Adil Hussain has been involved with
cinema
for the last 14–15 years. Before that he used to do theatre. While he strongly believes in the power and impact of cinema, the actor says films, over the years, have also contributed to glorification of wealth, and it’s important for actors and makers to be aware of what
films
are churning out into society.
‘I feel left out when I see good writing’
Acquiring wealth is not on Adil’s list, he says.
The actor, however, is close friends with several people from the industry, who may have chosen the opposite path from what he believes in. Does he ever feel left out? Adil says, “I don’t feel left out because of the
money
. I feel left out when I watch Scandinavian films or films from a foreign country, and think, ‘Oh, I could have done this film. Why can’t I make such a film in India?’ I feel left out when I see good writing, and I wish that I was a part of that film.”
‘WHY ARE YOU SHOWING THE VIOLENCE? ARE YOU CONDONING OR ENCOURAGING IT?’
About cinema being an impactful medium, Adil says, “We must be responsible for how we use that medium. Cinema shapes and influences youngsters’ psyche – their lingo, their idea of romance, of how they look at women and men, relationships, countries, society. When they see a film skillfully done, and it’s a good piece of craft – not content, but craft – it impacts more. And there is a tendency that when something touches you emotionally, and stirs what Sri Aurobindo calls the lower movement – fear, hatred, anger, sexuality -–youngsters especially get influenced by those excitable emotions.”
He continues, “I’m not saying never show violence. I’m asking, why are you showing the violence? Are you condoning it? Or are you encouraging it? The intent behind it.”
‘FUNDING AGENCIES ARE NOT COURAGEOUS ENOUGH TO TRICK THE AUDIENCE INTO WATCHING BETTER FILMS’
Adil says it is important to be aware of what films are churning out into society. He says, “It is very difficult to make a good film which will talk about something subtle yet interesting that people would come and watch, like Life Of Pi. It was considered by the producers as the most expensive art house film, but it made almost $1 billion. So, it’s an art house film, but it is also a commercial film, focusing on art, not masala, and yet it made money. But you need an Ang Lee to make that. Now, all of us are not Ang Lee; I get that. At least you can try.”
He shares, “We have talented directors and actors, and in all fields. So, probably the obstacle in churning out extraordinary films is those people who have money in their hands – the decision-makers, the funding agencies, be it studios or OTT platforms. They are probably not courageous enough to take the risk of slowly tricking the audience into watching better films.”
‘STORIES (IN FILMS) ENCOURAGEPEOPLE TO TAKE JUSTICE INTHEIR OWN HANDS WITHOUT BEING WISE ENOUGH’
“When the intention is profit-oriented only, then we have a problem in the field of art, that is my contention,” he says. He says, “So, it is a matter of intent. Of course, filmmaking is an expensive process. But it is possible that people who are sitting on money could be a little more aware of what they are doing for and to the society. What are they doing to the society? Thematically speaking, films are encouraging violence, misogyny, male chauvinism, and mob justice. It’s not like it is all happening now; it has happened before as well. Stories (in films) encourage people to take jus tice in their own hands without being wise enough.”
‘THERE ARE PEOPLE WHO WOULD STILL LIKE TO STICK TO ME BECAUSE OF WHAT I STAND FOR’
About getting offers from film students from different parts of the world, Adil says, “They know that if they take me, they will have difficulty finding money because they could have gone for somebody more bankable and marketable in terms of commercial jargon. But they would still like to stick to me because what I bring is important in terms of art. That’s how you create your tribe. And then, someone who has heard about me may get the courage to act like I did by watching actors like Om Puri and Naseeruddin Shah. To even venture out in the film world and think, ‘Oh! we can also act in the movies.’ Otherwise, it used to be a very different world altogether.
