AAFAT-E-ISHQ DIRECTOR INDRAJIT NATTOJI DISCUSSES HIS SPOOKY REMAKE
THE spooky bond Bollywood has developed with supernatural films continues this week with an October 29 premiere of new film Aafat-e-Ishq on streaming site ZEE5.
The official remake of widely acclaimed 2015 Hungarian film Liza, the Fox-Fairy, is a black comedy about a reclusive girl yearning for love, whose life changes when she inherits a property and becomes the prime suspect in a series of unexplained deaths. Neha Sharma plays the lead role in the eye-catching film loaded with plenty of twists. Eastern Eye caught up with director Indrajit Nattoji to discuss his love for cinema and interesting looking film.
Indrajit Nattoji
What was your favourite movie growing up?
This is a movie fan cliche. I think I was four or five when I watched Star Wars at Lighthouse Cinema in Kolkata. It left a lasting impact on me. That our very own Bollywood trope of a boy separated from his father and finally confronting each other on the opposing forces of good and evil can be presented in a gigantic sci-fi canvas as a space opera! Later, I soon discovered its original version – Akira Kurosawa’s samurai classic, The Hidden Fortress, and have been a student of Kurosawa-san since. And then there was all of Steven Spielberg’s Indiana Jones series and as a quintessential Bengali, all of Goopy Gyne Bagha Byne – Ray’s allegorical fantasy adventure film series.
What led towards your latest film Aafat-e-Ishq?
The Zee Studio Originals team had acquired the rights for the award-winning Hungarian film Liza, the FoxFairy. During one of my script-pitch meetings with them, they, in turn, pitched an Indian remake of the same to me. I loved the film and its quirky black humour, and it connected with some of my favourite story-telling genres that I have always been a fan of – fantasy, film noir and black comedies.
How does it compare to the Hungarian original?
Aafat-e-Ishq is my Indian heartland version of the Hungarian original, Liza, the Fox Fairy. The challenge was to reinterpret an East-European sensibility to that of the small-town Hindi heartland. I can safely say that Aafta-e-Ishq is now an adaptation and not a remake. It is a reboot of Liza, with some new twists, eclectic original music, and quirky small-town Indian characters. Some elements have been retained from Liza, but I think it is too soon to reveal anything at this time. Let us wait for the film.
What was the biggest challenge while making this film?
We shot in extremely challenging times. At the height of the pandemic! Finding a ‘home’ location for my character of Lallo was a creative and production task at that time. We had identified locations in Lucknow and Benares for the authentic North Indian small-town flavour. Then the pandemic stuck and all was undone. Finally, we found the right ‘house’ for my Lallo in Nashik, about three hours from Mumbai, and went on to create a fictional North Indian town in Maharashtra.
What is your favourite moment in the movie?
Without giving away any spoilers, my favourite moment in the film is when Lallo meets the character of Vikram, a reticent investigative officer, for the first time. It’s a nuanced scene with minimal dialogues. And my homage to Alain Delon in Le Samouraï.
Why do you think the spooky ghost like genre has become popular?
Ghosts, horror, fantasy genres in films have always been popular. I guess it’s the dopamine fix one can get by watching gore and fear. The last two years of the pandemic has exacerbated our anxiety and uncertainty. As a result, the ghost and horror genres may have acted as an outlet for our fears, making them even more popular.
What can we expect next from you?
I have an ambitious web series in development and an action-thriller feature film in the pipeline. I just completed visual design and VFX for a film that will be released soon on a leading OTT platform. Also, I have a museum film installation project which is ongoing.
Who is your own filmmaking hero?
Akira Kurosawa. He was an artist first, a painter and art teacher, and then a film director. As an evolving artist and filmmaker, I always find something to learn from his gigantic body of work. After all, we can only be standing on the shoulders of the giants.
What inspires you?
What has never failed to inspire ideas and stories is when my mind wanders with a good storybook and freshly brewed coffee in the middle of the mountains, without my smartphone.
Why should we watch Aafat-e-Ishq?
Watch Aafat-e-Ishq for its idiosyncratic take on love and lust.
WHEN Rishi Sunak became an MP, he swore his oath on a copy of the Bhagvad Gita, but few people – including perhaps Britain’s first Asian prime minister – will have been aware of the efforts of a Shropshire-born civil servant in that little moment of history.
Charles Wilkins (1749-1836) was an employee of the East India Company and an avid Sanskrit lover. He arrived in India and went on to study the language under scholars in then Benares (now Varanasi, which India’s prime minister Narendra Modi represents) and produced what is believed to be the first English translation of the holy Hindu text.
It made the Gita accessible not only to the British, but also millions of Indians, including Mahatma Gandhi, and years later, Sunak.
This is just one of the anecdotes Manu Pillai uncovers in his new book, Gods, Guns and Missionaries: The Making of the Modern Hindu Identity, published earlier this year.
Pillai traces the transformation of the religion over the past four centuries – from the arrival of early Europeans in the Indian subcontinent to British rulers and the rise of Indian leaders during the freedom movement – and examines the impact of those influences.
Manu Pillai
“Most of us look at Hindu identity today through the prism of Hindu-Muslim relations, because in the present, that is what became,” Pillai told Eastern Eye. “But to me, it seemed like a lot of modern Hinduism was actually influenced by colonialism and Christianity.”
Not so much in the way that missionaries converted millions of people, Pillai explained, as they “never had physical success in terms of numbers”, but “they had a lot of intellectual success in terms of placing these moulds and frameworks of thinking, which we took in order to articulate a modern avatar for Hinduism. So, I thought that story deserved to be told.”
