'Mohanlal inspired me'

Shobha Warrier

Archana, the two-time National Award is just back from Dharamsala in Himachal Pradesh after shooting for Malayalam director Shaji N Karun's new film Nishaad.

She is very excited about the role in the Hindi film. She has an author-backed role as a 55-year-old mother.

Her two National Awards were for Veedu in Tamil in the year 1987, and Daasi in Telugu in 1988.

She belongs to the group of actresses who believe in serious cinema. Shobha Warrier met her at her new home to find out more about the actress:

In 1988, you acted in Shaji Karun's first film, Piravi. How was the experience this time?

It has been a long while since I acted in a feature film. Do you know why? These days, I am offered only inconsequential roles. Serious actresses have no roles in today’s films.

I have been acting in television serials where I have meaty roles.

Shaji is more than a director to me; he is like my brother. We are also good friends. When he asked me to act in Nishaad, I was very excited, though the film is in Hindi. I am not very comfortable with the language.

At Delhi, on our way to Dharamsala, the cold was unbearable! So you can imagine how cold Dharamsala in December is. We began shooting towards the end of December through to January.

In a way, it is easy to work with Shaji. But his intellectual level and thoughts are higher than many other directors I have worked with. To reach that level of thought is difficult.

For a close-up shot, he needs thousands of expressions. When he asks you in his soft voice, you feel like doing whatever he asks you. I hope he is satisfied with my work. If I have done well in the film, it is only because of Shaji.

You play a 55-year-old mother in the film. How did you prepare yourself?

I must tell you how much Vaanaprastham and Mohanlal's performance helped me.

I cried after watching Shaji's second film, Swaham, but I thought Vaanaprastham was superb.

I had a video cassette of the film before going to Dharamsala. I took down some notes. Shaji's contribution was immense in Mohanlal's performance. I saw it as an inspiration. Essentially, I had Mohanlalji in my mind when I was doing Nishaad.

I go through the script at least three or four times, reading and understanding every line in the script. A day before shooting, I shut myself in my room thinking about my character.

How was the experience of living with Buddhist monks at Dharamsala?

It was a great and novel experience. I still cannot forget a Tibetan child I met. I thought he looked like the young Buddha. One morning, he kissed me on my cheeks. I felt the world was beautiful! *laughs*

How long did it take you to come out of the character Sati?

A long, long time. See, many people thought I was an old woman. I walked with a stoop and looked old. The cold intensified my stoop.

I am not married; I don't have children. But after acting as Sati and going through her turmoil as a mother, I really don't know whether I want a child. It was so painful. I was depressed even after I returned to Chennai. I just couldn't forget Sati and her agony.

Some roles disturb you a lot. It is painful enacting certain characters. After all, we are sensitive human beings. The climax of Nishaad was so disturbing that I couldn't forget the agony of enacting those scenes. My heart continued to pound and burn for a long, long time.

Apart from a few commercial films, you have remained close to serious cinema...

I am committed to good cinema. Yes, I did a lot of 'bullshit' films early in my career. Then I decided to stick to serious films. Frankly, I was not successful in the commercial setup.

But I have had such satisfaction after acting in films like Veedu, Dasi, Sandhya Raagam or Piravi.

When did the transition from an artiste working in commercial films to serious films take place?

I was lucky enough to start my career with Balu Mahendra, a very serious filmmaker. Thanks to him, I was drawn to good cinema. Balu Mahendra is my guru.

I could understand the character in Veedu because I didn't have a house then. After 15 years in the industry, I built a house of my own with great difficulty.

Did you ever feel uncomfortable doing commercial films?

You said it. I felt very, very uncomfortable. In good films, I looked good. In stupid films, I looked stupid. *laughs*

See, the good films I have acted in are landmarks in the history of Indian cinema. They are internationally known, too. I feel proud that I, Archana, am part of those films. I will remain a part of Indian cinema even after I am no more.

As an artiste, do you feel any difference between acting in a commercial film and a serious film?

Everything about serious cinema is different. You act in commercial films for money. You are supposed to look glamorous in those films. Reality has no place there.

But you don't expect lots of money from an art film; you expect only satisfaction.

Are you not interested in money at all?

We need money to survive. More than money, you need peace. I believe in simple living. I believe in God. I also believe God will give me what is due to me.

Photographs: Sreeram Selvaraj