Arslan Goni: I think someone, somewhere is writing my dream role for me
By ASJAD NAZIRNov 24, 2021
ACTOR ARSLAN GONI DISCUSSES HIS INTERESTING CAREER START AND BOLD MOVE
WHETHER it’s been his personal or professional life, Arslan Goni has hit the headlines a lot this year and become a fast-rising Indian star everyone is watching.
His starring roles have included entertaining serial Mai Hero Boll Raha Hu and acclaimed movie Jia Aur Jia. With all the added attention, the naturally gifted performer has become heavily in demand, which means his best work is on the way.
Eastern Eye caught up with an actor everyone is talking about to find out more about him, his journey so far, experience of going fully nude for a short film and future plans.
What first connected you to acting?
I was always acting in school plays. When I look back now, it was to bunk classes because people who were in the theatre would get off from classes, so that is how I started. I lost track somewhere in the middle. I got practicality into life and was studying in a good school. But, I wanted to do something I’ll be interested in, so got back to acting when I turned 23.
What was it like making your debut in the film Jia Aur Jia, headlined by two established actresses?
It was great and the best debut anyone could ask for. I was working in front of two very good actors. The story was good, everything was great. It was my dream launch. I was somebody with no industry background, so things could not get better than that for me. It didn’t do well, but it was great working with Richa Chadha and Kalki Koechlin.
What was it like doing the short film Mystery Men, where you were asked to go fully nude?
I wasn’t asked to go fully nude. It was discussed between me and my director. And it was just one last scene where I was sitting in a foldedup position while getting tortured. It was an end shot. She said that it will look very offensive if you don’t wear anything because they don’t care about anything in interrogation. So, I said we will talk about it, try it, and pull it off if I am comfortable with it.
What happened next?
But at that point in time when I was doing that scene, we got very involved with that. Before the take, I took off my underwear and was like ‘let’s just do this shot and get this done with.’ But it was great. We shot this in 12 hours. I did all the things by myself. Waterboarding and every torture that you see happening, is actually done on me.
Would you say you are a fearless actor?
Yes, to a great extent. My instinct is fearless. In
the show I’m shooting for right now, many times you’re doing stunts. I just go and stand around set and I’m like, ‘sir I’ll do it myself’. Then they explain to me how it’s to be done. At times we all agree. So, my instinct is fearless, but then when it comes closer, it starts getting fearful. But I’m like ‘let’s do it, what will happen.’
What about real life?
In real life also, I’m just like this. I have vertigo and am tired of having it. I wanted to know what it would feel like to jump from a plane even after having vertigo, but it felt bad. So, in life I’m fearless, but if it makes sense I avoid it.
What was it like working on Main Hero Boll Raha Hu?
I played a negative role in that and someone from Mumbai. So, I had the entire Mumbai accent. It was set in the late ‘80s and ‘90s so we had the entire feel to it. The clothes I wore were very ‘jhatak’ and colourful. It was fun and for the first time, I was playing a negative role. I realise that as an actor, you get a little more freedom when you’re playing a negative character.
What can we expect from you next?
I cannot talk about my new project.
What is the plan going forward and do you have a dream role?
I don’t have a plan going forward right now. I think someone, somewhere is writing it for me. And talking about my dream role, if I knew I would have started writing it because I do write. I don’t know, maybe there is something I have not seen, but somebody has and then they say, this role will suit him. For the show I’m doing right now, a lot of people had given auditions for negative roles, but I got it. I never visualise myself for a character. So now when they approach, I sit, read, and decide I can do this role. You should have work maturity that makes you realise what role will suit you. All I want is that! I don’t do something that later people will make fun of me.
Who would you love to work with?
There are so many. I have a long list of all the people I haven’t worked with but want to work with. But I really want to work with (director) Sriram Raghavan. I think he’s just fantastic.
What do you enjoy as an audience?
I like to watch action or comedy.
What inspires you?
There are so many things that inspire me on a daily basis, like if today, I’m listening to a good song, that will inspire me. So, the inspiration for me is very momentary. I get inspired by things at that moment very quickly. But if you want to ask what my inspiration in life is, my happiness to do something and being able to not fail in it and be still in the process. In simple words, my craft inspires me.
WHEN Rishi Sunak became an MP, he swore his oath on a copy of the Bhagvad Gita, but few people – including perhaps Britain’s first Asian prime minister – will have been aware of the efforts of a Shropshire-born civil servant in that little moment of history.
Charles Wilkins (1749-1836) was an employee of the East India Company and an avid Sanskrit lover. He arrived in India and went on to study the language under scholars in then Benares (now Varanasi, which India’s prime minister Narendra Modi represents) and produced what is believed to be the first English translation of the holy Hindu text.
It made the Gita accessible not only to the British, but also millions of Indians, including Mahatma Gandhi, and years later, Sunak.
This is just one of the anecdotes Manu Pillai uncovers in his new book, Gods, Guns and Missionaries: The Making of the Modern Hindu Identity, published earlier this year.
Pillai traces the transformation of the religion over the past four centuries – from the arrival of early Europeans in the Indian subcontinent to British rulers and the rise of Indian leaders during the freedom movement – and examines the impact of those influences.
Manu Pillai
“Most of us look at Hindu identity today through the prism of Hindu-Muslim relations, because in the present, that is what became,” Pillai told Eastern Eye. “But to me, it seemed like a lot of modern Hinduism was actually influenced by colonialism and Christianity.”
Not so much in the way that missionaries converted millions of people, Pillai explained, as they “never had physical success in terms of numbers”, but “they had a lot of intellectual success in terms of placing these moulds and frameworks of thinking, which we took in order to articulate a modern avatar for Hinduism. So, I thought that story deserved to be told.”
