Nandita Das: Role of art is to build bridges, not walls

Nandita Das

What about Saadat Hasan Manto intrigued you to make a biopic?
It was his free spirit and his courage to stand up against orthodoxy. I was struck by his simple, yet profound narratives and the way he captured the people, politics and times he lived in. He wrote as he saw and as he felt, without dilution, and with empathy for his characters. He was irreverent and had an irrepressible desire to poke a finger in the eye of the establishment, often with sharp humour. For years, I had thought of making a film on Manto's short stories, even before my directorial debut, Firaaq [2008]. In 2012, when I delved deeper into his essays, they helped the idea expand beyond his stories. It took me five years to feel equipped, both emotionally and creatively, to tell his story.

There is a strong controversial vein in his writings. Did you feel the pressure to play it safe?
I have always felt connected to Manto's fearlessness and concern for the human condition. No part of human existence remained untouched or taboo for him no matter how controversial. So, there was no question of playing safe. Almost 71 years later, we should be able to celebrate him.
Art can have a profound impact and create social change. Manto's writings provoke, stir and unsettle audiences. Hopefully, the film,
too, will do that. But this can happen in a subtle manner. It doesn't have to be overt for it to be a compelling story.

Nawazuddin Siddiqui recently told us that Manto is more relevant today than ever before.
I am convinced about the continuing relevance of Manto. Making the film was not just about telling people about him but to invoke the Mantoiyat, the desire to be outspoken that I believe all of us have, whether dormant or awakened. It will make them uncomfortable in a way that they would want to do something about.

Nawazuddin Siddiqui in Manto

How did you blend the narrative and the stories?
The film showcases Manto's journey while also providing a glimpse into some of his writings. The line between his fact and fiction blurred; and so, in the film too, his narrative is interspersed with stories that he wrote, almost seamlessly. It will allow the audience to enter his state of mind, both as a person and a writer. We will get to see him through his work, what makes him so truthful. This was not easy to do as selecting five stories from 300, was a mammoth task. It took four years of research and people's inputs to tell his story. The spirit of Manto is the spirit of the film.

Manto was compelled to leave the country post Partition. Given the current scenario with the neighbouring country, were there any fears in your mind?
Partition remains an important part of the subcontinent's narrative. It has been invoked for political agendas and to understand the pain and trauma that some still feel today. But the role of art is to build bridges and not walls. When there is political tension, culture can become the means to bring people closer, lessen prejudice and trigger conversations. Whenever I have been to Pakistan, I find people in admiration of our democracy, diversity, art, culture and in particular, cinema. Art transcends boundaries. It is a pity that we in South Asia cannot travel and collaborate freely. I hope the film will become a bridge at a time when political forces are creating walls. So there is no question of having fears while making the film.

What kind of help did you receive from Manto's daughters?
I feel fortunate that I have had the opportunity to speak at length with his daughters and his grand-niece, the eminent historian Ayesha Jalal. Ayesha's book, Pity of Partition - Manto's Life, Times, and Work across the India-Pakistan Divide, and the one she wrote on Manto's centenary along with Manto's youngest daughter, Nusrat Jalal, were some of the first gifts I got from the family.

What kind of preparation went into the film?
We shot for a little more than 40 days. However, shooting is a fraction of the process. It has taken more than four years of research and writing, and two years of preparation and making of the film. Since 2012 till May this year when the film premiered in Cannes. Manto was prolific and has also been extensively written about. Thus, while I have read a lot by and about him, it could not be fully exhaustive. I had many plans before starting the shoot to watch films that would inspire me, especially biopics and period dramas. But putting the funding together, finding locations, a large cast and crew - all of that took so much time and energy that I went into the shoot armed with my instincts.

Post the screening at Cannes, are there any crucial inputs that you'll incorporate before its commercial release?
We got an overwhelming response at Cannes from the audience and critics. I am tempted to bring back a scene. Other than that I don't think there will be any change.

How do you think the Censor Board will respond to the film?
We have made an honest film. I am quite optimistic. More so as Prasoon Joshi, himself a writer and an admirer of Manto, is at the
helm of it.

What made you believe that Nawaz could bring Manto to life?
I always had him in mind while writing Manto. Firaaq, my directorial debut was Nawaz's first significant role in a feature film. They say if you get the casting right, 70 per cent of your job is done, and with Nawazuddin that's exactly what happened. He looks and feels the part. He has an incredible range as an actor, but intrinsically Manto lies somewhere in his eyes - it was an obvious choice for me. I brought in my research and script and Nawaz brought with him his life experiences and his talent. Together, we managed to bring out subtleties and nuances to the character of Manto.

Are you satisfied with how it has shaped up or there's something you want to go back and do differently?
Looking back, of course, there are many things I might have done differently. But making Manto was by far the most challenging experience of my life. It was also the biggest learning curve for me. It taught me to let go and focus on the best I can. No creative process can be ever be fully satisfying. What you can't change, you learn not to focus on. Instead you work on things you can improve. For instance, what I didn't get in the shoot, I worked harder in fixing it in editing, sound and in the music work. Sometimes I think this film was a rehearsal for my 3rd film! But I feel an honest intent, a genuine passion, a compelling story and a team that shared the dream, has resulted in a film that the audience will connect with.

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