Ace Bhatti on The Effects of Lying: We Asians have the same problems as the British
The actor’s role in the movie is a departure from his usual serious roles, but he said though the film is a comedy, the depth of his character is what attracted him to the role
By Sarwar AlamJul 05, 2023
ACTOR Ace Bhatti said his new film, about unravelling family secrets, reflects the universal appeal of good drama, with audiences drawn to the plotline and not the characters’ ethnicity.
In The Effects of Lying, Bhatti plays Naveen, a “dutiful husband and loving father” whose life falls apart over a series of events taking place over the course of a day – including finding his wife in bed with his brother.
As the day unfolds, decades of secrets are finally exposed and Naveen is forced to face up to some home truths.
Bhatti, 53, told Eastern Eye, “It’s a comedy. It’s almost a farce. But behind that farce is utter pain. This man whose life is sort of plodding along, learns three devastating truths. But it’s about keeping face, which happens in all walks of life. It’s about keeping that family together, but eventually it just all falls apart. But in a weird way, it comes back together again.
“That was the challenge, to do that one and a half hours but also in the time that we had to film it.”
Though the cast has predominantly south Asian actors, such as Laila Rouass, Navin Chowdhury, Shaheen Khan, Bhasker Patel and newcomer Lauren Patel, the film is not specifically an Asian story, rather a drama that happens to be about an Asian family, said Bhatti.
Ace Bhatti with Laila Rouass
“Stories are universal,” he said. “Through my years as an actor I’ve realised people don’t care as long as the story is good.
Bhatti praised director Isher Sahota (Grace, Mcdonald & Dodds) and producer Jon Tarcy (Life in Black), for having “the courage” to make a film about a British brown family that he said may in the past have been “put on a shelf and forgotten about”.
“John and Isher said, ‘look, we don’t want to be waiting around, let’s just do it and make it’. I have to applaud that.
“We took a punt and we did it,” said Bhatti. “If something’s decent, no matter what background you’re from, if people are moved by it, they will watch it. That’s what’s great about drama, you can watch an American drama, an Indian drama, a Chinese drama – if you’re moved by it, people don’t care where it’s from.”
The film was shot in two weeks and Bhatti credited experienced actors Rouass and Chowdhury as a big reason why the film was wrapped up in such a short amount of time. “I’ve worked with Laila before in Life Isn’t All Haha Hehe and she was fantastic in that. When I read the script, I phoned her straight away as I knew she would be perfect in the role of (his on-screen wife) Sangeeta. And Navin is a very seasoned actor.
“At the beginning we did say, ‘can we do this?’ It was a case of just throwing yourself in the deep end and in a way that’s what helped us.
Ace Bhatti
“We knew we had to get it right first time. We rehearsed and rehearsed to get to the core of each scene because there’s a lot of history, a lot of pain in each scene. I really enjoyed it and I hope it shows in the performance.”
With his career spanning more than 30 years, Bhatti has seen the strides made by south Asian actors in the UK. He admitted to feeling “joyous” at the work done by the younger generation of Asian actors.
“When I first started acting, and this is something I’ve never spoken about before because I never wanted to use it as an excuse, but a very prominent actor used to openly say to me ‘P***s can’t act’.
“You hear it now and it’s shocking. But this was the 1970s and 1980s, it wasn’t safe to walk down the street.
“Now we’ve really established ourselves. I applaud the youngsters coming up behind me, saying, ‘we want more of this’ (like The Effects of Lying).
“We’re going to do great dramas. All I can do is just be overwhelmed and joyous about it because, before Art Malik there was no one else. And then it was me and my generation, but the parts weren’t that great. The parts still need to be improved, they’re still 40 years behind, but something like this (The Effects of Lying) is relevant and shows we (Asians) are British and have the same problems as everyone else,” he joked.
Bhatti is known for playing intimidating characters in shows like Silent Witness, Line of Duty and Baptiste.
The 53-year-old’s role in The Effects of Lying is a departure from his usual serious roles, but he said though the film is a comedy, the depth of his character of Naveen is what attracted him to the role.
