses - happen to be Catholics. It was quite, quite normal. It's only during the last 15-20 years that it has become the kind of profession that men and Muslims and Christians and everybody else goes into that profession. But it started out as a profession for Catholic women in Pakistan.
On depicting women and minorities in Pakistan
When I'm writing a novel - before anything else, I'm interested in Alice the person, Alice the woman - that's what I want to investigate. And by doing that, if I kind of see the glimpse of the kind of surrounding she lives in, if I sort of see a glimpse of the prejudices that she has to face - and mind you, these prejudices are not just because she is Christian, these prejudices are basically because she's a woman, and ever more important, these prejudices exist because she is poor'.

Shekhar Kapur: Mr. India was a product of fearlessness

Anil Kapoor e Sridevi in Mr. India
Ieri Mr. India, secondo film diretto da Shekhar Kapur, ha celebrato i 25 anni dalla sua distribuzione. La pellicola, di genere fantascientifico, conquistò la seconda posizione nella classifica dei maggiori incassi del 1987, ed è considerata a tutti gli effetti un classico del cinema hindi. Interpretato da Anil Kapoor e Sridevi, e prodotto da Boney Kapoor, Mr. India è l'ultimo film sceneggiato dal mitico duo Salim-Javed. Il ruolo dell'antagonista fu assegnato ad Amrish Puri, ed il suo Mogambo è uno dei più famosi eroi negativi di Bollywood. Vi segnalo l'intervista concessa da Shekhar Kapur a Sonil Dedhia, pubblicata ieri da Rediff. Mr. India was a product of fearlessness:

'When you think of Mr. India now, what are the images and memories that flash through your mind?
It was very tough and at the same time so much fun to make Mr. India. It was tough because we did not have the tools and the technology available today. It was not possible to add the visual effects during post-production as it happens today. We had to shoot everything on camera, so the time and effort taken was really challenging. The great thing about Mr. India was... I relied on all the actors to take the attention away from the visual effects. The visual effects were fundamentally sold by the performances of the actors. What has turned out in the last 25 years is it's not the visual effects but the characters that have stayed with the audience. It's always important for me that the actors and characters are what make my films... In a way I thank god that we didn't have advanced technology because the characters in Mr. India created the awe factor of visual effects.
The film took major inspiration from H.G. Wells's The Invisible Man. Even before Mr. India was made, we had films like Mr. X (released in 1957 starring Ashok Kumar) and Mr. X In Bombay (released in 1964 starring Kishore Kumar) on similar lines. Had you read the book or seen the films?
I never saw them and I haven't seen them. Actually, I should watch it. I never found a copy of any of these films. One day I asked Boney Kapoor to get me a book, and he got me The Invisible Man and the book was about editing (laughs). The inspiration for the film actually came from the story written by Salim-Javed (Salim Khan and Javed Akhtar). (...)
Do you remember the first time you read the script?
What I first heard about Mr. India, it was just an idea. It took a long time to develop the story. The funny thing is that we had already started shooting for the film and Javed Akhtar was still writing the character of Mogambo (laughs). (...)
What would you say makes Mr. India such a great film?
I think there was something very special that we discovered when we made the film. It was fearlessness. I shot the film completely instinctively. Boney Kapoor was a fearless producer. He was one of the great independent producers of his time. During its time Mr. India was a very expensive film. Anil Kapoor was fearless and so was I. The film was a product of fearlessness from all the people that were associated with it. It was not that we were never afraid, but we were on a roll. We all supported each other. When you see the film today, you can sense that adventure and the joy of filmmaking.
Did this fearless attitude come from the fact that you were just one film old then and the producer too was at a nascent stage?
I think I agree with you. Fearlessness is an attitude. I came to filmmaking because of the adventure of it. I was a chartered accountant. Sometimes I think I could have been a CEO of a private equity firm or the chairman of a bank, but I chose to be adventurous. If you look at the films that I have made, all have been adventurous. Unless there is a sense of adventure, I don't make a film.
Were you at any point of time unsure about Mr. India's success?
Never. I was passionate about making Mr. India and there are no two ways about it. We all had a lot of arguments. Boney would fight with Javed. I would fight with Boney and it went on. Anil would always stick in the middle. He is a big diplomat. He used to play the role of an arbitrator. I was 100 percent sure about the success of Mr. India. (...)
How easy or difficult was it to release a film in 1987?
It was difficult to make a film, but I think it was very easy to release the film. Unlike today, we didn't have to release the film in 400 screens. I don't remember how many prints we released. Also, we didn't have the fear of video piracy nor was filmmaking a game of weekend business.
How did the industry react to you after the release of Mr. India?
After the film became a success, a lot of people told me to make another film with the children, as I would make a lot of money. The moment someone told me I would make a lot of money, I realised it was a fundamental reason not to make a film, as it is the beginning of making a bad film. I was offered almost every film in town (Laughs). People don't realise how much effort went in making Mr. India. We spent hours on the sets just to hide a wire that held a Coca Cola bottle in mid air. There were hours spent on thinking about the minutest of the details. We didn't even have a green screen (against which you shoot a subject when you want to put your background during post production). In fact, we did one shot on it and it turned out really bad. (...)
Time and again you have said that Mr. India was ahead of its time...
I actually say it as a criticism because I think audiences weren't completely ready for a film like Mr. India. One of the reasons why the film has lasted till today is the simple fact that it was 10 years before its time. If the same film made in the exact manner were released today it would become a huge blockbuster.
In these 25 years, do you think Mr. India has had an impact on the way films are made in India, especially in Bollywood?
I don't think so. If Mr. India had impacted Indian cinema, we would have many more films of that kind and maybe Mr. India wouldn't have sustained its popularity. Mr. India is so popular because it is still one of its kind. Our film was adventurous. We were unafraid when we were making Mr. India. I think 99 percent of the films which have been made or are being made are not very adventurous. People are still afraid of taking risks.
What is happening with Mr. India 2?
I don't know. I have heard that there are intentions to make Mr. India 2. Boney and I have chatted about it a lot of times. I have no idea who is going to direct the film. I have also heard that Salman Khan has been roped in to play a pivotal role, but I don't know anything.
Would you like to direct the sequel?
It all depends on what I am doing at that time. If I am not doing anything, I might think of taking it up. Although my feeling is that there should be a new director because I might tend to repeat myself. A new director might be able to add some freshness to it'.