ADITYA DESHMUKH DISCUSSES HIS TV CAREER AND LATEST ROLE
ALTHOUGH popular TV actor Aditya Deshmukh had wanted to be an actor since childhood, he did an MBA in marketing and various jobs like working as an executive in an advertising agency before pursuing his lifelong passion.
He powered through struggle and rejections to land roles in hit serials like Bade Achhe Lagte Hain, Punar Vivah: Ek Nayi Umeed, Kavach...Kaali Shaktiyon Se and Kasautii Zindagii Kay. By learning something on each project since starting eight years ago, the talented actor has evolved as a performer, been brave enough to take on challenges and values the craft. He is currently playing F Faizuddin Siddiqui in Sony SAB drama Ziddi Dil Maane Na, which is produced by Sudhir Sharma and Seema Sharma of Sunshine Productions.
Eastern Eye caught up with Aditya to discuss his career and latest serial.
Which of your characters is closest to your heart?
Every character is special. I’ve done all different kinds of roles, but a challenging character was Ashutosh Kulkarni from Kavach because the show started up with the leap. I had to maintain the Marathi accent, which wasn’t a challenge as I’m born and brought up in Mumbai, but adopting that character was a task because it was such a negative role. Soon everybody was convinced, and I was also convinced. So, it was an amazing experience`.
Which role challenged you most?
Like I said, every character is special. I had been doing negative roles all my life but started doing positive roles only recently with Colors 2020 show Naati Pinky Ki Lambi Love Story, in which I played a parallel lead, Vikas. He was a very submissive, simple-living guy and high-thinking. So that character was a little challenging because I never played a positive character before. Finally, when we saw the first episode of my character from that show, it was mind boggling. I was like, ‘wow, I did it’. The same director is on my current show Ziddi Dil Maane Na.
What led towards your latest show Ziddi Dil Maane Na?
I had auditioned for Sid’s character in the show, being played by Kunal Kapoor, but couldn’t see myself in that role. I had three or four shows to choose from. The internal casting team from Sunshine Productions called and briefed me about this army related show. Sudhir Sharma, producer of Ziddi Dil Maane Na, thought he saw a naivety in that initial audition, which they were looking for in Faizi’s character, but couldn’t find. They had tested 100 to 150 people. They gave me the script and asked me to audition for it. After five to six rounds of audition, I just nailed it.
What has the experience of working on the show been like?
It’s been a different journey altogether. For an actor, playing an army role is always a dream and I believe that very firmly. Actors who have played army characters have seen their careers go to great heights and I wanted to do it at least once in my lifetime. So, the experience has been very difficult. We started learning army life. We used to get up around 3.30am because the set was so far away and we had to reach at 5.30am to start work. The entire experience has been amazing and till today we’re still enjoying it. Every day we face so many challenges and find something new in the script each day. The writer’s always present a surprise element.
Tell us about the role?
It is absolutely a different role as I said. It’s an army character named Faizuddin Siddiqui, who has so many shades. Basically, he has his own charm. He is naive and at the same time also a flirt, but also cares for Koel. He loves her immensely and expressed it in his own unique way.
How does this role compare to others you have done?
It is absolutely a different role as I said. It’s an army character with so many shades. Basically, he has his own charm.
What is your dream role?
After watching the Dark Knight – Heath Ledger’s performance as the Joker – I have never seen an actor break barriers like that. I’ve never seen an actor going to such heights to live a character like that. So, my dream role would be playing Joker. I would say love to do something like Al Pacino’s Scarface role, which is very different and larger-than-life. I want to test myself as an actor.
What do you like as an audience?
The audience is king. They make and break people. So, I always give my complete support to the audience. Recent shows I have watched are The Good Doctor, which I think everyone should watch. It’s amazing. I also enjoyed Money Heist and, of course,
Squid Game.
What inspires you?
The craft, fraternity, and industry, have their own warmth. I really feel that this industry has welcomed me; so it really inspires me to aspire to keep going ahead and become an inspiration for the rest of the world. So, the idea is to just keep working and believing that it’s the most important thing in your life. I think the craft, canvas and storytelling of any project inspires me.
Why should we tune into Ziddi Dil Maane Na?
Because it’s an army and youth-based show with so many characters. It is a romantic show as well, which you’ll love. Faizi and Koel's story is really connecting with people. That’s why you should tune into Ziddi Dil Maane Na. Because of you, we are.
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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