Aethiri, Ayutha Ezhuthu and Bawarchi… you’re busy these days.
I guess I’m going through a lucky phase. In Bawarchi, I play a cook from Bihar who migrates to London and makes a name for himself. In the original film, Nala Damayanthi, I was a Tamilian cook. I’d have loved to shoot in Bihar because I’m from Jamshedpur. In fact, that’s one reason why I transposed the character to Bihar. This is my tribute to my roots.
Would you be able to carry off the Bihari character?
Everyone warned me I’d carry the Tamilian tag into Hindi cinema. But after my Hindi films released, no one accused me of sounding and looking like a Tamilian. And since I’ve spent 20 years of my life in Bihar, I can speak with the local twang. I want to play the character Ramji as simply as possible.
What made you decide on a comeback to Hindi cinema with such an unusual comic subject?
I’m yet to have a smash hit in Hindi. There were many offers from directors like Shyam Benegal and Ashutosh Gowariker, but nothing materialised. I was offered Ashutosh’s Swades when Aamir Khan was producing it. But after Aamir opted out, Ashutosh couldn’t afford to make a big-budget Hindi film with me in the lead. He has always been a big support, he watches all my Tamil films. I was also offered Farhan Akhtar’s Lakshya. To say that I was shooed away from Mumbai would be rather unfair.
What made you choose Sanjay Daima as the director?
I know him from when he assisted Ashutosh Gowariker on Lagaan. I felt the same positive vibes from Sanjay as my Rehna Hai Tere Dil Mein director Gautam Menon. Model-actress Samita Bangargi will play my co-star, a London-bred Indian girl.
But isn’t a comedy about a Bihari cook in London a huge risk?
Yes. I was toying with the idea of remaking Nala Damayanthi for a long time, but wasn’t sure how audiences would react to the subtle non-vulgar humour. With Munnabhai MBBS, I realised a family comedy without double-meaning dialogues would work. In Nala Damayanthi, there’s no one dropping his pants or pretending to do unmentionable things with his mouth.
Was the three-hero film Dil Vil Pyar Vyar a wrong career move?
It may well have been, though I had great fun doing the film. When there are too many actors and too many creative heads pooling in, you lose control of what you set out to do. I think a multi-hero film can work only when no one questions the director’s vision and authority. This is the case with Mani Ratnam’s Ayutha Ezhuthu.