Soaking in a FTII Diploma Shoot as a Gangster Bar Owner

For a very long time, I was keen to see the shooting process of a diploma film in FTII. Somehow, it kept on eluding me. Mostly, it was my procrastination, lack of information, clashing timelines or sheer distance from the process which was mostly self imposed, as It always felt like intruding. Student’s seriousness and intensity on the location can be intimidating. It is not that it is an esoteric process for me. After all, I approve guidelines, budgets, external professionals , timelines, extensions etc as Director/VC of FTII. Diploma is a key outcome of the education process at FTII hence, an important result area for me too. Still, my presence on the sets stayed limited to a quick visit and hasty conveying of best wishes. My introvert behaviour pushed me to slink away rather quickly. 

So when HoD Direction, Prof Sandeep Chatterjee took up the reins of acting diploma film (something that usually goes to external directors), it somehow came to me from the very formative stage through discussions with him. The fact that Prof Chatterjee is a friend didn’t hurt either. We often discussed his plots and treatment of the script. When he sent final script to me, I expressed desire to be present on the set during the shoot. He not only readily agreed but offered me a small role and encouraged me to take that. I agreed readily as it looked like an entry into the full process of a diploma film shoot. As most of the HoDs of the film were either faculty or industry professionals, I felt more comfortable. 

It was a three line role of a bar owner who is an ex gangster and a voracious reader of philosophical treatises. I did have a moment of self doubt as it was a huge step out of my comfort zone. Not only innate resistance but a very clear possibility/fear of becoming a laughing stock. As for a non actor (in fact, a bureaucrat ) Director/VC, it was double edged move. My look for the role was very non serious complete with earrings, loud cloths, cap with Playboy and bunny stickers on it, a combination of menace and debauchery. It was ripe for memes and ridicule on the one hand and a potential of being appreciated by FTII professionals on the other. Former more likely than the latter. Who leaves a Principal go scot free after such an opportunity. 

I stayed true to my procrastinating self and read the script only two three time and reaching the set was like a leap of faith without much preparation. I reached the set at our Rana Bungalow location at half past six in the evening. The crew was thankfully nonchalant as people coming in funny get up was perhaps norm for them. I felt comfortable and welcomed. 

I stayed on the set which was humming with the activities. Director was busy with some other stuff. I was amazed with the set design. Hut like Rana Bungalow was turned into ‘Paris Bar’ and attention to the details of furniture, bottles , posters lighting was transformative. Bottle stickers with non copyright liquor labels, attention to ‘chakhna’ as per dialogues was great. I was asked to get some books to bolster intellectual quotient of the bar owners table. Lighting was huge focus. FTII staff was into it fully, expertly, non questioning. They are a force of confidence and stability. I was amazed that there were no signs of any reluctance for late hours or irritation on unclear demands and occasional outbursts of anger by HoDs. 

HoDs were friends and colleagues. Kaamod was in full command of sound and his silken ‘speeeed’ as signal for sound rolling was like a soothing balm on crackling energy of the set. Many sound students were assisting and learning. At half past one in the morning, it was a reassuring sight to see how an otherwise carefree student throws his cigarette on hearing the command of the HoD and runs to take care of the boom mike. DoP Was in command he was into every thing, lighting, set, postures and looks. I met him during the day a pleasant easy going person with a ready smile. On set he was exuding assurance and command. His focus and expertise was a treat to watch. How quality is maintained was getting clear to me. I befriended focus puller as this was new to me. I was mesmerised how the DoP and focus pullers were two bodies and one mind. This was a good decision as it enabled me to see the whole process from a vantage point of the eye of the DoP. 

The film is an acting diploma. HoD Prof Chatterjee wrote “Vijay (Guru) Dutt ko pyas kyon lagti hai" with an eye to give opportunity to six students in half an hour project. It is a well written script with clear mood directions and ample opportunity for students to showcase their talent. With dance, ghosts, angst and cleverly conceived locations and situations it is very interesting. I am amazed how he managed all this with his massive workload at the department. He is a great Director. All notes of actors' performance  and scene parameters are very clear to him. He could deliver all dialogues better or as good as any of the actors. He was giving clear commands and communication and, despite chaos, was very effective as all HoDs and actors were on the same page. He was occasionally exploding into a very likeable Bangali Dada type fit (some stereotypes are so adorable) but he was in full command and extracting best performance from every one. His method was more rehearsals and less takes. Take sheet was being meticulously maintained. Editor (Debashish, another faculty) was on the set throughout. This is a sign of professionalism as his work will start after shooting gets over. Prof Chatterjee was maintaining best quality through planning, preparation , rehearsals and retakes. Satisfaction of every final take was very visible on his face. 

My lines were with Sourav, a talented student with a winsome personality. We became friends as he put me at ease and shared some tricks of the trade. He was the supplier of Playboy cap, ring and earring. He was ready with a temporary tattoo for me also but my hairy arms put paid to his ambition. Other students were deeply into their roles. It was a treat to see them checking with the director their improvisations and discussing the tenor and substance of their role in the most serious manner. Sourav’s satisfaction on introducing goggles and some extra turns to his role was delightfully amusing. Another actor had to fall and he did with amazing ferocity. Their immediate turning into a tipsy drunken mode has shaken my faith in their ernest everyday facade. Sab mithya hai. 

Like me, Professor Gaikwad was tapped for a small role of a cook. He had to go early for some personal but Prof Chatterjee would hear none of it. Prof Gaikwad left at midnight after giving a pitch perfect shot. His look and get up was striking and he was very well cast as his dour skeptical expression was the demand of the role. 

