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 (Filmfare - April 1996) (on winning the Filmfare Award for 'Dilwale Dulhania Le Jayenge')  |
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What do you have to say about the controversy over the script of Dilwale
Dulhania Le Jayenge... following Honey Irani's statements that she was
denied credit?
 I can answer that question only by saying that ever since I can remember the only thing I ever wanted out of life was to make films... the dream was to make films which were commercially successful and critically acclaimed. But the most important part of the dream was the sense of belonging, the feeling of being part of a group of wonderfully talented people. Today after the success and appreciation of my film, I should feel that the dream has come true. But I don't. Because there is a doubt about my honesty, integrity and capabilities. As I told you, I've always believed that one's work should speak for oneself. So, I think I'll have to start all over again from the beginning - try and work harder, try and write a better script, make a better film and hope that it will meet with this kind of success and appreciation again. Hopefully then, there won't be any doubts left. Hopefully then, I'll feel that I belong here. Believe me, that's my honest response to your question... and that's all I will ever say on the subject. Okay... were Shah Rukh Khan and Kajol your first choices for the roles of Raj and Simran? Initially, I was keen to do the film with newcomers. But I sensed that the key scenes called for a high level of performance. Being new myself, perhaps I couldn't have extracted the kind of performances I needed. Kajol was the natural choice - she's the best... her potential hadn't been sufficiently tapped... I feel it still hasn't been tapped enough. As for Shah Rukh, he hadn't done a pucca love story before. His negative image even helped me. To start with, the audience feels unsure about the boy - is he a haraami sort of fellow, a mischievous guy? The audience's trust in him was won slowly but surely as the story unfolded.
A romance was suggested between Anupam Kher and Himani Shivpuri. But why was that nipped in the bud? It was just a cute flirtation. If I had carried it forward, it would have distracted the audience's attention again from the main plot. It wouldn't have been correct to intrude in the romance between Raj and Simran. I did want Himaniji to be part of the group in the last shot, when the train is pulling out of the station. But her husband had passed away and she couldn't be there. If she was present at the schedule, I would have thought about this angle a bit more. It could have been a light touch at the end. How influenced are you by: (a) Yash Chopra and (b) Sooraj Barjatya? Dad's influence has been very sub-conscious. I've grown up on his films, I've worked under him. But I don't overtly copy his style of film-making. I'd go to foreign locales only if they're part of the script. I'd capture the essence of another country instead of just the greens and the mountains. Somewhere along the line though, his ideas on life, love, emotions and human relationships must have come down to me. Dad definitely likes to beautify frames and make things look glamorous. The influence of Sooraj Barjatya is more conscious. When I saw Maine Pyar Kiya, my instant reaction was... I wish I'd made this film. I'd never reacted as strongly before, I'd never connected with a film as deeply. Whatever I believe in was being shown to me by someone else. I felt here's a film-maker who thinks like me, thinks better than me. He became a director to watch and learn from. Again, I reacted very strongly to Hum Aapke Hain Koun.. ! it had a great screen-play... though the story was thin he kept you glued. The public reacted overwhelmingly to the fact that the lovers didn't revolt... they were willing to sacrifice their own feelings for their families. This is exactly what I wanted to say in my own way. Hum Aapke Hain Kaun..! gave me confidence and added to the strength of my convictions. Dilwale Dulhania... is what it is because of Hum Aapke... Sooraj had pulled it off... and so I knew that I was on the right track. Commercially, too, Hum Aapke... showed us the way to market a film and the volume of business that is possible.
You have stressed the sanctity of
the family unit. But is that feasible in this day and age
when the joint family structure is splintering?
I think family oneness is the essence of being Indian. To preserve the family unit isn't something rigid, regressive or backward at all. In fact, the west should learn a lesson from our family system. If there has been a splintering of the structure, I would say that these are exceptions to the rule. By and large, a solid family background is the base of every individual in our society. Also, you don't have to live together to feel close to one another. I would say that emotional togetherness and the respect for one's elders in India make us special. You've touched upon the issue of the Indian settled abroad. Was this deliberate? No, it wasn't deliberate. I wanted to create the character of a rather rigid father - to enhance his rigidity, I felt that the character of Amrishji could be shown to be far away from his roots. In a sense, he is a displaced person and yet his outlook is very stubborn. Without intending to, I touched upon the issue of the major generation gap that exists between Indian immigrants and theirchildren.
(After a long pause... a half-smile) Let me see if I can put it in words... Hmmm... love is the emotion when you feel for and respect a person so much that you put that person above everyone else. According to me, respect is the most crucial part of love.
Finally... what do the three Fimfare Awards
mean to you?
I feel good, great. But also a bit scared, I don't know if I'll be able to live up to the higher expectations from me now on. The maximum satisfaction comes, of course, with box office success. And after that if you win awards, then you can't possibly ask for more. | |||||||||||
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