Nandita Das wears many hats. However, by her own admission, one of the roles that she likes best is that of a storyteller. Nandita first turned director with the hard-hitting Firaaq, which was based on the Gujarat Riots. And although she has stayed away from direction for eight years now, Nandita returns with a biopic on the legendary Urdu litterateur Sadat Hasan Manto. In a conversation with us, Nandita reveals why she thinks Manto’s story needs to be told.
Why did you choose Nawaz to play Manto Firaaq was the first feature length film where Nawaz was seen in a substantial role. Since then I have admired his range and authenticity as an actor. Manto is a challenging role and the capacity required to portray a layered character like Manto is found in very few actors. It’s a character with a vast range of emotions and contradictions. I’m glad that I found Nawaz.
What took you so long to return to direction After Firaaq there are many things I have been busy with. In addition to being a full-time mother to my son Vihaan, I was the chairperson of the Children’s Film Society for three years. Apart from that, I’ve been writing a monthly column and doing a lot of social advocacy as well. I’ve also acted in a few films — a Spanish film called Traces of Sandalwood and a conceptual remake of Saeed Akhtar Mirza’s Albert Pinto Ko Gussa Kyun Aata Hai. I also spent a whole semester at Yale as a World Fellow. Add to that the research for making Manto. Not sure where eight years went!
Why Manto I’ve nursed the idea of making a film on Manto from even before I made Firaaq. But at first, I felt overwhelmed by the large canvas. It’s also a period film set in Bombay and Lahore. His work, while being personal and nuanced also explored the big event of the times — partition. I wasn’t sure if I could handle the research it would entail and was unsure of my capacity. But now, I feel equipped, emotionally and creatively to tell this story.
So which Manto will you be focussing on The writer or the man What to keep and what to let go has been the most difficult choice thus far. But I’ve narrowed down to the most interesting seven years of his life across the two cities he lived in. It cannot be told without delving into his work. It’s a story so relevant to our times. I’ve researched for three years along with my writer Ali Mir. The spirit of Manto is the spirit of the film.
How difficult was the research It has been a long and intimate journey to get to know Manto — the man and the writer. He wrote as he saw, as he felt, without dilution, and with a rare sensitivity and empathy for his characters. His essays and polemics about his life in what was then Bombay and later in Lahore helped the idea expand beyond his stories. From visits to Lahore, interacting closely with his family and friends — I feel blessed to have had the opportunity to get to know Manto beyond what one can find in books. All three of Manto’s daughters and his grandniece Ayesha Jalal, the historian, are giving me their unconditional support for the project.
Would you want your Manto to be a replica of the original It’s a real character so there will be an effort from both me and Nawaz to keep him original. But cinema is a subjective medium and it will be my interpretation — hope Manto will approve of it! When do you start shooting It will be later this year or early next year. My main producer Robin Raina is investing half the budget and a quarter of it will come from Vivek Kajaria, the producer of Fandry. There are also European producers who are working towards raising funds. We will finalise the schedule once all that is in place.
From Azhar to Sarbjit, what do you think of the interest for biopics Honestly, I don’t think it’s a particularly new phenomenon. Biopics have and will always be a fascinating genre as there are so many lives whose stories are worth telling. But Manto is not a typical biopic or a cradle to grave story. It is the story of the times, how cosmopolitan Bombay was, the impact of partition on people’s lives, and of course what it meant for a man to be against the tide in such times. It will be historically and factually accurate and even the fictional liberties we’ve taken will be rooted in reality. I have also woven Manto’s short stories into the narrative. It will be much like his own writings where the lines between his life and work get increasingly blurred.