“I feel awkward pointing it out, but I think it’s good if it gives people confidence, if it gives the next generation confidence to say, ‘that’s just a story, I can relate to that’. If someone on the street stops me – white, brown, black, whatever background they may be from – and says to me ‘I really enjoyed that’, end of story for me.”
Bhatti, who has helped break the glass ceiling by playing roles that weren’t written specifically for a south Asian actor, urged people to demand for change and see a wide variety of dramas relating to south Asian communities.
“Certain dramas get made and say certain things, but people need to recognise we have different aspects to our lives. We’re not terrorists. We’re not sexual deviants. We’re not wife beaters and killers. There’s a lot of those stories that happen all the time. There’s other stories.
“We’ve just got to keep demanding. We’ve got an Asian prime minister, for God’s sake, which shows how far we’ve come. Production companies now want these kinds of stories and the audience want these kinds of stories.”
Adrian Lester, best known for his work on television and film, returns to the stage in the eponymous role of Edmond Rostand's 1898 comedy, Cyrano de Bergerac.
Rostland’s play centres around Cyrano - a little-known romantic 17th century French libertine poet, soldier, and philosopher. The play is based partly on his letters written on behalf of his love rival Christian de Neuvillette as he tries to charm Cyrano’s cousin, Roxanne with whom Cyrano is also in love.
Cyrano is cursed with an overt self-consciousness in the form of a large nose. His insecurity is such that he prohibits anyone to refer to it directly or indirectly. Together with his wit, his skills as a swordsman, and the directorial splattering of our own vernacular, they provide the play with a certain infectious - albeit teenage - humour.
Despite Cyrano unexpressed love for Roxanne, the latter has fallen for Christian who is handsome, but useless when it comes to expressing his feelings in words. But then, he is also useless as a swordsman and clearly no match for Cyrano’s mastery and maturity. Realising this and being utterly selfless, Cyrano offers his help to the youthful Christian to woo Roxanne by writing for him poetic and hyperbolic proclamations of love and longing. All he wants is Roxanne to be happy even if he himself has to do with nursing a broken heart.
Christian Patterson and Levi BrownMarc Brenner
The result is a farce of the highest order and mistaken identity, coupled with threat and violence
This RSC production is directed by Simon Evans who has provided a very lively and engaging interpretation by all accounts. Apart from a skilled, highly polished ensemble of cast, there’s interesting theatricality at work. Every now and then, for instance, one gets a sense that the stage is a reflection of our own world and vice versa. Characters mingle with the audience, they break the fourth wall, and the theatre band wander around with the characters and referred to with some bemusement and fun.
In a 17th century French world – not unlike our own, 21st century – external beauty, speech, language are prized. Expression has become almost secondary. It’s a world in which fakery, deception and lies are paced above sincerity, honesty, and truth. Looks and external beauty outweigh the inner beauty of man.
Evans removes the original piece from its French setting to England, littering it with a Brummie accent, and accentuating our preconceptions about hopeless romantics and those with meaningless verbiage. The effect is one of joyous atmosphere and true entertainment.
Adrian Lester provides a magnificent performance as the wordsmith, Cyrano. His character is verbose, comedic, and sympathetic in equal measures. Lester is enticing, hilarious and – judging by the reaction of the audience –appreciated as a versatile actor who can do comedy just as well as drama. Levi Brown’s Christian is a fiery - overtly hopeless - romantic who cannot paint his feelings into words. Brown gives a very energetic and magnetic performance. Similarly, Susannah Fielding provides a sprightly Roxanne who is heart-warming and an utter pleasure to watch.
Adrian Lester (front right) and companyMarc Brenner
It’s hard not to notice but as an audience, we are invited to consider the value of language that may sound romantic, but may – in actual fact – be little more than a shallow expression of fancy. Whereas, the seemingly absence of language – though painfully inadequate - may actually embody real sincerity and the true meaning of love.
Whatever you may think, one thing is certain: you will enjoy this production. It’s a real treat.
The play started at the Swan Theatre in Stratford-upon-Avon in early September, with its run lasting until 15th November.
Rating: ***** (5 stars)
(Cyrano de Bergerac is playing at the RSC Stratford until 15th November 2025.)
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