Genelia Deshmukh: My 10-year break from acting was because I wanted to enjoy that phase of my life

Actor Genelia Deshmukh.

Genelia Deshmukh makes her comeback to Hindi films — her Marathi film Ved released in December 2022 — after a decade with Aleya Sen’s Trial Period on JioCinema.

Genelia Deshmukh and Manav Kaul in 'Trial Period'.

Starring Manav Kaul, Gajraj Rao, Shakti Kapoor, Sheeba Chadha, Swaroopa Ghosh, Barun Chanda, and Zidane Braz, this film is about a child who tells his single mother that he wants a new father on rent who can be returned after the trial period of a month is over. The mother realises that if she gets the worst person on earth as the father, her child would never make this demand again and that forms the crux of the story. Genelia talks to us about her Hindi comeback film and entry into the OTT space. Edited excerpts:

Tell us about Trial Period, your first OTT film.

It is a film about relationships — about a single mother Ana, about PD (Manav Kaul) and their relationship. I am playing a city girl, and he is this country simpleton, and how they have a totally different way of life. Life is slower for him, there is joy in having poha in the morning. It is an odd, unconventional relationship which is interesting. Aleya said that in Delhi, your neighbors become your family and so Shakti Ji and Sheeba Ji have a very prominent role in her life. Ana has a beautiful relationship with them. Then there are also Ana’s strict Bengali parents who can’t easily accept the trial father. It is a culmination of different relationships in the story. Also, Aleya has made Ana a very real mother. Mothers are superwomen and it’s okay to not be fantastic at cooking or at yoga.

You have been behind the camera as a producer. You’ve had a female director for this film. Do you feel that women are more powerful in the industry now?

10 years ago, when I’d be on set, I’d be the only girl there! There used to be no female AD, no female hair make-up artiste and everything was handled by men.  It was kind of tough for a woman to be on set. But today when you look at Aleya holding the mic and handling an entire crew and speaking her mind, I think it is glorious. It is amazing that women are doing so much. I am a woman producer and I handle a lot of work at MFC (Mumbai Film Company). Aleya was clear on every level what she wanted. She had her bible in her hand where she had each shot, each scene written down, so she knew exactly how many shots she was going to take, and that kind of preparation was amazing. While growing up there was never a difference between a girl and boy child at home as my parents brought us up like that. When I grew older, I noticed there was so much difference in the treatment of a boy and girl. Having said that, I have worked with some of the most wonderful male directors, but seeing women in the industry going places is such a welcome change.

Genelia Deshmukh and Manav Kaul in 'Trial Period'.

You took a decade long break from acting and returned in December last year with Ved, and now, Trial Period. Why this long break, and what prompted you to face the camera again?

Honestly, that 10-year break from acting was an informed decision that I took, because I wanted to enjoy that phase of my life. I was also not very confident that I could be a homemaker and an actress at the same time, because I am someone who gives 100 per cent to whatever I do, whichever role. Actually, in those 10 years of my life, I wasn’t idle, I became a producer, and an entrepreneur, only the acting was missing.

How involved was Riteish Deshmukh in your decision to act?

Actually, Riteish encouraged me to get into acting once again. I had reached a point when I was getting comfortable at home and being a mum, but also, neglecting an important part of my life that I absolutely loved, which was acting. One day Riteish was like, ‘Why aren’t you doing what you love to do — acting’ and I was like, ‘I have kids, who will look after them’ and he said, ‘We will find a way. Kids are older now, we will figure it out’. He pushed me towards it. And now that I have seen myself as an actor, I see myself getting roles that I want to do, films that I want to be a part of. It means a lot.

How was it working with Manav Kaul?

I have seen Manav’s work over the years and there is a high level of appreciation. He is so good at what he does. I don’t think he has even a single bad review! I was very excited to act opposite him and learn. I wanted to know what this pair can bring. Manav and I are very different people — he is a writer, a poet and the kind of conversations I had with him, those kinds of conversations I have never had with any of my other co-actors before. The fact that we got along so well off-screen made a big difference on screen as well. On screen also we were two very different people who embraced what the other was and was also proud of what they were as individuals and that you can see in the film. It was a welcome experience to work with an actor like Manav, who is known for his craft. I was happy to be a part of something with great talents like Manav, Gajraj Rao, Sheeba ji, Shakti ji. In fact, my first film was with Shakti ji 20 years ago in 2003 (Tujhe Meri Kasam). He played Riteish’s dad. We had a great rapport. This ensemble cast of people who are all very serious about their craft made this experience, this film, even more exciting.

How involved have you been in your production house Mumbai Film Company?

MFC was Riteish’s brainchild. He always wanted to make Marathi films. His dad always told him ‘It’s great that you are doing Hindi films but are you doing something for Marathi cinema?’ This led to the initial idea for the production house. We decided that I would handle production and he would handle the creative part of it, like choosing scripts, and I was good with planning, making schedules, and the PR. We wanted to make films that we wanted to see, films that we believed in. We have made only a few films, but they all stood out. Our first, Balak-Palak (2013), won the National Award, and it was well received at the box office. The second, Yellow (2014) was really appreciated and also won the National Award. Then we did Lai Bhaari (2014), which was the biggest grosser, and then we had Ved, which people took home and loved. I always knew that Riteish would be a director, but it is great that he did it under MFC. We hope to do films that we love, believe in, and are involved in. I am not a cosmetic producer in MFC, I am constantly and totally involved in the work.

What do you have to say about the meteoric rise of the OTT industry?

What OTT has done is that it has taken out the fact that only stars can drive films and made actors the star of the film. I think it is a lovely trend to have.