Prime Video docuseries First Act on child actors in Hindi films and shows 'came from repeated encounters with parents and children'

A still from First Act, streaming on Amazon Prime Video.

First Act, a six-part docu-series on Amazon Prime Video written, produced and directed by Deepa Bhatia (Nero’s Guests), explores the world of child actors and their parents in the Hindi TV and film industry. The unscripted series follows the aspirations of parents and their children, the projection of needs and unfulfilled desires, the exploitative conditions, the murky subtext, determination and the joy of success too. Bhatia juxtaposes these with the experience of actors such as Jugal Hansraj (Masoom), Sarika (Aashirwad, Beti) and Darsheel Safary (Taare Zameen Par), who debuted in the industry as child artistes. The series also includes insights from casting directors and filmmakers. Bhatia, who has an accomplished filmography as an editor (Rock On!!, Kai Po Che, Raees) has collaborated with filmmaker husband Amole Gupte (who serves as creative producer First Act) on movies such as Stanley Ka Dabba and Hawaa Hawaai.

Bhatia spoke about the process and idea behind making this thought-provoking and sometimes discomfiting documentary that aims to spotlight the need to preserve and protect childhood while also serving as a guide and cautionary tale for parents of future child performers.

What prompted this series and why focus on child actors?

It came from repeated encounters with parents and children. We've been working in the sector for a while now. Amole works in a very cozy way with workshops and through schools. He shoots limited hours in a day with children and if a child doesn’t feel like coming on one day, that’s ok too. However, we didn't really have a deep sense of how the rest of the industry works. Then, when I saw how parents came to meet Amole and how they spoke, I got interested in the way they would push their children.

Something about that made me nervous too. Like a parent would come and say our child loved your role in Kaminey, but the child is four years old. How could he have seen him? One knew that this is quite a tricky zone so in 2018 I started researching and reading, gathering data on how many people come to Mumbai, talking to coordinators, meeting the children and understanding what the world is like for those aspirants, and how they deal with the pressure, where does the pressure come from. I started filming in 2019.

Did the series take an organic shape or did you have a narrative in mind?

I went in with an open mind. I spent real time with kids and observed their surroundings and experiences. I had no idea of the outcome. It was possible that some things may or may not happen. I was most focused on authenticity and took a fly-on-the-wall approach. The older actors, the actors who are transitioning from children to adults, like Hetal Gada (Dhanak) and Saloni Daini (Thank You For Coming), and the casting agents like Mukesh Chhabra and Tess Joseph and filmmakers like Shoojit Sircar, informed the narrative.

I felt that the real issue is that it’s never enough. You stand in the spotlight once and then you want the next thing and the next thing, and the parents don't have the strength to say enough. In Hawaa Hawaai we had a few boys, and I asked one of them who is now in his twenties if he misses it and did he want to do more such work. He said a beautiful thing. He said, I got that experience. That's mine, and I will treasure that forever. Why do I need one more? There is something to learn from this. Because the issue is that very often, it is never enough – the stardom, being in the spotlight. I don’t think children understand what that means at the age of 4-5-7. You get a sense that the parents’ aspirations and their ambitions are forced on the children. The series raises questions on parenting, childhood and maintaining a balance. Like Adrija Sinha (Criminal Justice: Behind Closed Doors, Guns & Gulaabs) whose parents are aligned and she doesn’t feel that intense pressure and that has perhaps helped her do things better.

At one point, Sarika says, “Both sides are to be blamed, and the person who pays the price has nothing to do with it.” Is there any grey zone or is the dilemma black and white?

My experience has been that if it is done in balance, then I don't think there will be any collateral. Like a child saying I was in this ad and I had fun. Or, I worked on a set and it was beautiful, the team was so supportive. If you are a parent, who's meant to be a protector, but you are enabling the ongoing pursuit, then that is an issue. The parent has to have the courage to refuse. Like one of the mothers says in the show that if you take the children for auditions every weekend, then what life do they have? You need to balance the child’s needs, like education and play time. And the industry needs to follow the rules set by the NCPCR for children and adolescents participating in the entertainment industry, reality shows, advertisements, serials, etc. I think parents need to say this much is enough. That will help.

What do you think the audience will take away from First Act?

There's a lack of understanding of right and wrong, sometimes, but through many of the characters you see how certain behaviour and actions are normalised, like slapping the child, bribing them or threatening them. So I don't think there was enough awareness that this is not right, otherwise they wouldn't have done it or said it on camera. I've given them room to be or say whatever they wanted – true or false. We've been with these characters for so long and tried to capture each child and family represented truthfully.

You will see that some of them are concerned about their experiences, like the older children who want to share their ups and downs, the good and bad. Parzaan Dastur (Kuch Kuch Hota Hai, Sikandar) speaks about not getting work. Darsheel Safary talks about the success of Taare Zameen Par but not knowing what comes next. It really hurts when you think good is going to happen, after early success. It is very complex when you have some form of early achievement. It's testing for children when they start young. The moment you give too much focus to the externals of this profession, it can become complicated and it's all the more complicated when financial condition is a consideration and compulsion, and they see stardom is an escape.

Now, the show is out there and it is for the viewer to decide what they would do in a similar situation. Circumstances vary, so one can’t take a moral high ground, but as much as we can protect children, as much as we can keep them safe and maintain their childhood, I think that is the real message and intent.