Shahi Kabir: Reliving your traumas is the biggest challenge of being a policeman
What's the most interesting aspect of police stories? Why has it always been a subject of interest for filmmakers across the world? It's a subgenre that offers realistic scope for action, thrills, and twists without having to resort to 'cinematic liberty'. Like any other film industry, Malayalam cinema has also traditionally celebrated its police stories, ranging from gripping investigative thrillers and crime dramas to larger-than-life narratives glorifying the valour of men in khakis. However, there was rarely an attempt to explore the everyday struggles and challenges of an ordinary policeman. This changed largely post the 2010s when there was a collective shift in Malayalam cinema's storytelling approach. Hopping on to this 'new gen' wave was Shahi Kabir, a policeman on sabbatical, keen on turning a storyteller in cinema. Armed with over a decade of lived-in experience in the force, Shahi brought a fresh flavour and treatment to stories about policemen.
From his debut, Joseph—which he wrote—to his latest directorial effort, Ronth, Shahi has consistently tried to frame policemen from fresher perspectives. There is an earnest attempt in all his works to humanise these cops, with special emphasis on their mental health. Except for his recurring lens of empathy towards the men and women in khaki, the writer-director has also strived to attempt something new every time within the realm of police stories. It is safe to say that Shahi, despite criticism for his softer approach towards the police, has gradually been revolutionising how police narratives are perceived in Indian cinema.
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Ronth has been in discussions ever since its release, with many lauding it as one of your finest works yet. How has the response been overall?
I get the feeling of 'success' when even strangers start calling and messaging to praise our work. In that sense, Ronth has gotten me a lot of good feedback.
Your previous films—Joseph, Nayattu, Ela Veezha Poonchira, Officer on Duty—also garnered largely positive feedback. But Officer on Duty also managed to convert it into big numbers at the box office. Has that inspired you in any way?
Not really, I try to do films that I like. It may or may not make money. Officer on Duty had another director and production house involved, who were keen on commercial success. So they treated it that way and reaped the goods.
So are you saying Officer on Duty wouldn't have been the same had you directed it?
Let's just say that Officer on Duty is not a film I would like to direct.
You have almost 15 years of experience in the police force. As a writer-director, what excites you the most about police stories?
It varies. I wrote Joseph when an investigative thriller was expected from me, and I tried to give a fresh spin by having a retired policeman as the protagonist. Ela Veezha Poochira is not exactly a police story except for the fact that it's set in a wireless station. Officer on Duty was conceived purely for commercial purposes. Ronth is a mix of some of my own experiences and things I've seen or heard.
You started your filmmaking journey by assisting Dileesh Pothan in Thondimuthalum Driksakshiyum. How was the experience of directing him in Ronth?
There was some anxiety because I consider him a mentor, but the nerves settled quickly once we commenced shoot. He doesn't interfere in anything, and his questions are only limited to his character. The fact that he trusted my directorial skills and vision was a big relief.
Ronth is basically about two policemen, Dinnath (Roshan Mathew) and Yohannan (Dileesh Pothan), with contrasting ideologies on patrol duty. Who among these two is closest to you in real?
There's a lot of me in Dinnath. Like my anxiety disorder, impulsiveness, sense of justice, and commitment towards the uniform and profession... I also used to take up driver duty, where we were expected to work for nearly 24 hours. Some of those experiences are there in the film.
Both these policemen encounter multiple cases in a day and interestingly, except for a woman missing case, all the others are somehow tied to their personal lives. Did you first sketch the character and plot cases accordingly, or is it the other way around?
We designed the characters first and through the cases they attend, I wanted to show their differing approaches. Their contrasting viewpoints on each case define their character and mental state without having to be spelled out loud.
The exchanges between them are also sharp and layered. Like when, Yohannan says, "Communism and khaki can't go hand in hand"
There's no larger meaning to it, just a dialogue to underline their characters better. In the previous scene, Dinnath, an idealist, scene says, "Colonyum tharavadum oke policenu oru poleyaanu", meaning both the privileged and the unprivileged are equal in front of the police. That's when Yohannan, a seasoned cop, counters by saying communism and khaki can't go together. According to him, "Ullavande kayyil ninn illathavan pidich parikkathirikkan aanu police" (The police force must ensure the poor don't rob the rich).
What do you think is the biggest challenge of being a policeman?
There are many, but the biggest challenge is having to relive your traumas. Normally, people wouldn't want to go anywhere close to a space where their traumas get reignited. But the nature of a police job is that you keep enduring similar experiences, which takes a toll on you. We have tried to show that through Dinnath and Yohannan's experiences in a single day.
What's it with you and hard-hitting climaxes? Do you preconceive it?
Yes, I try to bring everything down to a disturbing end as I feel such films last long. For example, a film like Moonnam Pakkam won't leave you easily. I personally like to watch such films where the characters go through real heartbreaks in the end. That's how it is in real life, right? That makes us all humans. It's only in films that we see heroes overcoming all the odds for a happy ending.
Most of your films have dealt with victims of systemic oppression and power hierarchy. During your time in service, have you seen any of your colleagues become victims?
For the public and media, police is perhaps the first experience of the system. You can target the State by targeting the police, but the State will still survive by turning the weakest in the power hierarchy into scapegoats. That's what always happens. Many cases get buried by punishing a lower-ranked policeman citing disciplinary action. Most often these men don't get even basic human consideration, even if their mistakes are unintentional.
There's a general talk anyone who watches a Shahi Kabir film wouldn't want to join the police...
That's not the intention. Through my characters, I wish people realise that police officials are also normal humans. If that happens, the equation between the public and the force will be better, ensuring a more amicable environment. From the time I was in service, I wished people were not scared or annoyed by the police. But that said, I'm not doing films with this objective.
Now that you have resigned from service, what do your former colleagues have to say about your portrayal of the force?
Since my films are mostly about ordinary policemen, they seem to like it and don't have much of a problem. Even my superiors have appreciated my works, especially Nayattu. I'm yet to hear from anyone about Ronth though.
What kind of films do you want to make beyond these police stories?
I love political films that communicate strong emotions. By political, I don't mean mainstream party politics, but films that pit ordinary citizens against the system or society. Like say, Capernaum, Mohsen Makhmalbaf's Kandahar, and Akira Kurosawa's Stray Dog. But my next couple of films will be aimed at a larger audience. It might still be about the police, but they won't be on the lines of Nayattu, Ela Veezha Poonchira, or Ronth.
You had earlier expressed your interest in adapting Hermenn Hesee's Siddhartha...
Some ideas are practically hard to execute as a film. But I would still like to adapt it in a contemporary setting, chronicling a youngster's journey of realisation. But with a lot of travel and cultural exploration involved, it can only be made in English. I can do such a film only when I reach a certain position. Let's see.
Now that you are considered a brand, does that add any extra responsibility?
This brand will automatically fade if two films fail (laughs). But I would still try to ensure people who trust in my work don't get disappointed.