National award winner Swanand Kirkire wears many hats with rare aplomb - lyricist, playwright, dialogue writer, music director, singer, actor and now also a would-be film director. His theatre production AAO SAATHI SAPNA DEKHE has been receiving a good response. In this tete-a-tete with Sudhir Raikar, he looks back on his creative voyage to date with thoughtful contentment and measured confidence.
Sudhir Raikar
Given your strong roots in theatre, music and literature, your success in mainstream commercial cinema is almost dream-like. What do you attribute it to? For me, purpose drives the role - be it lyrics, music or direction. Each time I take on a role, I essentially serve a need that is central to everything else, including my creativity. This crystal clear conviction keeps me focused. What you term as my success is only a manifestation of this clarity.
But does that mean some compromise is inevitable in the process?
Not really. It's how you look at it. Mainstream cinema is all about impact, not about effect. If you accept this framework that is largely driven by mass appeal, there is no question of carrying any literary baggage of personal beliefs and preferences. And what you worship as creative liberty is often an excuse for being unduly adamant. Every song that I have penned is gloriously customised to the specific need - whether the slang of Munna Bhai, the romantic muse of Parineeta, the dark humour of 3 Idiots, or the mechanised emotions of Robot. But their popularity, in my reckoning, never came at the cost of their creativity. Barring a few projects, I never found the diktats of commercial cinema suppressing my creative freedom. In fact, this wonderful, potent medium gave me the opportunity to experiment in cinemascope.
Does your stint with theatre give you a distinct edge in cinema today?
Undoubtedly. The nuances and insights gathered in the theatrical process find their application in cinema, however subtle it may be. The inclination and the ability to don various roles stems from my theatre days when we did almost everything as required. Likewise, my cinematic experience helps in my current theatrical experiments. The Musical AAO SAATHI SAPNAA DEKHE is one such revival. I would be keen to produce many more plays in the near future. With whatever recognition I have achieved till now, I try and bring like-minded people - something I could not in the formative years. This role of a catalyst is purely a by-product of my film achievements.
Tell us about your stint in theatre? What's your take on the contemporary theatre scene?
I may not be doing active theatre any more but I remain an ardent theatre person at heart. I grew up on names like Tendulkar, Tanvir and Karanth. We staged many of their plays both under the aegis of NK Sharma's theatre group Act One, or independently in Indore. I love the spirit of experimentation that some of the younger guys have shown in recent times - Nipun Dharmadhikari, Manav Kaul, Mohit Takalkar, amongst others. Their conviction is admirable, and so is their tenacity to stay put in adverse conditions. As regards the trials of experimental theatre - lack of money, audience, and facilities - they will remain. But so will this form, and even little triumphs will take it ahead.
Do you have role models in your field? Do certain artistes inspire you?
There are scores of people who have inspired me in thought and action. If I were to name someone, I feel it has to be Gulzaar Saab, both for his awesome poetry, as also his path-breaking films. Kitaab, Parichay, Achaanak...all his films are in a different league altogether...not just unlike the blockbusters, but even different than the Hrishikesh Mukherjee brand of films of that time. Gulzaar is a fine example of how one can nourish the offbeat streak in the most mainstream of platforms. Among the contemporaries, I am fond of Piyush Mishra, my dear friend and colleague from my Act One days. His versatility is awe inspiring. I thought his work in Gulaal is phenomenal.
Have you consciously stayed away from Television despite the fact that your early work was small screen?
Yes. And I have no qualms about it. The current state of affairs especially on Indian prime time television is hopelessly mindless to say the least. I would never consciously want to join this bandwagon. In future, if there is a sensible subject on offer, or if Indian TV dramatically matures to a meaningful structure, akin to say the American TV, I may be inclined otherwise. As of now, I would prefer to look away.
What is your approach to your singing voice? Going forward, will you explore the depths of this ability of yours, or will this remain a novelty factor waiting to be blessed by sharp, sensitive film folks?
I never looked at my voice from that perspective. Despite genetics being on my side, (Father Chintamani learnt music from Pt. Kumar Gandharva while mother Neelambari is a disciple of Mrs. Vasundharaa Komkalli) I was instantly drawn to theatre as I found it more democratic as opposed to the tutelage of musical gharanas. So, music was a hobby at best. It's just that Sudhir Mishra and Shantanu Moitra, many years later, found some potential that led to "Bawaaran man dekhne chalaa ek sapnaa" - my most popular number to date. But if you ask me, my best work in this arena has to be "Khoye Khoye Chand Ki" from Mishra's Khoya Khoya Chaand. That song is really fulfilling for the singer in me.
You have often said "Direction is your ultimate aspiration" Any cinematic themes close to your heart - and will such a project launch you in a Kishore Kumar like avatar - director, lyricist, actor and music director?
Yes, my directorial debut should happen soon although it's premature to talk more about it. Although I have made my mark as a lyricist, it's not something I wish to stop at. I would surely want to experiment on a wider canvas, and direction sould provide me just that. I am a student of life, and every human theme attracts me no end. It is impossible to define my preferences in terms of genre. And as regards versatility, only need will demand it. The moment there is one, I'll serve it in commensurate capacity. I won't force-fit myself in any role simply because I am directing the project.
*A cost accountant by qualification, Sudhir Raikar finds himself closer to the world of films and theatre. He brings with him over 17 years of experience in writing that includes journalistic reports & stories, book and film reviews, analytical writing, critical appreciation, marketing communication, translations, and business writing for leading media houses and corporates. His passion is fit-for-purpose writing.
Given your strong roots in theatre, music and literature, your success in mainstream commercial cinema is almost dream-like. What do you attribute it to? 
