Hansal Mehta believes that it is stories that seek him out and not vice versa. Such as his new film Faraaz, based on the real-life terrorist attack on Holey Artisan Bakery in Dhaka in 2016. The filmmaker, who has delivered hard-hitting dramas such as Shahid (2013), Aligarh (2015), Omertà (2018) and the financial thriller web-series Scam 1992: The Harshad Mehta Story (2020), was consumed by the story of a young man named Faraaz who was given the choice of leaving the bakery by the terrorists but who refused to leave without his friends. A court case asking for a stay on the release of the film filed by mothers of two of the victims for infringing on the deceased’s right to privacy was dismissed. The film releases in theatres on February 3. Mehta opens up about the court case and why he believes this film needs to reach a wider audience. Edited excerpts from an interview:
What inspired the film and why do you think this is a story that needs to be told?
The idea came from Bhatt saab (Mahesh Bhatt) who was present at the award given posthumously to this young man called Faraaz. His mother had come to receive the award and she gave a speech. Bhatt saab met her after the function and he was very moved. He called me and said this seems like material for a film. That made me explore the event. It needed a lot of understanding of what exactly happened.
The film takes up my concerns about the times we are living in. The misuse of religion to justify violence really troubles me. The fact that these are educated young men who could have been in a nearby coffee shop, chatting and chilling, and they would have been doing the same thing in this café except that they were carrying guns. They were out to kill. It disturbs me and I think we need to call it out. No religion preaches violence. For me, it is not about Islam or Muslims. The event was a catalyst for a more universal story. It is about this ordinary boy caught in the turn of events who comes into his own somewhere midway through the film and very quietly, he stands tall in the face of adversity. The film is also about us in these times. Many of us have chosen to be passive observers and remain silent, out of fear, cynicism or helplessness. Faraaz means standing tall. It is our duty to stand tall when somebody questions your path of righteousness and honesty. I found that message in the film. Ultimately, I am a filmmaker. I look at a story and I have to be able to tell an engaging story to the audience and that was the primary task.
There have been allegations of exploiting others' misery for the sake of a film and a long litigation by two of the victim’s families. What do you have to say?
What is the intent of the film? Is the intent to profit from somebody’s grief? No, I would not have made it with all these new actors at a very moderate budget at a time when I was being offered humongous sums of money to direct something else. I chose to make this because I believe this is a story for our times and for our world. Ultimately, those who are complaining are doing so from a place of ignorance — ignorance about the intent of the film and the filmmaker.
I have not spoken about it in the past but I have been subjected to very soft intimidation even before the court hearing. I have received anonymous calls from people claiming to be from the cabinet secretariat and from the Mumbai Police telling me that they are 'concerned'. I found it ridiculous and it only strengthened my resolve to tell this story. The intent of the film is to create an understanding and build empathy of the larger humanity and that’s all. I want the world to grieve with those who are grieving, to see what destruction, violence in the name of religion can cause.
Your film’s protagonist is Faraaz, played by Zahan Kapoor, who is Shashi Kapoor’s grandson and the film also stars Aditya Rawal, who is Paresh Rawal’s son. You cannot deny or ignore the legacies they belong to. How was it working with them?
They came free of their legacies. If Zahan had carried the baggage of his legacy, he would not have done this film. He would have not have chosen this film as his launch vehicle because while he is playing the titular role, he comes into his own somewhere midway into the film. You hardly see or hear him till then, yet he chose to do this role because he believed in being part of a film that is important because of the larger issues it addresses. It’s the same with Aditya. He comes from a family of actors and he has lived up to that legacy. He’s a selfless actor and quite a find.
One of the reasons I chose Zahan is because he comes from film royalty. I needed somebody who, when he walks into a room, you look at him and you believe that he comes from a life of privilege. That’s what Faraaz was. Yet, he decided to stand tall in the face of adversity. Very often we connect privilege to cowardice or malice. Through this film, I wanted to break that stereotype.
You have worked with actors such as Rajkummar Rao and Pratik Gandhi when they were not the popular stars that they are today. But now, you are working with the likes of Kareena Kapoor Khan and Kartik Aaryan in your next films. How important is the star factor?
There was a script that Kareena expressed interest in but the script came before the star and it’s always been that way. She wanted to be a part of the film and it was my kind of film. I don’t think I want to succumb to the formula of the mainstream. I have found my voice with great difficulty and I want to keep making films that reflect that voice. The star facilitates a lot of things. You cannot write off people for being stars. They are stars for a reason. They command screen presence, have an audience and allow your story to reach a larger number of people and stars are also very good actors. Kareena was a revelation; she is an absolutely stunning actor.
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