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A Conversation with Govind Nihalani | JAFF 2011

Govind Nihalani at Jaipur International Animation Film Festival judging and showcaseing his short animation film Kamlu

In our series of posts about 100 years of Indian Cinema, we present to you this excerpt from a blog post by a Jaipurite about the day he met Govind Nihalani in Jaipur.

I was glancing thorough the morning tabloid completely unaware that soon this day will turn out to be one of the most memorable day of my life. It all started with a regret of missing the first day of Jaipur Animation Film Festival. The regret turned into remorse when I found out through an interview in a supplement that Govind Nihalani had come to attend the festival on its inaugural year. As I read further and visited the website of JAFF, I was energized and grabbed my camera, ready to attend the second day of the festival [13Oct,’11].

I have only recently started to understand cinema, especially Indian. I have been greatly moved by Govind Nihalani’s  Ardh satya, Aakrosh and Tamas (TV Series). Chakravyuh, the poem by Dilip Chitre in Ardh satya, is such an interesting reflection on a human being. Vijay Tendulkar’s works made me aware of the violence, played out at a subtler level within me in my daily life.

As I began to walk out of the auditorium, I saw Govind Nihalani. He was in his humble and polite manner interacting with a group of adoring fans. I joined in. Everything was calm. It wasn’t like the main stream stars, who come in like a gust of wind and disappear. Here it was about real connections, real appreciation. I got a chance for a photo with him. I was so overwhelmed that I couldn’t come up with a decent question to ask him. I phoned up my friends who could appreciate the situation I was in and asked them if they had any questions to ask. While they were thinking about their questions and promised to call me back, I came up with a question “Sir, when you plan to make a movie on a subject based on a specific period of time, when do you feel ‘“Now i should stop researching and start implementing?” His answer was that one should research only that portion of history which is relevant to make the movie. If one is making a movie on British Raj in India, one should keep only the concerned period in mind from a 200 year long history. The knowledge of the untouched period can help but it’s not very important to acquire that.

I told him how my friends from the south were excited to hear that I had the opportunity to talk to him. I asked him if he could give a video interview. He immediately agreed and started looking for a place where voice could be recorded clearly.And the rest is in the video…

http://www.youtube.com/watch?v=TLbEauLPKNM

This excerpt has been re-produced with the permission of the writer.

Check out our series on 100 years of Indian Cinema.

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