This is his fifth book, which Pillai began in 2019, following a dissertation on Hindu nationalism at King’s College London. At the outset, he clarified the book is not about his academic thesis, rather it examines the impact of the early Portuguese, the Italians and other Europeans, then the East India Company, the British and finally, Indian reformers and politicians prior to and after independence.
Pillai said, “Hinduism is not a Western-style religion. It’s a cultural framework in which there’s multiple diversities. Think of it like a draw cabinet; it is the overall frame that is Hinduism. But each door has its own individual identity, as well.”
And , the cover of his new book
Pillai charts the influence of hardline Portuguese missionaries whose influence is evident in Goa even today, while in the south, an Italian priest, Roberto de Nobili, adopted the local Hindu ways in order to spread the teachings of Christianity.
The book also shows how British colonial rulers were initially reluctant to the push from missionaries in the UK to proselytise communities in the subcontinent, before eventually changing their minds. Reformers such as Serfoji and Raja Ram Mohan Roy adopted a more modern approach, followed by Dayananda Saraswati, Bal Gangadhar Tilak, Jotiba Phule and Veer Savarkar, whose interpretation of Hinduism came at a time of India’s freedom struggle.
This intertwining of religion and politics is not new, though, Pillai said. History has shown how rulers patronised places of worship and this continues in contemporary times, too.
The writer described how Jawaharlal Nehru (independent India’s first prime minister) and “the Nehruvian elites made a conscious effort to keep religion out, but bubbling just beneath that first level, (but) religion was always present in politics. Caste was always present in politics.”
Pillai said, “It was Nehru’s charisma and electoral success that allowed him to keep it at bay or in check. But it was never absent. By Indira Gandhi’s time, she started playing the religious card as needed, whenever she felt her party could benefit from it.”
He added, “The difference is religion has now come much more centrestage and openly acknowledged.”
Pillai also noted how economic clout and technology have both played a part in the recent assertion of religious identity, the most obvious is the patronage of places of worship, while carrying out rituals under the guidance of a priest over a video link is now the norm.
In the book, he writes about how the spread of the English language in the subcontinent meant exposure to new ideas, thus empowering Indians to not only challenge authority, but also learn about the world outside their country.
“The British employ Indians who can speak English. They pay those Indians. Those Indians are getting cash revenue. They are no longer dependent just on their farms (to earn their living). They use that to patronise their community. They build temples,” Pillai said.
“So, ironically, the wealth created by service in the British East India Company ends up in the flowering of Hinduism. The railways, which the British laid to move their troops around, also enables pilgrim traffic to temples. “All of these things come together – technology, politics and economics.”
More recently, Pillai said Hindu resurgence “isn’t purely due to political dynamics”. His view is that with rising disposable income, “you have time to think about identity, and now you have money to patronise things.”
He cites the example of Kerala, where he is from, explain how remittances from the Gulf countries led to a boom in old family temples being renovated. “There is something culturally coded in organising a big puja, or making donations to a temple is seen as an a c h i e v e m e n t , weighing yourself in grain and donating to a temple.
“So that kind of religious identity also boomed with economic boom. It’s not as an economic boom creates some rational paradise. On the contrary, an economic boom can actually result in a greater flowering of religiosity.
“Partly because of that, post liberalisation (of India in the 1990s), there’s been a new middle class that’s emerged, there’s also now disposable income. People have the wherewithal to now think beyond roti, kapda, makaan (food, clothes and shelter), and to think about who are we as a people? And the answer to that question lies in religion, culture, heritage.”
India and south Asia’s vast diversity dictate the way Hinduism is practised, across not just the subcontinent, but also across the world, where the diaspora communities are settled. Consequently, this shapes the evolution of Hindu identity.
Pillai said the next challenge for Hinduism will be maintaining that inner diversity, “because we live in times where there’s so much emphasis on that homogenised identity, on one reading of that label, of what it means to be a Hindu.
“It takes away from how much pluralism there is within the faith itself. The richness of Indian culture, in general, has been the fact that all religions that have entered India have become pluralized, even if it’s Islam.
“Islam in Kerala is not the same as Islam in Bhopal. When the north Indian Muslims under the Muslim League, as I mention in the book, went to Kashmir in the 1940s hoping to woo the Kashmiri Muslims, they were horrified. They thought that Kashmiris, with their saint worship, and all of that were not even proper Muslims. They said, ‘we’ll have to teach them Islam first, before making them Muslims, because they couldn’t recognise that version of Islam. “Everything in India is hybridised, and in many ways, that has been our strength, these hybrid identities have continued over so many generations. “What would be a major challenge is this tendency towards homogenising… towards feeling there has to be only one version of Hinduism and one interpretation of things.
“Even our epics have so many retellings. In Kerala there is an oral kind of Ramayana, in which Shurpanakha, when she propositions Rama and says, ‘I want to marry you’. And he says, ‘No, I’m already married. You go to Lakshmana.’ Shurpanakha turns around and says, ‘That’s okay; the Sharia says you can marry twice, more than one woman.
“So this is a Ramayana in which Shurpanakha quotes the Sharia, because it’s a Muslim Ramayana.
“That is the kind of country we come from. And I think losing that, where everything has become standardised, and that’s a global phenomenon, something we’re seeing around the world. That is a tragedy. That would be the bigger challenge.
“We need more people telling these stories about our inner plural, pluralism and diversity – which is not to devalue that framework. The framework has its own value. I’m not saying that Hinduism should somehow be only about its pluralism, but at the same time, it has to be a fine balance between maintaining that inner richness, maintaining all the threads in the tapestry without painting the whole tapestry one single shade.”
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