This is his fifth book, which Pillai began in 2019, following a dissertation on Hindu nationalism at King’s College London. At the outset, he clarified the book is not about his academic thesis, rather it examines the impact of the early Portuguese, the Italians and other Europeans, then the East India Company, the British and finally, Indian reformers and politicians prior to and after independence.
Pillai said, “Hinduism is not a Western-style religion. It’s a cultural framework in which there’s multiple diversities. Think of it like a draw cabinet; it is the overall frame that is Hinduism. But each door has its own individual identity, as well.”
And , the cover of his new book
Pillai charts the influence of hardline Portuguese missionaries whose influence is evident in Goa even today, while in the south, an Italian priest, Roberto de Nobili, adopted the local Hindu ways in order to spread the teachings of Christianity.
The book also shows how British colonial rulers were initially reluctant to the push from missionaries in the UK to proselytise communities in the subcontinent, before eventually changing their minds. Reformers such as Serfoji and Raja Ram Mohan Roy adopted a more modern approach, followed by Dayananda Saraswati, Bal Gangadhar Tilak, Jotiba Phule and Veer Savarkar, whose interpretation of Hinduism came at a time of India’s freedom struggle.
This intertwining of religion and politics is not new, though, Pillai said. History has shown how rulers patronised places of worship and this continues in contemporary times, too.
The writer described how Jawaharlal Nehru (independent India’s first prime minister) and “the Nehruvian elites made a conscious effort to keep religion out, but bubbling just beneath that first level, (but) religion was always present in politics. Caste was always present in politics.”
Pillai said, “It was Nehru’s charisma and electoral success that allowed him to keep it at bay or in check. But it was never absent. By Indira Gandhi’s time, she started playing the religious card as needed, whenever she felt her party could benefit from it.”
He added, “The difference is religion has now come much more centrestage and openly acknowledged.”
Pillai also noted how economic clout and technology have both played a part in the recent assertion of religious identity, the most obvious is the patronage of places of worship, while carrying out rituals under the guidance of a priest over a video link is now the norm.
In the book, he writes about how the spread of the English language in the subcontinent meant exposure to new ideas, thus empowering Indians to not only challenge authority, but also learn about the world outside their country.
“The British employ Indians who can speak English. They pay those Indians. Those Indians are getting cash revenue. They are no longer dependent just on their farms (to earn their living). They use that to patronise their community. They build temples,” Pillai said.
“So, ironically, the wealth created by service in the British East India Company ends up in the flowering of Hinduism. The railways, which the British laid to move their troops around, also enables pilgrim traffic to temples. “All of these things come together – technology, politics and economics.”
More recently, Pillai said Hindu resurgence “isn’t purely due to political dynamics”. His view is that with rising disposable income, “you have time to think about identity, and now you have money to patronise things.”
He cites the example of Kerala, where he is from, explain how remittances from the Gulf countries led to a boom in old family temples being renovated. “There is something culturally coded in organising a big puja, or making donations to a temple is seen as an a c h i e v e m e n t , weighing yourself in grain and donating to a temple.
“So that kind of religious identity also boomed with economic boom. It’s not as an economic boom creates some rational paradise. On the contrary, an economic boom can actually result in a greater flowering of religiosity.
“Partly because of that, post liberalisation (of India in the 1990s), there’s been a new middle class that’s emerged, there’s also now disposable income. People have the wherewithal to now think beyond roti, kapda, makaan (food, clothes and shelter), and to think about who are we as a people? And the answer to that question lies in religion, culture, heritage.”
India and south Asia’s vast diversity dictate the way Hinduism is practised, across not just the subcontinent, but also across the world, where the diaspora communities are settled. Consequently, this shapes the evolution of Hindu identity.
Pillai said the next challenge for Hinduism will be maintaining that inner diversity, “because we live in times where there’s so much emphasis on that homogenised identity, on one reading of that label, of what it means to be a Hindu.
“It takes away from how much pluralism there is within the faith itself. The richness of Indian culture, in general, has been the fact that all religions that have entered India have become pluralized, even if it’s Islam.
“Islam in Kerala is not the same as Islam in Bhopal. When the north Indian Muslims under the Muslim League, as I mention in the book, went to Kashmir in the 1940s hoping to woo the Kashmiri Muslims, they were horrified. They thought that Kashmiris, with their saint worship, and all of that were not even proper Muslims. They said, ‘we’ll have to teach them Islam first, before making them Muslims, because they couldn’t recognise that version of Islam. “Everything in India is hybridised, and in many ways, that has been our strength, these hybrid identities have continued over so many generations. “What would be a major challenge is this tendency towards homogenising… towards feeling there has to be only one version of Hinduism and one interpretation of things.
“Even our epics have so many retellings. In Kerala there is an oral kind of Ramayana, in which Shurpanakha, when she propositions Rama and says, ‘I want to marry you’. And he says, ‘No, I’m already married. You go to Lakshmana.’ Shurpanakha turns around and says, ‘That’s okay; the Sharia says you can marry twice, more than one woman.
“So this is a Ramayana in which Shurpanakha quotes the Sharia, because it’s a Muslim Ramayana.
“That is the kind of country we come from. And I think losing that, where everything has become standardised, and that’s a global phenomenon, something we’re seeing around the world. That is a tragedy. That would be the bigger challenge.
“We need more people telling these stories about our inner plural, pluralism and diversity – which is not to devalue that framework. The framework has its own value. I’m not saying that Hinduism should somehow be only about its pluralism, but at the same time, it has to be a fine balance between maintaining that inner richness, maintaining all the threads in the tapestry without painting the whole tapestry one single shade.”
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