Neelu Kohli: Acting is my blood, passion and oxygen
By Asjad NazirNov 24, 2022
Actress talks about her interesting journey
A distinguished acting career has seen Neelu Kohli make an impressive mark on television with impactful roles in popular drama serials that include Ghar Set Hai, Yeh Jhuki Jhuki Si Nazar, Choti Sarrdaarni, Madhubala – Ek Ishq Ek Junoon and Na Bole Tum Na Maine Kuch Kaha.
She has mixed up top TV work with starring roles in films, like recent releases Jogi and Goodbye.
The versatile actress will continue to mix up the roles on different mediums and add weight to major projects with her marvellous acting talent.
Eastern Eye caught up with the powerful performer to discuss her interesting journey, acting, acclaimed film Jogi, working with Amitabh Bachchan on Goodbye and what she enjoys as an audience.
Which of your roles is closest to your heart?
All my roles are very special. That is why I did them, but somehow my role in Jogi was close to my heart because it was like redemption, as the events happened to my family. So I was aware of all the pain while doing the film, and it kind of came out. It wasn’t venting, but somehow a balm on everyone’s old wounds.
Which character challenged you most?
There’s a small role I play as a police inspector with Shreyas Talpade in a forthcoming film. It was very unlikely for me to play somebody in a uniform, do comedy, and match Shreyas Talpade. I was really challenged by doing that. Otherwise, I think the prep for every role, prepares you before going on set.
How much does the positive response to acclaimed Netflix movie Jogi mean to you?
I have received appreciation for my past drama serials, but the surge of compliments globally for Jogi has been on another level. From social media and press to people walking up to me, including those who have been too snooty about actors, the positivity has been overwhelming. They have praised the performances and film, but also opened important discussions about the subject it covers.
What have your contemporaries thought of Jogi?
My co-actors, including those who have never called, appreciated my work in
Jogi. So, it’s huge and a great high when you get something like this. I just hope it enables me to play more roles with a lot more meat on them, which I have been craving for all these years. I’m just crossing my fingers and hoping this film is a big turning point.
What was the experience of working on the film Goodbye?
Goodbye was like a party. It was such a ball working on the film, and there were all these happy hormones. Vikas (Bahl) is such a sweet director. I hope to work with him again. He’s so good and the team was awesome, of course. The cherry on the icing was that all my scenes were with Amitabh Bachchan sir.
What was it like working with him?
I don’t normally get starry-eyed or intimidated while working with these so-called biggies because I never forget what I’m there for. I might do it once the scene is over on the first day, otherwise, I take my work very seriously. But with Mr Bachchan, it was different because naturally he’s been for most of us an ideal and is my childhood crush. So, the first day I had this silly grin on my face but after that I was okay.
Neelu Kohli with Amitabh Bachchan
What is Mr Bachchan like on set?
I was just in awe of the way he works. He’s so professional and observant. He knows exactly what to do during the shot. Otherwise, he sits very quietly in one corner with his phone. He doesn’t talk too much but is very observant and aware of what’s happening around him. He adds such minute inputs, so smoothly. There is so much you can learn from sir. It was a beautiful experience.
Do you have a dream role?
I admire women in uniform. Anything to do with women in uniform is something I love doing, which is why I did this forthcoming film with Shreyas. Uniform is something that really intrigues me and gives me this sense of power. Any meaty role in that space is a dream.
What content do you enjoy watching as an audience?
I have very diverse interests, so watch anything from comedy to something really dark and intense. Whether I am watching a series to see how a character evolves, or a story from start to finish, in a series or film, the ending should be happy. That’s my biggest criteria and why even with Jogi, I was kind of taken in because of the ending. I’m one of those happy-ending kind of audience.
What does acting mean to you?
Acting to me is comparable to breathing. I think I would die if I didn’t act. I’m happiest when on set and creating something, and don’t say this for effect. I mean this from the bottom of my heart because acting is my world. It’s my love, passion, blood, and oxygen. Acting is everything to me. I have started appreciating and enjoying my work so much that it gives me a high after a hard day’s work. When your body hurts and you lay down on your bed, you realise it has been a productive day. That’s the best time for me, I feel.
Why should we watch Goodbye?
Everyone should watch Goodbye because it’s a film filled with values, happiness, and togetherness. Goodbye has a unique combination of actors. Mr Bachchan and Neena (Gupta) Ji are like magic, and I’m so much in love with her. The entire cast, including Rashmika Mandanna, Pavail Gulati, Sahil Mehta, Abhishekh Khan, Elli AvrRam, Sunil Grover, Ashish Vidhyarthiji, and everyone are amazing in it. It’s a very sensitive film and, of course, also has Neelu Kohli. (Laughs) So, if not for anyone else, do watch for 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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