There was a dinner break which I skipped as I was fasting that day and had to go for fruits etc. I joined them before it was over. It was simple community affair with eagerness to get back to sets. In fact, when a need for some set modification was thought, the student concerned, who was in the middle of her dinner, simple left her thali and came to do the modifications. 

All this was hugely educating for me as an administrator. I witnessed the entire process of a diploma film shoot day. How serious and dedicated everyone is. Even the contractual and permanent staff stayed till 1:30 am (they must have stayed for another half shift till 4-5 in the morning as the batch is running behind time.) I have a deeper, more operational understanding of the demands of the shoot and mentality of the professionals involved. 

Everyone is changed person on the shoot. DoP is an industry veteran, I got to know how he uses the staff and assistants and preps a camera for the shot. What a focus puller does. How meaning is kept in center of this chaotic location. How a vision crystallises amidst bedlam. No one going missing in action and taking daant and work in proper spirit was very reassuring to witness. Watching this allows a fuller picture for someone in my position. 

It is an acting diploma, half of acting batch of six students have got roles. HoD direction was accepted as Director, a rare thing as student ask for an outside director (Tigamanshu Dhulia has done one for students two three years back. Many strong recent pass out students are preferred). Acting students despite being raw, display impact of training. It will be so interesting to see them blossom on screen and how their looks and talents are put to use by other directors of the industry. 

After initial time consuming prep, shots go rather smoothly though director cinematographer, sound etc keep shouting. Despite time and confusion one is laced with shared goal and sense of community. It can be addictive. 

As for my role. I can act a little but I am late to the game as I am losing my memory for even one or two lines. But OK enjoyable experience as it was a small role though both director and cinematography did it with utmost seriousness. I am happy that I went out of my comfort zone and saw one full shift. It will help in decision making and has helped my cinema education. But no more roles. 

Next, to be present on an outdoor shoot, diploma films can be made in 300 km radius. That will be something.

Silken confidence of ‘Sinners’

 Sinners take the beautiful bravado of Wakanda of Black Panther to a more alluring terrain. Wakanda, for all its symbolism and resonating references, is still an imaginary construct, a contraption  that has to land with multitude of parts in full sychronization. Sinners, on the other hand, draws its excesses and bravado from flash and blood and pulsating reality of a certain time, geography and people. The excesses and connections with myths, archetypes and racial memories chime much more powerfully here than they did in Wakanda. Poetry is said to be an art of sweet excesses and Sinners sure is  poetry on celluloid. 

Ryan Coogler, the director, draws out the pride, beauty and rhythm  of a people in their full primal glory. Every ancient culture, especially the one with a history of persecution, desires to present its story and high points to the world. This desire is a strange mixture of pride, history, knowledge and need for validation and recognition. Good thing about Coogler’s enterprise is that while it is celebratory and displays a bit of bravado but is totally devoid of bitterness, an absence which gives the whole story a glorious texture. He doesn't dwell on victimhood and goes for pride and grandeur. Physical beauty of the people, rooted and ancient robustness of the african culture, spiritual depth, values of parenting, good behaviour, fair play and, above all, an uninhibited joy of living shorn of timidities that prevail in many other cultures, shine through. 

In Sinners, these excesses are dealt with a sure hand and they are underlined by the joys of music, friendship, camaraderie, dance or simply raw sex. Coogler’s command over his medium creates great moments - that transcendent scene at the club where the musical souls of the past present and even future descend in a magnificent irruption of ecstasy and lyricism. Conjuring a convincing trail of unadulterated joy for this duration is surprisingly rare and Coogler rode the wave to a climactic end. Similarly, strong characters, especially female characters (Annie, Grace Chow, Pearline). These women are commanding, caring and fully capable of deepest possible joy and sacrifice. Owner and driver of their destiny. 

When pride of identity becomes so central, a small quibble may appear and the Coogler/Michael B Jordan world is not totally untouched by that.  For example, when slant is so strongly on the physical beauty of a proud race,there can be an exaggerated focus on perfect specimens who can illustrate the ‘pure’ notion of the race. Almost every character of Wakanda was a nod to the noble warrior clans of Africa. Accent and speech pattern also tilt towards a rather strict notion of exclusivity. Yes, I understand it is a minor quibble but it is there. When this happens, a ‘beauty myth’ is perpetuated which may lead to a restrictive identity by over emphasis on the uniqueness. Whether it is Sanjay Leela Bhansali portraying Gujarati Swag in Goliyon ki Raas Leela or Rajput films of yore or portrayal of Delhi, Lucknow nawab or Bihar of wasseypur, etc an emphasis on ‘authenticity’ always sports looming danger of caricature or exclusionary uniqueness. 

Sinners has a lilting momentum of great storytelling. The first half, where everyone prepares for the D-Day is breezy, hits the right expository points, establishes characters and never fails to entertain. Sequences (that life blood of a well woven story) are perfectly paced, featuring unobtrusive tricks (daughter of the chinese grocer crossing the road to call her mother), scenes of crescendo of liberation and eroticism, establishment of the dynamics between the twins by perfectly balanced shots. Rhythm and lyricism of music is matched in tonality by camera movements, lighting and performance. The music claims to break the curtain between the worlds  and delivers on the promise. This all is made believable by music moving in conjunction with fluidity of camera movement, languid pace of cutting framing the bodies heavy with desire and atmosphere. 

Performances create and convey meanings where technology falls short. Every character looked and felt native to the story. Hailee Steinfeld as Mary, a promising character that did not realize its potential and Jack O'Connell as the main vampire (yes it is a horror movie) did not breathe and land as intended. Compared to Wunmi Mosaku’s Annie, Mary felt laboured and less sui generis. 

A perfect outing for theater and deservedly comparable to Scorsese’s Killers of the Flower Moon in many aspects.