Mehra: Lage Raho... has an exceptionally great screenplay. It’s
one of those rare films in which once the plot is revealed, every moment becomes a moment of conflict. When you come across something so nice and beautiful, you just want to let it be. It’s theoretical how I would have made it. The fact is that I haven’t and I want to sincerely accept Raju’s film with open arms.Hirani: Exactly. If I got the script of Rang De Basanti, I would’ve been definitely inspired by its superb idea. But it would not be the same film. I would’ve shot it differently according to my sensibility. But I love how Rakeysh has shot it. I love the way he has used sound and the locations. When I compare Lage Raho Munnabhai with Rang De Basanti, I feel I’ve shot my film very simplistically.
Rakeysh, nine months after its release, everybody still comments on the violent ending of RDB. Could you comment on this?
Mehra: It’s not so simplistic for me. Non-violence is a no-brainer for me. Even a child will tell you that. I agree with Raju when he says that and given a choice, maybe I’ll also go the non-violent way. But at the same time, if a solider is attacked at the Siachen glacier or LoC, he won’t be thinking about violence or non-violence. He is defending his motherland and will do whatever to protect her.
Hirani: Even Gandhiji got troops together for the World War. He also said that you could use the lathi and fight back if confronted.
Mehra: Exactly. We should applaud the idea. It’s not one vs the other. There is no debate on which is a better philosophy. Films aren’t meant to preach violence or non-violence. I don’t think there has been an increase in gun licenses after RDB. People who came on the streets to make their point in the Jessica Lall case or the reservation issue made peaceful demonstrations. Integrity and self-reliance are the common thoughts in both the films. In the end of RDB, it’s said that if you want things to change, change yourself first. Join the police, army or air force rather than just point fingers.
Hirani: That’s what Gandhiji meant when he said, “Be the change you want to see in others.”
Mehra: I agree with that totally. But then again, that doesn’t make me a Gandhian. I’m a part of this country. I’ve also sung Saare Jahan Se Achcha, watched India win one war and lose another, I’ve experienced Mandal Commission. But there is a contemporary slant to all of this too. You borrow from wisdom and move on. I interpreted my reality, as I see it, in RDB.
Hirani: And I’ve interpreted my reality my way. There are no simplistic solutions for long-term problems. But when you see tears rolling down the faces of some of the most corrupt-looking men, you feel some goodness still exists. I don’t know how much we can implement this goodness. As a filmmaker, I can just offer an idea and hope that people pick it up.
Both films talk about nationalism yet they adopt pretty diverse approaches to it. But the audience lapped up both these approaches. How do you explain this dichotomy?
Mehra: A film of a particular era reflects the time it’s born in. These two films are born in 2006 and reflect today’s time to the best of our knowledge and sincerity. If both are embraced with the same warmth, it is a reflection on today’s time. We just tell a story. But maybe people can sense the belief behind both films and that’s why are receptive.
Hirani: It’s all about the belief. The common reaction to RDB and LRM is that both are heartfelt films. Somewhere, they have touched people and that’s wonderful. Another reason can be that they are not conventional films.
Audiences may now expect more socially responsible cinema from the two of you.
Mehra: Filmmaking is a journey. If we say that we are socially responsible filmmakers, then we won’t be honest. Tomorrow if I make a love story, I don’t want to take responsibility for all the broken hearts in the country.
Hirani: You don’t have to take success so seriously. Rakeysh and I can’t be thinking now that we’ve made films on Bhagat Singh and Gandhi, we are more responsible than others. That’s a trap and the beginning of a filmmaker’s doom. I plan to do a sex-comedy next.
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