Set in a familiar milieu

``HYDERABAD BLUES'', ``Bombay Boys'', ``Chalo America'', ``East is East'' and now one more film projecting the conflict of Asians settled in the U.S. Titled ``ABCD'' (``American Born Confused Desi''), the film is by debut director Krutin Patel born in Ahmedabad and settled in New York. Starring Madhur Jaffrey and a group of newcomers, it is a refreshing view of the young and culturally displaced at the turn of a century. ``ABCD'' is the second film brought under the umbrella of ``The Business''. The first JG Ballard's ``The Atrocity Exhibition'' caused a stir at the Institute of Contemporary Art. Currently in the nascent stage are Stevie Nick's ``Rhiannon'', a 3-D musical fantasy; and ``Very Important People'' a scathingly hilarious look at NYC's glittering nightlife. I speak to the director over dinner at a fast food joint in South Hall, U.K., where he is attending the Asian Images Second Film Festival.

You are a prosperous restaurateur in the U.S. So what attracted you to movies?

I have been fascinated with movies for as long as I can remember. Right from childhood, I have been watching Hindi movies and I loved them. After graduating from the New York University in 1988 with a dual major in Film and Finance, I produced my first short film, ``Strangers in the Night.'' So filmmaking is something I always wanted to do. It is not as if I just stumbled into showbiz.

And how did ``ABCD'' come about?

I was very certain that my first feature film would be about a milieu I was familiar with - the second generation kids - my generation raised in the USA. As the idea came up I made notes, until finally the script was ready.

Usually first films are autobiographical.

Not necessary, I think people just assume that when a young director is making a film about a familiar milieu, it is his story. Just because I come from Ahmedabad and I am a Gujarati and have a good rapport with my sister, it doesn't mean it's my story. There are so many dissimilarities, so many things that happen in the film that do not touch our lives and vice versa. When you watch a film with beautiful sets and lighting, you never see the sweat and struggle that has gone into the making of it. We never knew till the last minute, where the funds were coming from.

Was it that difficult?

Raising funds is the most difficult part of filmmaking. From the time you dream of a project till the time you deliver it, it is a long journey. I was ready to put in all the money I had, but even that was not sufficient. Organising funds is all the more difficult when you have to still prove yourself. Eventually of course, family, friends and friends of friends came forward and helped me out.

Were you worried about the commercial faring of the film during the shooting?

The fact that we were making it independently gave us the freedom to tell a unique story without having the pressures of commerical viability hanging over us. Ultimately, the most satisfying thing for me was that we were making a film about Indians, by Indians, starring Indians. If a project like this is to succeed, it must have truth in its story telling. As a director, you are always looking to capture real moments on film.

Were you able to?

Sometimes, in fact quite often. The crew would spontaneously applaud or cheer the actor's performances. During humorous scenes, the crew had to control their laughter in order to not ruin a take. As soon as I yelled `cut' laughter would fill the room.

What made you think of the title ``ABCD''?

That's the lingo we used while in college. We used it for others and I'm sure others referred to us by the same name behind our back. These are discriminations you cannot escape. My motive in choosing the subject is to hold a mirror to my community. Tell them what is going wrong and leave the decision to them.

With the accurate portrayal of Indian characters in the film, were you not scared of catering to the common stereotypes?

On the contrary, I wanted to say that the cultural conflicts they face are shared by others and that they are not alone. Creating a dialogue and understanding among the parents and children of these first generation immigrants, should also be a natural outcome for the community.

What was the experience like, working with Madhur Jaffrey?

I realised the full value of the project when Madhur Jaffrey agreed to do the film. For an actress of her stature and accomplishment to help a low budget Indian film is not only an indication of the worthiness of the project, but it is also a testament to her talent and her willingness to support emerging Indian artistes. Unlike most movie stars, Ms. Jaffrey did not relegate herself to her dressing room between scenes. She hung out with the crew and shared not only her wisdom but intriguing stories from her illustrious career. The cast and crew drew inspiration from her talent and professionalism.

The film ends on a regressive note. Is it because you have no hope for the second generation of immigrants?

No... how can you say that? Pessimistic perhaps, but certainly not regressive. Everyone expects the film to end on a happy note, probably because Nagesh Kukunoor's ``Hyderabad Blues'' had a happy ending. I felt it would have been too predictable. I did not want to resolve the problem for my protagonist Neena, as she has to come to a solution on her own. The end is realistic. The audience may not be happy, but Neena is. At least, temporarily.

What happens when Neena realises that this is not what she wanted?

By then it will be too late, but she is responsible for her actions. That is her character. She is young and restless.

So are you, are you confused as well?

Does not seem so. I knew what I wanted out of life and made this film. In future too, I know what I want and will get it, provided you help me raise funds.

BHAWANA SOMAAYA

Editor, `g' Magazine

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