M
New Delhi:
Director Mira Nair, who has beenbehind internationally acclaimed films like Salaam Bombay,Monsoon Wedding and The Namesake, says she has made aconscious effort throughout her career not to be a third worldapologist.
Besides presenting stories from India to westernaudiences, Nair is also one of the most successfulIndian-American filmmakers in Hollywood having directed filmslike Mississippi Masala, Vanity Fair and Amelia.
The 55-year-old director, who is currently in India tocelebrate the 25th anniversary of her debut film SalaamBombay, says she has tried to challenge the stereotypes.
"The thing I didn't want to do ever was to apologise formy films. I wanted to have a standard of excellence that couldbeat anything. I didn't want to be a third world apologist,which is what I saw in the west when I was in college(Harvard).
"They never saw Indian films, and when we did seeanything from the other part of the world, they were all ofterrible quality. I didn't ever want that. I wanted to be asgood as the best," Nair told PTI.
Her upcoming film The Reluctant Fundamentalist, anadaptation of Pakistani author Mohsin Hamid's novel of thesame name, talks about the Asian perspective post 9/11 world,which she believes has not been presented well.
Salaam Bombay, her debut film made on a shoestringbudget, continues to thrive even after 25 years. It is beingre-released by PVR on March 22.
The film bagged numerous awards and recognition -including the prestigious Golden Camera Award, Audience Awardsat the Cannes Film Festival in 1989 and an Oscar nomination inthe best foreign film category.
"I am really glad today because it is a 25 years on andwe have done an amazingly new digital print. The film justpops with its energy and beauty as well. It is completely amodern movie. I could see it few nights ago at the premiere ofthe film in Mumbai. It made people laugh, sob, weep and laughagain.
"It is the power of performances. It is the visualquality which is a very modern. The spirit of Mumbai is verytoday. It is just that we could not make the movie today onthe streets the way it is," Nair said.
Salaam Bombay was co-written by Sooni Taraporewala andNair. Set in the red light district in Mumbai, the filmchronicles the day-to-day life of street children,drug-pushers, pimps and prostitutes.
"It was one of those life and death movie. But it wasunbelievable because we would shoot in the morning and I wouldwork all night calling Europe, America or Germany because oftime difference, to give us money for the next day's shoot.
"It was like walking a tight rope on daily basis. Therewere no cellphones and we would shoot one scene and then Iwould just run to the next street to find another location toshoot and I would call them to come. There were 52 locationsin 52 days, but we never said die," Nair said recalling theexperience.
Salaam Bombay starred child actors Shafiq Syed, HansaVithal and Chanda Sharma and Nair said it was the kids'energy and undying spirit that kept them going during themaking of the film.
"The kids were amazing because we had done a six weekworkshop and they were really part of our blood. They kept megoing because they were so honest and there was no room forself pity. They were like 'Didi, we have to do it, come whatmay'. And it was that kind of spirit that kept me going. Itwas the first film for all of us. For Sooni, Sandi Sissel, whoshot it, for L Subramaniam, who composed music for the film,"Nair said.
The filmmaker believes that Salaam Bombay has been thebest thing to have happened to her and the film is the reasonbehind her success as a filmmaker.
"Salaam Bombay continues to help me. It is the power of goodfilm. It continues to open doors for me. Denzel Washingtonsaid yes to me for Mississippi Masala because of SalaamBombay. Henri Cartier-Bresson, the famed French photographerasked me to celebrate his 80th birthday with him because hewanted to spend time with people he admired most and we flewto Paris looking at art together.
"Acclaimed Iranian filmmaker Jafar Panahi once kissed myhand and said, Salaam Bombay. And even now many major actorswant to work with me because of these films as they trust me,"she added.
Besides presenting stories from India to westernaudiences, Nair is also one of the most successfulIndian-American filmmakers in Hollywood having directed filmslike Mississippi Masala, Vanity Fair and Amelia.
The 55-year-old director, who is currently in India tocelebrate the 25th anniversary of her debut film SalaamBombay, says she has tried to challenge the stereotypes.
"The thing I didn't want to do ever was to apologise formy films. I wanted to have a standard of excellence that couldbeat anything. I didn't want to be a third world apologist,which is what I saw in the west when I was in college(Harvard).
"They never saw Indian films, and when we did seeanything from the other part of the world, they were all ofterrible quality. I didn't ever want that. I wanted to be asgood as the best," Nair told PTI.
Her upcoming film The Reluctant Fundamentalist, anadaptation of Pakistani author Mohsin Hamid's novel of thesame name, talks about the Asian perspective post 9/11 world,which she believes has not been presented well.
Salaam Bombay, her debut film made on a shoestringbudget, continues to thrive even after 25 years. It is beingre-released by PVR on March 22.
The film bagged numerous awards and recognition -including the prestigious Golden Camera Award, Audience Awardsat the Cannes Film Festival in 1989 and an Oscar nomination inthe best foreign film category.
"I am really glad today because it is a 25 years on andwe have done an amazingly new digital print. The film justpops with its energy and beauty as well. It is completely amodern movie. I could see it few nights ago at the premiere ofthe film in Mumbai. It made people laugh, sob, weep and laughagain.
"It is the power of performances. It is the visualquality which is a very modern. The spirit of Mumbai is verytoday. It is just that we could not make the movie today onthe streets the way it is," Nair said.
Salaam Bombay was co-written by Sooni Taraporewala andNair. Set in the red light district in Mumbai, the filmchronicles the day-to-day life of street children,drug-pushers, pimps and prostitutes.
"It was one of those life and death movie. But it wasunbelievable because we would shoot in the morning and I wouldwork all night calling Europe, America or Germany because oftime difference, to give us money for the next day's shoot.
"It was like walking a tight rope on daily basis. Therewere no cellphones and we would shoot one scene and then Iwould just run to the next street to find another location toshoot and I would call them to come. There were 52 locationsin 52 days, but we never said die," Nair said recalling theexperience.
Salaam Bombay starred child actors Shafiq Syed, HansaVithal and Chanda Sharma and Nair said it was the kids'energy and undying spirit that kept them going during themaking of the film.
"The kids were amazing because we had done a six weekworkshop and they were really part of our blood. They kept megoing because they were so honest and there was no room forself pity. They were like 'Didi, we have to do it, come whatmay'. And it was that kind of spirit that kept me going. Itwas the first film for all of us. For Sooni, Sandi Sissel, whoshot it, for L Subramaniam, who composed music for the film,"Nair said.
The filmmaker believes that Salaam Bombay has been thebest thing to have happened to her and the film is the reasonbehind her success as a filmmaker.
"Salaam Bombay continues to help me. It is the power of goodfilm. It continues to open doors for me. Denzel Washingtonsaid yes to me for Mississippi Masala because of SalaamBombay. Henri Cartier-Bresson, the famed French photographerasked me to celebrate his 80th birthday with him because hewanted to spend time with people he admired most and we flewto Paris looking at art together.
"Acclaimed Iranian filmmaker Jafar Panahi once kissed myhand and said, Salaam Bombay. And even now many major actorswant to work with me because of these films as they trust me,"she added.