With his booming bellow and a message of peace, Sunny Deol returns to Pakistan in Batwara 1947. The Partition-era drama, which reunites Sunny with long-time collaborator Rajkumar Santoshi (Ghayal, 1990; Damini, 1993; and Ghatak, 1996), is based on the acclaimed play Jis Lahore Nai Vekhya, O Jamya E Nai (1989) by Asghar Wajahat. The film revolves around a Muslim family--father (Sunny), mother (Preity Zinta), son (Sunny’s firstborn Karan), and daughter (Khushi Hajare)--which has to move to the newly-enacted Pakistan amid religious tensions. Their allotted house, however, already has an occupant: an old Hindu woman (Shabana Azmi), who is unwilling to part from her home. When fanatics reach their doorsteps, Sunny’s character comes in defense of the Hindu woman, and in a way, also for religious unity.
In a conversation with Sunny Deol, Preity Zinta, and director Rajkumar Santoshi, we delve into their collaboration, Preity’s return to films after eight years, and betting on peace at a time when divisiveness is an easier sell.
It has been 30 years since you worked together. Did you ever think that it would be difficult to redo the magic of a Ghayal or a Damini?
Sunny Deol: We didn’t consciously try for that. We focused on only telling a story honestly. When we worked on Ghayal, Ghatak or Damini, then also we were only concerned with conveying a gripping and entertaining story. Each of these films are different and each of them started a different conversation. Batwara is also like that.
In the current political climate, films that are one-sided and divisive are easy to sell. Batwara seems to be more objective, neutral and humanized. How important was this messaging?
SD: When you see the film, you'll forget what it is representing. You’ll go through a journey which will make you happy, satisfied, and will make you understand what Partition was and how important it is to stand up for something against all odds. But it was never like we wanted to tweak things to promote a message. We wanted to show the subject as it is.
Rajkumar Santoshi: We are not making the film to send a message. The priority was always to entertain. We don’t see characters as Hindu or Muslim. We see them as humans, and humans have both strengths and flaws. During Partition one set of people showed courage and sacrifice, while some also did unspeakable things. I am not a teacher, I am a filmmaker, so I can’t really instruct people what to do.
Preity, you are returning to films after eight years. What made you say yes to Batwara?
Preity Zinta: There were two factors. First was the opportunity to work with Raj ji (Rajkumar Santoshi) and secondly, I have always romanticized period films. I have always been excited to explore how it would have been to live in a different time, what kind of clothes people wore then, what kind of food was there. Before every scene I used to excitedly ask him (Santoshi) "What should I do next?" and he was like , “Preity, you cook now.” Next scene is me cleaning the house or stitching clothes. At one point I was like, “Come on, give me something real to do” and he was like, “this is 1947, there is no career for you, your job is your husband and your household.” That surely took out the romanticization in me (laughs)
Getting back into acting, was it as easy as riding a bicycle again or were there some nerves?
PZ: Oh, there were a lot of nerves. I had never worked with Raj ji (Santoshi) before. And he too tortured me on the very first day by shooting the most difficult scene. I was so scattered, but then Sunny told me, “Don't worry, he loves retakes. Relax.” After that I felt a little relieved.
Back in Pakistan, with the same war roar. Sunny, your character has parallels with Tara Singh from Gadar in a way…
SD: (laughs) No, it is very different. Tara started out as a fun-loving, musical, romantic guy. Here I begin as a guy who is trying to protect both his family and also an old woman, a mother. He never got to experience Tara's joy.
Rajkumar, how would you describe Sunny’s character?
RS: I had written a dialogue once: ‘Apne badan pe chot lage toh jaanwar bhi rota hain, insaan woh hain jo dusro ka dard mehsoos kar sake (Even an animal cries when its hurt, only humans can feel others' pain). Our character fights for others. See, a person can fight an individual or an army maybe if he is a superhero but here Sunny is fighting an ideology, he is fighting against fanaticism. That’s tough. Many won't be able to. This character should be an example for anybody, in any kind of situation. A reminder to stand up for what’s right.
