Popular actor Prabhas being the biggest Pan-Indian movie star means all eyes will be on this month’s big budget blockbuster Radhe Shyam.
The hotly anticipated period romance headlined by Prabhas, and massively popular actress Pooja Hegde will be released globally in multiple languages on March 11. The larger-than-life drama’s trailer has generated huge excitement among film fans and early indicators are it will be a potential game-changer for Indian cinema.
Eastern Eye caught up with Radhe Shyam writer/director Radha Krishna Kumar to discuss the mega-movie and his own close connection to cinema.
What first connected you to cinema?
My first connection to cinema was through my parents, I was around 10-11 years old. We were watching a movie scene where my mother was weeping, and my father was smiling. It was a strange experience as both were reacting in different ways to the same scene. I believe that was the moment I understood that each person has their own interpretations of stories and made me think that storytelling was a cool job! And here I am.
What inspired the Radhe Shyam story?
It was my mentor and guru Chandra Sekhar Yeleti’s idea, which we both have worked on for almost 15 years but couldn’t come up with a proper conclusion to the philosophy of the story. With heavy hearts we shelved this idea forever. But somewhere this idea didn’t leave me. It was chasing me in dream and day. I asked Yeleti sir that I want to make this movie with a completely different approach, using just the soul of the idea and he was happy giving it to me. I re-wrote the entire philosophic story into a love story, and it became Radhe Shyam.
Prabhas and Pooja Hedge in Radhe Shyam
Tell us about the film?
Radhe Shyam can be described as three-layered story. A party between love and life. A fight between fate and destiny. A bridge between myth and ancient science! Prabhas and Pooja Hegde’s characters will take the audience on an emotional rollercoaster ride.
What was the experience of making such a huge film during a pandemic?
We were shooting abroad while the first lockdown started around the world. We got struck in international borders as all the international flights got cancelled. Overnight our producers had to change the travel plan. We travelled to a different country to take Indian flights to reach home. It was a scary situation but all thanks to my producers who thought safety as first priority.
What happened next?
And then eight months later after the lockdowns and restrictions were lifted, we travelled back to Europe to finish the rest of the shoot. But unfortunately, 20 per cent of my crew got Covid including me and my cinematographer! Away from home and being quarantined was a scary experience. After the quarantine we finished the shoot and came back safely.
How does this compare to your previous film?
Radhe Shyam is a film where I consider myself being born as a storyteller. There is no comparison to my previous works as a writer or director with Radhe Shyam.
What were Pooja Hegde and Prabhas like to work with?
Prabhas and Pooja Hedge gave their one hundred per cent efforts and bought life to Vikram Aditya and Prerana. In -2ºC they shot for a rain sequence - we were in the tent shivering in the cold unable to even spit a word out, but they both acted in the rain as if it so normal. I believe they were destined to play these iconic lovers.
Do the sky-high expectations around this film scare you?
I am more of excited about these expectations surrounding Radhe Shyam than being scared. We believe it will meet every expectation of audience.
What is your favourite moment in the movie?
My favourite moment is the last scene of the film. I don’t want to reveal anything more about this iconic moment which will leave a lasting impression on the audience.
Who are you hoping connects with this film?
Radhe Shyam is for everyone who fell in love and who will fall in love. This movie doesn’t bracket a particular age or region. It’s an intense romantic adventure for all to experience.
Is there a memorable behind-the-scenes story you can share?
I want to share an interesting experience which happened four years ago when I was researching for Radhe Shyam.
I met many palmists, tarot readers, astrologers and many such people who are into this study of destiny or occult sciences as some call it. One man whom I don’t want to name read my palm and told me about a particular date and what will happen on it. I didn’t believe him and told him that it’s impossible. He simply looked at me and smiled. That day he told me the release date of Radhe Shyam would be in the first quarter of 2022. It still surprises me how he knew about this four-year long delay, or the pandemic or anything which pushed the film’s release to 2022. As they say some things are beyond our understanding.
What can we expect next from you?
I am a big fan of war movies! I might do an action drama in war backdrop. I will reveal the details soon.
Who is your own filmmaking hero?
I am a big fan of Yash Chopra sir and K. Balachander sir. They have a lot of influence on me personally. Present day Sanjay Leela Bhansali and Gautham Menon are my favourites.
Why should we watch Radhe Shyam?
Radhe Shyam takes you home with a dream and wakes you up with a determination to achieve that dream. It’s an inspirational journey from your minds logic to your hearts feeling.
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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