With all-round accolades coming in for her stellar performance in Haq, Yami Gautam Dhar is on a high. The actor, who has delivered a string of commendable acts in the last few years, plays Shazia Bano, a Muslim woman in 1980s India fighting for her rights — and that of her children. Inspired by the real-life case of Shah Bano, whose grit saw her taking on her estranged husband all the way to the Supreme Court of India and paved the way for a landmark judgment, Haq has Yami dominating almost every frame in the Suparn S. Varma film that also stars Emraan Hashmi. t2 caught up with Yami for a post-release chat.
Congratulations for a stellar performance in Haq, one of your best in a string of good roles over the last few years. How are viewers reacting to the film in general, and to you in particular?
It is definitely the best-reviewed film of my career so far. A majority of the media fraternity, hands down, liked the film. As far as the audience is concerned — which, of course, is the litmus test — we have seen a rise in the box-office collections. A film like this takes time for the audience to warm to and Haq is a film that can’t be slotted into a genre. It is inspired by a landmark judgment, but it is not an out-and-out courtroom drama. It is predominantly an emotional human drama. The response so far has been overwhelming, to be honest. I am soaking it in and still trying to put it in words. It is a rarity for a majority of the audience and the critics to like a film.
When did you realise that this is a story that needed to be told and that you were on to something special?
It was the overall journey of the film. But I also knew it from the moment I read the script... that is the most raw form in which you can picture your film, and the emotions that it has came straight from the heart. As an actor, it really excited me. After that, I had to put in my best and see how it panned out. Thankfully, everything fell into place.
Shazia Bano belongs to a different time and hails from a certain socio-economic strata. And yet her story and her fight against patriarchy resonates. What about her did you relate to the most?
That is exactly how I approached the character. Along with many other things, the monologue towards the climax — which is something that has really struck a chord with most people — made me realise that this truly is the story of every woman... she encapsulates every woman who would be watching the film regardless of caste, religion, strata or class... whether you are a working woman or not... and I was very certain, at that moment, that what she said spoke to each one of us in some way or the other.
But it is not that men are going to feel alienated. I have received a lot of emotional reactions from men too. In fact, my director (Suparn S. Varma) and I did a few theatre visits. We arrived slightly early and stayed at the back in the dark because we didn’t want people in the audience to see that we were there. I could see pure, authentic reactions from viewers. That tells me that if you have purity of thought and power of conviction in what you are making, it will strike a connection with the audience. While the story is inspired by Shah Bano’s case, my approach was not limited to just that. Haq is a universal film because it speaks to each and every member of the audience.
You have made some interesting choices over the last few years, most of which have paid off. Where would you place Haq on that list in terms of challenge and creative satisfaction?
The most fruitful award is when the creative forces and the audience verdict align. Every film has its own path, its own journey and its own pace. There are some films which skyrocket from Day One, while others take their time. Word of mouth does its magic in this case. For me, the beauty lies in the experience and the journey of making a film. It is not possible for any of us to know how a film will do. But making those choices makes me feel fulfilled.
While choosing the roles I want to play, I don’t follow any rule or rhythm, I don’t have any template. I go by my instinct and look at every script and every genre as something new. That also makes the journey exciting for me.
I get excited by films and roles that have no reference point, that have perhaps not been done before. We, as an industry, will have to think of fresher ideas to get people back into theatres. In the post-Covid era, there is massive competition, but that is the haunting reality we have to face. So while we cannot predict anything, what we can do is push ourselves to give the audience an experience in the theatres — which may be through a story or a visual spectacle — that is worth their time and money.
Also, I believe that I am as good as my last Friday. Article 370, OMG 2, A Thursday, and Dhoom Dhaam were all loved, but for me, they are all done now. I keep looking forward to what is next. The process of being in the service of the film is sacrosanct to me and I won’t change that for anything.
Has this been the approach ever since you started as an actor?
To be honest, I have no memory of whether I knew what was meant to be done when I started out. But I am the same person whose first film was Vicky Donor (2012), which was a very unconventional and path-breaking script. Over the course of time, of course, there has been a certain awareness and understanding of the industry, understanding of this medium, what cinema is.... In the beginning, it was about understanding what I want to do here and then making my own space. In that process, one is bound to make some mistakes. You will also do work which maybe doesn’t give voice to your choices, but that is fine. There are good days and bad days, highs and lows. Not that I am immune to it now, but at least I am in that position in life where I know what I want and I know what to do. Clarity of perspective comes with time.
You are also a silent performer... you allow your work to speak for itself and don’t give into the trappings that come with being a film star. Is that organic or deliberate?
There are different phases one goes through. Basis your understanding and your experiences, there are times where you want to do things but you can’t express yourself freely. You often cannot express your choices. But eventually for me, as I said, it became about being who I am. It is very important for me to be able to live my life the way I am comfortable living it. Hard work is different. That is part of the job and I am always willing to do it. But when I am not working, I want to be the kind of person I am. I enjoy being at home and spending time with family. Attending a social gathering should be my choice and not because I have to do it.
It takes time and a certain sense of fearlessness and security to be able to ask yourself: ‘Can you be clinical about your approach to work and still exist in the industry and do good films?’ I say that yes, one can. This is something that comes naturally to me. I cannot be someone I am not.
Promoting one’s upcoming films is something I didn’t enjoy earlier. I didn’t understand the concept of marketing and promotion, but over time, I have understood that it is important.
A Yami Gautam Dhar film comes with certain expectations now. Does that translate into any kind of pressure?
I have conveniently passed on the pressure to my next director (laughs) and I was told: ‘You don’t worry, you simply focus on your work’. Being actors, you see our faces on screen, but film has always been a director’s medium. We have our own interpretation, but we are just the director’s expression and are primarily in his world.
On a serious note, I don’t believe there can ever be a time in life where you are so sure and so confident about your choices. A little mystery is always good... that nervousness is always good. It keeps you on track and keeps your perspective in check.
Which is your favourite film of Yami Gautam Dhar? Tell t2@abp.in